Blues Matters 108

“Roots music delivered by two masters. It’s pure, passionate, musically precise and soul-stirring.”

- Glide Magazine

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This much celebrated ‘guitarist’s guitar player’ returns with an ambitious album of obscure and vintage classics.

Available May 17

14th – 16th June 2019

Woolton Farm

Bekesbourne, Kent

3 days of the finest blues & rock music

SKINNY MOLLY* NINE BELOW ZERO * CLIMAX BLUES BAND

DEBORAH BONHAM* ELLES BAILEY

MAAS/MOODY BAND FEATURING EX WHITESNAKE

MOODY & DR FEELGOOD

GENO WASHINGTON & THE RAM JAM BAND

JAWBONE * SAM KELLY’S STATION HOUSE

JOHN VERITY (EX ARGENT) * LIGHTNIN’ WILLIE & THE POOR BOYS * VINCE LEE & THE BIG COMBO

THE MENTULLS * A.R.T * CHRIS JAGGER GROUP

ROBIN BIBI BAND * M ACK * BIG RIVER

BAD PENNIES * HOWLIN' HATTER * DR SCHWAMP

Camping & Glamping, free parking

Great beers, ciders and wonderful food

Tickets & details at bluesonthefarm.com

OTIS TAYLOR, SHATTERING THE CLICHÉS

VISUALS: ARNIE GOODMAN

© 2019 BLUES MATTERS! Original material in this magazine is © the authors. Reproduction may only be made with prior Editor consent and provided that acknowledgement is given of source and copy sent to the editorial address. Care is taken to ensure contents of this magazine are accurate but the publishers do not accept any responsibility for errors that may occur or views expressed editorially. All rights reserved. No parts of this magazine may be reproduced, stored in a retrieval system or transmitted in any form or by any means electronic, mechanical, photocopying recording or otherwise without prior permission of the editor. Submissions: Readers are invited to submit articles, letters and photographs for publication. The publishers reserve the right to amend any submissions and cannot accept responsibility for loss or damage. Please note: Once submitted material becomes the intellectual property of Blues Matters and can only later be withdrawn from publication at the expediency of Blues Matters. Advertisements: Whilst responsible care is taken in accepting advertisements if in doubt readers should make their own enquiries. The publisher cannot accept any responsibility for any resulting unsatisfactory transactions, nor shall they be liable for any loss or damage to any person acting on information contained in this publication. We will however investigate complaints.

Songs of love, longing and regret from the post-war American songbook of country, blues, folk, R&B and rock ‘n roll.

AVAILABLE NOW

“A powerhouse voice that could pack a football stadium”

- The National Post

“A decade’s worth of quality releases and heavy touring have made New Brunswick’s Matt Andersen into one of the nation’s most reliable performers.” - AllMusic

Available March 22

Available April 5th

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Hello, hello and hi to you all and welcome to issue 108. Here we are, so glad we all made it.

Up to issue 107 we have covered 947 interviews in print and oh yes, we’ve got more for you here don’t you worry. The depth and breadth of variation continues to run amok in these pages for y’all to enjoy and we thank you for the wonderful feedback we receive issue by issue.

Between issues we’ve had a bit of a ‘launch’ at The Iridium in NY where Walter Trout played on the night and a report is in these pages for you. We hope to do a few more of these in the future scattered around the world.

Our Iain Patience was at a French Blues Festival and a visitor spotted our banner and sought out the organiser to find out why an ‘English’ language banner was there. That individual was a radio presenter who ended up seeking out Iain and after a chat there followed a twenty-minute radio interview about the magazine. Good stuff, off the cuff so to speak.

Several of the BM ‘team’ have been/are undergoing various personal or family health issues and our thoughts are with each one of you and yours!

We sadly parted company with Chris Pettican on Design who has built a good reputation and gained good experience during his time with us and more than doubled his client base which has caused a few overlapping deadlines. Thank you, Chris for all you have been to us and we wish you well as you continue to grow. We welcome back his predecessor Martin Cook and Geraldine Cunningham as our Design Managers.

So, on you go, turn off the news, settle down with a drink of your choice and get into the new issue and enjoy!

ALAN PEARCE Founder, Publisher, Editor-In-Chief, Fan

FOUNDER/PUBLISHER/ EDITOR-IN-CHIEF

Alan Pearce: alan@bluesmatters.com

EDITOR: INTERVIEWS/ FEATURES/CD/DVD/BOOKS/ GIGS/FESTIVALS/BLUE BLOOD

Iain Patience: editor@bluesmatters.com

CD REVIEWS (Collection and edit)

Stephen Harrison: reviews@ bluesmatters.com

DESIGN

Martin Cook & Gerry Cunningham: design@bluesmatters.com

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Alan: ads@bluesmatters.com

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Benjamin McNair, Steve Banks, Jack Goodall

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BluesMattersMag

PRINTERS: Warner Print Group

DISTRIBUTION: Warner Distribution Group

CONTRIBUTING WRITERS:

Liz Aiken, Tim Arnold (USA), Roy Bainton, Eric Baker (USA), Steve Banks, Adrian Blacklee, Eddy Bonte (Bel), Colin Campbell, Iain Cameron, Laura Carbone (USA), Martin Cook, Norman Darwen, Dave Drury, Ben Elliott (USA), Barry Fisch (USA), Sybil Gage (USA), Jack Goodall, Stuart A. Hamilton, Trevor Hodgett, Rowland Jones, Brian Kramer (Sw), Frank Leigh, John Lindley, Gian Luca (USA), Mairi Maclennan, Ben McNair, John Mitchell, Glenn Noble, Toby Ornott, Merv Osborne, David Osler, Iain Patience (Fr), Alan Pearce, Dom Pipkin, Simon Redley, Darrell Sage (USA), Paromita Saha-Killelea (USA), Pete Sargeant, Graeme Scott, Andy Snipper, Dave Stone, Tom Walker, Matty T. Wall (Aust), Don Wilcock (USA), Dani Wilde, Steve Yourglivch

CONTRIBUTING PHOTOGRAPHERS:

Arnie Goodman, Laura Carbone, Jennifer Noble others credited on page

COVER IMAGE: John Prew

I’mgoingtoanI.T.eventtoupdatemyskillsandlookforwardtogetting theupdatedconferencecassetteattheend!

FEATURES

10

14

18

BLUES WOMEN

Dani Wilde again introduces us to a lesser-known Blues Queen

SCANDINAVIAN BLUES

Brian Kramers points the way to leading Scandinavian blues talent

AUSTRALIAN BLUES

Matty T Wall has a sharp eye on names we should all get to know down under

22 PIANO BLUES

24

Dom Pipkin with an insight into swampy Louisiana blues

FLEETWOOD MAC

BM samples a new collection of rare early recordings, Before the Beginning

26 THE DEVIL’S MUSIC

Stephen Harrison bares his soul on the early origins and the crossroads

36 BLUE BLOOD Blues Matters brings another crop of artists to check out and look out for

102

IBBA BLUES TOP 50

The Roots Music Report in depth independent air play chart INTERVIEWS

44 RORY GALLAGHER

There are legends then there are true legends. Our Pete Sargeant speaks to Daniel Gallagher

48 OTIS TAYLOR

Never a stranger to controversy... a blues banjo explosion is on the cards

52 COLIN LINDEN

60

68

72

76

88

96

98

82

We catch up with a Nashville bluespicker back home in Music City

MIKE FARRIS

Grammy winner reveals all about his music and surviving the blues

HOLLIS BROWN

From New York, we hook-up with a band that just keeps growing and an ambition to shake things up

JOHN PARIS

From working with Johnny Winter and Edgar Winter a US blues master

KATIE KNIPP

A Californian lady with a blues push and purpose talks to Blues Matters!

KAI STRAUSS

A German bluesman with an eye to the future... what makes him tick

DUKE ROBILLIARD

The original blues chameleon explains his musical world

JOSH SMITH

Josh Smith: A guitar-slinger feature of the Bristol Blues & Jazz Festival

MATTY T WALL

BM's Australian correspondent, comes under the spotlight

REVIEWS

95 CDS AND DVDS ALBUMS

The best new releases and re-issues.

121 FESTIVALS AND CONCERTS SHOWTIME

Bands, artists and gigs that simply sparkle with pure blues brilliance

BLUES TOP 10 SUZI QUATRO

Suzi Quatro rocks on with some surprising blues choices

PHOTO:BEN MCNAIR

PHOTO: BILL GREENSMITH

KING PLEASURE AND THE BISCUIT BOYS

KATIE KNIPP

FLEETWOOD MAC

PHOTO: TINA KORHONEN

PHENOMENAL BLUES WOMAN

JACKIE SHANE!

VERBALS: DANI WILDE VISUALS: MARK CHRISTOPHER (ABOVE)

JACKIE SHANE (MAY 15, 1940 – FEBRUARY 21, 2019) WAS AN AMERICAN RHYTHM AND BLUES/SOUL SINGER, WHO WAS MOST PROMINENT IN THE LOCAL MUSIC SCENE OF TORONTO, CANADA

Although influential in the 1960’s, it is only after her material was re-released globally in 2017, followed sadly by her death earlier this year, that her significance and social impact as an artist is beginning to be understood.

Jackie Shane grew up in Nashville. Growing up black and transgender in the 1950’s and 60’s you can imagine would have been a very tough life filled with

prejudice and fear. Jackie overcame this struggle by refusing to see boundaries and holding her head high: “I don’t bow down. I do not get down on my knees. The lowest I go is the top of my head. This is Jackie!”

Jackie, who was born male, knew from a young age that she identified as female and had been born in the wrong body: “At five years old, I would dress in a dress, hat, purse and high heels and go up and down the block and enjoy it” she recalled.

Her boldness and confidence in herself allowed her to live the life she wanted to live. Jackie recalled that in school “the other kids accepted me, so did their parents. There was something about me that drew them in.” She was fortunate to have a very supportive family who were accepting of her identity. Her mother and grandparents raised her to be confident and to chase her dreams: “They understood me,” she said, before adding “some adults were

“AT FIVE YEARS OLD, I WOULD DRESS IN A DRESS, HAT, PURSE AND HIGH HEELS AND GO UP AND DOWN THE BLOCK AND ENJOY IT”

afraid of me because I was intelligent. I thought for myself.”

Jackie found a love for singing in church. At the age of 13, she heard a local boy in her neighbourhood playing blues piano. Inspired by what she heard, she teamed up with him and crossed over to secular singing. She also took up drums having been told by the pianist that she had natural rhythm. Joined by a local guitarist, they formed a trio and performed locally. “Once we got started the jobs kept coming” she recalled. Despite this local success, Jackie despised living under the racist Jim Crow laws of the South. She decided she wanted a better life for herself, and she found that in Toronto, Canada.

BEGINNINGS...

In Toronto, Jackie performed on stage in full make up, ladies jewellery, a bouffant, and a sequined top over a pantsuit. In media interviews, she would give ambiguous answers to questions about her sexuality and gender. She existed before there was a vocabulary to describe who she was; she was just Jackie; gifted and proud. Despite Transgender people at that time being widely unaccepted in society, Jackie Shane had a shining personality and an undeniable talent as a vocalist that allowed her to appear on Television in Nashville, to sell out rhythm and blues clubs in Canada, and to score a Number 2 radio hit in Toronto with her soulful ballad “Any Other Way” in 1963. Jackie re-released the song in 1967 where it modestly peaked at #68 on the national RPM chart. Jackie’s voice is just gorgeous. She has the lightness of Smokie Robinson with the darker tones of Nina Simone in her lower register –

All the sincerity of a Shirley Brown combined with the Sass of a young Tina Turner. It is no wonder she so quickly won over her audiences.

attention of record labels including Motown and Atlantic as well as discussions with George Clinton about the possibility of joining Parliament Funkadelic.

audience in the spoken word section. Her emotive

“Any Other Way” composed by William Bell, featured the cheeky lyric “Tell’em I’m gay” which was intended to mean the old fashioned interpretation of ‘gay’ as in ‘happy’. Shane enjoyed playing on the double meaning, and would wink subversively at the boys in the crowd as she sang it. In retrospect, her live recording of the song can be considered an anthem for transacceptance as she preaches to her audience in the spoken word section. Her emotive voice and commanding stage presence soon attracted the

soon attracted the

Jackie turned each of these offers down. She explained how Motown’s Berry Gordy came to see her perform on Toronto’s Yonge Street strip one night: “They had a whole row of champagne buckets” she recalled – “They tried to talk to me, but I had been schooled about Berry Gordy taking the entertainers’ money. I wasn’t going to get involved in that!” Jackie enjoyed the artistic and financial freedom that came with being an independent artist and preferred being on stage to being in the studio. Her best recordings are arguably of her live shows that capture her ability to communicate her deepest emotions and sassy personality to her audiences. “I’ve never really wanted to record,” she said in an interview with The

Guardian, “I get my charge from performing in front of people. That’s my energy.”

She was also invited to appear on The Ed Sullivan Show – an opportunity that could have launched her to superstardom as it did for many artists such as The Jackson 5. Jackie refused, as the invitation was made on the condition that she presented herself as male. Although accepted by the buzzing Toronto music scene, Jackie was sometimes harassed by the local police: “Those creatures on the force, they were gay but will never come out,” she told The Guardian. “They feel they’ve got to hide, so you should too.”

Jackie toured with Etta James for a short time but then gave up performing in the early 1970’s, relocating in Los Angeles to to look after her aging mother. Her fans thought she had vanished from the face of the earth. It was rumoured that Jackie had been murdered in Brazil – a rumour that Jackie found most amusing. 40 years passed and Jackie’s disappearance remained a mystery to her fans and ex-band members. In 2010, CBC Radio released a documentary entitled "I Got Mine: The Story of Jackie Shane", but the producers were

unable to confirm if Jackie was still alive. The documentary celebrated Jackie Shane’s influence, not just as a fantastic vocalist who shaped the Toronto sound, but also as a hero for the LGBT community.

THE LATER YEARS...

In 2015, Douglas McGowan, an A&R man from Numero Group managed to track Jackie down. He spent two years talking to her before she agreed the label could officially release a selection of her studio and live recordings from the 50’s, 60’s and 70’s, with accompanying liner notes that told her life story. Whereas in her earlier media accounts, Jackie’s gender and sexuality had remained ambiguous, her 2017 compilation ‘Any other way’ publically and proudly acknowledges Jackie’s identity as a Trans-Woman. “Jackie’s story rewrites history for people” Mcgowan explained; “It tells young people that some people have been fighting for rights before there were even names for their causes!”

In 2017, a group of Toronto academics published an essay anthology entitled Any Other Way: How Toronto Got Queer, a history of LGBT culture in Toronto. Not only

did they take their title from Jackie Shane's 1962 single, the book also included an essay devoted specifically to Jackie. In the Summer of the same year, Jackie Shane’s Numero Group compilation was nominated for a Grammy Award in the Best Historical Album category. At the age of 78, following over 40 years of hiding from the spotlight, Jackie Shane was back in the public eye:

Jackie Shane was her unexpected comeback in one of her very

"I do believe that it's like destiny, like that something that could not be avoided," she said of her unexpected comeback in one of her very last interviews. "People have come up to me and said, 'Jackie thank you. You made it possible for me to have a life.”

Jackie Shane was a visionary. She lived entirely on her own terms, showing the world how to have pride, self-respect and grace under the most challenging of circumstances.

"I have never felt that I had to change or do anything that wasn't natural to me” she said proudly in her final interview, “I guide my life. It is mine. No matter what anyone says, I'm going to be Jackie. That's all I can be. That's all I know. It's what I feel from my heart and my soul. I've got to be who I am.”

In February 2019, Jackie Shane died peacefully in her sleep. As a retroactive role model, she left the world not only with some fabulous and heartfelt rhythm, blues and soul, but also with pearls of wisdom that will carry across future generations:

“Most people are planted in someone else's soil, which means they're a carbon copy. I say to them, uproot yourself. Get into your own soil. You may be surprised who you really are."

CHECK THESE OUT:

Any Other Way (Compilation) 2017 You Are My Sunshine (Single) 1967

Walking The Dog (Single) 1965

JACKIE SHANE, VISIONARY

SOUL IN PROFILE

SCANDINAVIAN BLUES, PART 4

VERBALS: BRIAN KRAMER VISUALS: MORTEN E AND FRANK NEILSEN

THE LATEST INSTALLMENT OF THIS SERIES HIGHLIGHTS TWO PROMINENT ACOUSTIC PLAYERS MAKING WAVES THROUGHOUT THE DEEP SCANDINAVIAN BLUE WATERS.

Bottleneck John has become essentially the poster boy for steel bodied resonator guitars, slide playing and his distinct, gospel infused voice

Felicia Nielsen is one of the finest, most articulate finger pickers to emerge in the country mastering traditional ragtime, blues and old timey songs. Very few can hold a candle to her.

Both players came up within the vibrant Swedish Blues community and have had their initial experiences cultivated at Brian Kramer’s

International Blues Jam. Both are very visible on the festival circuit and reaching further beyond.

BOTTLENECK JOHN

AKAJohanElisasson

Brian: Just tell us briefly where you are from?

Bottleneck John: I’m from geographically in the middle of Sweden, it’s a small town called Östersund or my hometown, “Lit”. I am like 600 kilometers from Stockholm so its kind of North. Born-

raised, three rivers come together there so I used to say “I was born in the Delta”.

Brian: When you started out was there much Blues there?

Bottleneck John: When I started out there wasn’t, it was mostly Jimi Hendrix, Stevie Ray Vaughn, Rock & Roll. Then in the summer of 99’ I started to listen to Eric Bibb’s records you know, with you included (Eric's Home To Me release, BK is featured on slide and acoustic guitars) and the acoustic Blues got to me and I’ve been stuck there ever since.

JOHAN ELISASSON AND BRIAN KRAMER

Brian: We’ll get to the Eric Bibb connection and all that stuff… What drew you to the Blues and also resonator instruments?

Bottleneck John: If I recall it right there was a CD released back in 91’ with a guy called… um, what was his name? Fjellis… He released a CD of Robert Johnson songs called “See You In Hell Blind Boy”, on the cover he was playing like a 31’ Duolian or something.

I’ve never seen one before, and I never listened to the music, I only listened to hard rock; Deep Purple, Black Sabbath… and I got the CD because of the cover! The guitar looked so cool, so I bought it and listened and I was hooked and the was the summer of 99’ around when I started to listen to the Bibb stuff. I’ve been on electric, the singer in rock bands only. And then I started, you know the old cliché; I searched for the roots, you know everyone says this but it’s the truth. I searched for the roots inside the songs I listened to and I ended up back in the 1930’s somewhere.

Brian: And now you’re stuck there…

Bottleneck John: now I m stuck there and I LOVE IT! This is my music, it’s my calling in life. So basically the resonators stuck with me since then and I always played acoustic like this (un-amplified/without a pick up), nowadays I plug in always because I’m sick and tired of sound engineers messing the sound up, feedback. But they were the only instruments that could produce the volume, and that was my thing, playing acoustic in small environments.

Brian: Tell me about some of your heroes as well

Bottleneck John: Oh man… I feel basically we must go to the old guys; Blind Willie Johnson for the “otherworldly” slide guitar playing, creative vocals… so many like Corey Harris, the first CD he released when he was

still playing deep roots, Delta Blues is amazing. Bibb’s records, the 94’ –97’… What year did they release the album you’re on?

Brian: That was 1999…

Blues Yeah,

Bottleneck John: Yeah, that’s one of the reason why I play guitar…

Brian: Eric was the whole package and with the first Opus 3 records…

Bottleneck John: …with your slide guitar stuff, it was amazing and Göran Wennerbrandt of course, he’s an amazing player. I think you are more Blues than Göran is. Göran is more… world blues I guess.

Brian: You’ve been a bit of a collector and restorer of an old Swedish brand of guitar called Levin. I’ve always considered Levin to be Sweden’s best kept secret for guitars because they can go from very ordinary to super “holy cow” highend Gibson class stuff. Tell me about your passion with that?

Bottleneck John: I think we have to start out with the fact that I am a collector born. It could be wrist watches or old mopeds or vintage cars. It just turned out that I happen to be a musician and I like to collect stuff, why not collect something you can use?

So I searched all around my county back home and I found all these old instruments, some fine and some busted up and broken. I couldn’t afford to give them to someone to repair so I had to learn that myself. I joined a fiddle builders association, all the guys were like 80 years plus and they knew how to boil their own glues and stuff, so I joined them for a year and I learned everything about wood and glue. It’s just a fun hobby and I can play them. I brought one of them, it’s like a 1936 Gibson L-1, Robert Johnson style Levin. So I collect and I play them. Brian: Very cool! I’m going to ask you about the Swedish/Scandinavian

feel it’s a good scene?

feel it’s a good scene?

Bottleneck John: The Scandinavian scene is really nice, Swedish as well but, compared to Norway it’s like 1/3 of the number of places you can play and Norway it’s a bigger interest. Every little village has a Blues club there. I’ve been in Sweden first and we have a couple of nice festivals, couple of nice clubs from North to the South so it’s cool. I think it’s 15 years since I first met you at Stampen and came to the Blues Jam? First time I’ve ever seen you or anybody!

Brian: Yeah, I still remember that day… I remember you had with you a new National, what was it called? A Delphi… and you were very proud!

Bottleneck John: I’d bought some Chinese made copies before or a Fender but the Delphi was the right stuff… it was 2003, 16 years no?

Wow time flies, are we getting old?

Brian: We’re getting older but we’re getting better!

Bottleneck John: Me definitely, I’m evolving every year.

Brian: There seems to be more and more players emerging around the globe playing resonators and traditional Blues. With social media you seem them everywhere. Do you see this as a positive or negative development?

Bottleneck John: This is the first time I think about it in that way… The thing is the market is getting saturated with resonators. I don’t

that’s one …with your slide guitar stuff, it was amazing course, he’s an amazing player. Göran is. Göran is more… world

“THE ONLY THING I KNOW FOR SURE IS THAT BLUES IS MY CALLING I HAVE NO IDEA WHY AND ITS JUST NOT FOR SHOW”

know, it’s kind of cool though. People think they’re cool instruments and we already know that, but there are so many playing them.

Early 2000 there was like, you and Göran Wennerbrandt and Slidin’ Slim, perhaps two or three more in Sweden and that was it, and now they are everywhere. And let’s face it, perhaps a lot had to do with guys like you and me playing them. People seeing them and saying; OK, I’ll get one.

Brian: So we’ve been a positive influence AND it’s our fault.

Bottleneck John: Yes, it’s our fault. Brian: What does the Blues world look like for you five years from now?

Bottleneck John: I see basically I’m doing the same thing right now, playing acoustic bottleneck style Blues and touring around Scandinavia, Europe sometimes, hopefully America one more time. But I think just keep on rolling. I’m gonna release a new record this year on Opus 3, I’m in Stockholm recording now.

Eleven songs out of fourteen are completed. It’s gonna be tougher, it’s gonna have drums on several tracks, electric guitar on half of them just to add the grit, the dirty stuff. The first

record was really acoustic stuff, now it’s more up-tempo. It’s fun, it’s been a long time coming and they have been on me every year for six years so I just said oh fuck, lets do it! It’s like an eight-hour drive from where I live to Stockholm, up and down, up and down, but I’m doing it. Brian: Are you getting deeper into the Blues or are you getting deeper into yourself?

Bottleneck John: Both! That’s a good question, the older your get, the wiser you get. I’m thinking about stuff like; who am I? What do I want to do with my life? The only thing I know for sure is that Blues is my calling, I have no idea why and its just not for show. I’ve been thinking: I’m so sick and tired of the Blues and music industry, the business part of it.

It’s so hard to make a living and everything so I think fuck it, I’m going to drive a truck for the rest of my life. And then all of a sudden I do a gig where everything falls into place, the audience lifts you into the spirit and then whoop, I’m back again. I’m keeping at it you know. Out of ten gigs seven are really nice, two are OK, and one sucks.

Brian: That’s good odds still!

Bottleneck John: The better I get, the better the gigs get, there’s some kind of equation there… I really enjoy myself playing on stage now. As a guitar player I’ve lifted myself a whole lot and I can feel it myself.

FELICIA NIELSEN

AKAShoutin’Red

Brian: So, Miss Felicia Nielsen, ahhh, Shoutin’ Red…

Felicia Nielsen: Yes, former Shoutin’ Red…

Brian: Is it hard to shake that?

Felicia Nielsen: It wasn’t really for me because I wanted to be more myself, then again I can still relate to the “Shoutin’ Red” so I miss it a little bit.

Brian: It’s so hard to find a good Blues name though!

Felicia Nielsen: It represented who I am as well, I felt Felicia Nielsen was easier to say on stage when you represent yourself.

Brian: You’ve moved on…

Felicia Nielsen: I’ve moved on! Some people still call me Red though and it feels good.

Brian: So, tell me a little bit about where you’re from.

Felicia Nielsen: I’m from Enköping. It’s like 100 kilometers West from Stockholm, and I grew up there. It’s a sleepy little town so nothing happens so much but I liked it there.

Brian: How did you find the Blues there? Where did you find the Blues there?

Felicia Nielsen: Nobody listens to the Blues there except my father and he was the one who introduced me to it. He has a library on his computer and I just happened to hear him listening to it one day, the weekend that I visited him and then I just got hooked to it immediately and I think always, since I was a kid as long as I can remember I was always drawn to Blues notes and you know bluesy music has always gone straight into my heart, so it always has been inside me in some kind of way. So whenever I heard this kind of music it was like getting dessert all the time; the dessert of music.

Brian: Which artists got you excited right away?

Felicia Nielsen: The first artist I heard, country Blues that I listened to was Crying Sam Collins. He didn’t make so many sides but I really liked him and Booker White, Robert Wilkins, Bo Carter and Lightning Hopkins.

Brian: How old were you when you started listening to these artists?

Felicia Nielsen: Thirteen, fourteen. Leadbelly’s old stuff as well.

Brian: Wow, so you’re thirteen years old in Enköping and you’re getting excite about Booker White and Lightning Hopkins!

Felicia Nielsen: Yeah! you know… I tried to find people who like it or people who play it but there was nobody actually. I had a guitar teacher and I asked him can you teach me fingerpicking, I was sixteen/ seventeen and I wanted to learn this style, Blues music and I asked him; Can you teach me? And he said, “yeah you just do like this and you

electric guitar on half of them just to

FELICIA NELSON

strum…” and I was like, that’s not how you do it. So, I was like, OK I have to find this out by myself, so I just searched on YouTube for all the pickings in Blues.

Stefan Grossman’s videos also. I bought some of those and I learned a lot from those, so I was all by myself. Then the big thing for me was when I went to music school in Mjölberg, outside Hedemora and I just started to play music outside of my own space, in front of people and with people and I felt like I really wanted to bring out this music that was inside of me.

I just sat inside my room all the time and really wanted to play in front of people and with people, bring the music to life in the outside world, not just in my inside world. I went to the States for the first time in 2013 and went to an Acoustic Blues workshop and that’s where I really met people that liked this style and made friends there also.

Brian: When did we meet?

Felicia Nielsen: It must have been before that, around 2011 or 12 I think?

Brian: It was at the Blues Camp, I believe just before you went to the States. You were sponsored at the Blues Camp.

Felicia Nielsen: I got this scholarship, the Jenny Bohman Scholarship. That was also a big thing for me meeting someone like you who was established and recognizing and liking what I was doing. That was a big thing for me coming out as a musician.

Brian: I’ll never forget that… the most memorable thing when I think of that weekend was when just me, you and Bert Deivert (US mandolin player/guitarist living in Sweden) were just casually sitting on a sofa in this recreation area, and we started playing song after song after song, cause you were really shy…

Felicia Nielsen: (laughing) yeah I know! It meant so much to me, so it was really hard to be… you know. But

it was such a big deal to me! Brian: But at the same time there really weren’t a whole lot of people around playing that kind of stuff. I think it just started with me and you and the sofa… I wanted you to feel welcome and comfortable, then I believe Bert sat down with his mandolin and then gradually more and more people started gathering around us, centered on you singing these obscure traditional songs. It felt like an hour or more and we just kept going.

Felicia Nielsen: I was like, is this really happening?!

Brian: So, between then and now you’ve been really developing your craft and you’re getting more confident in what you’re doing. The one thing I noticed that you did right was that you started to play everywhere. You even did like I did like I did in the early days in New York; you played in the subways.

Felicia Nielsen: Yeah, I wanted to as you say, develop my craft and get comfortable in front of people playing this music and grow because that’s how you practice the best, in front of people and just get into the feeling. That’s also where you find feeling, in front of people in another way.

Brian: Tell me a little bit of what’s been going on?

Felicia Nielsen: I actually trying to broaden my self a little bit and I’m getting into other folk styles as well. I’ve been really into studying Irish music, English music but now I’m also doing a record, Swedish record with Swedish folk music and traditional ballads, but I’m trying to keep my fingerpicking style and the Blues rhythms, so it’s still me but I am digging into the Swedish stuff.

Brian: It’s not so far off? There are a lot of Blue tones in Swedish “Vis” folk music.

Felicia Nielsen: Yeah I know, and that’s what I want to bring forth. A lot of people who play Swedish folk

music are like almost classical in approach. I want to do it more the rootsy way, like I do in Blues. So that’s what I’m exploring right now, that’s really fun. We’re working on it now so maybe the record is coming out sometime in the summer.

Brian: That sounds like a really fun project, I look forward to that. Travelling a little bit more?

Felicia Nielsen: This summer I’m playing a bit around Sweden and then I’m going to England and France, so a little bit everywhere.

Brian: And now how does it feel when you’re alone on a stage in front of an audience?

Felicia Nielsen: Wee-eell, it feels like if you compare it to the beginning I was really like, shaking and was really like shit scared. But I just decided it was something I really wanted to work on, I wanted to find myself; my place on the stage.

Like who am I on stage and how can I be relaxed as much as possible, just doing this by myself. I think I’ve reached a point where its really nice to play with other people as well, even though I can get really relaxed on stage by myself its gives more in a way to be like a duo, so that’s what I’m trying to do more as well.

Brian: I’ve seen you opening up shows on the bill for Eric Bibb, Eric’s a very encouraging guyFelicia Nielsen: Yes, he’s such a nice guy and also a really good teacher and you can feel that he really wants to take care of you. I met him at the Åmål Blues festival a couple of years ago and I gave him a record and said I also play country Blues. Then one year later he and his wife wrote to me and said we really like the record and we’d like you to join us to play. His songwriting is really inspiring and it inspires me to write more.

Brian: I’ve been asking this as a standard question to the other artists as part of this profile series, Where do you see yourself in five years?

Felicia Nielsen: Music wise I want to continue new things, learn new things and not stay in one place or stagnate. I just want to continue to find new ways, I hope in five years I’ll have two new duos.

“MUSIC WISE I WANT TO CONTINUE NEW THINGS, LEARN NEW THINGS AND NOT STAY IN ONE PLACE OR STAGNATE ” – FELICIA NELSON

WIZARDS OF AUS

AUSTRALIAN BLUES ARTISTS YOU SHOULD KNOW

VERBALS: MATTY T WALL

WELL I'M BACK AGAIN FROM THAT LAND DOWN, DOWN, DOWN, DOWN, SOUTH – ALMOST AS FAR AS YOU CAN GO REALLY. THE GREAT LAND OF GIANT HOPPING MARSUPIALS, BURNING SUN, ICE COLD BEER AND DEADLY... WELL, DEADLY EVERYTHING!

In this issue, I'd like to bring some attention to artists you should know about from down here… artists who definitely deserve your attention.

As we get to that point, of course you know that all us starving artists need to be marketers, salespeople

and…gulp…musical prostitutes, so of course I'm going to take this opportunity again to ask you to check out and listen to my last two albums, Sidewinder and Blue Skies, which both topped the blues radio charts in the USA (by subgenre) and Australia. And… let you in on a little

secret: I'm currently working on an exciting project with the cream of the new USA blues elite... but mum's the word. Go and check my stuff out in the meantime. If you love rocky blues with edge interspersed with ballads and other moods, it will be right up your alley.

So let me get to the four artists I want to highlight for you today. All are or have been touring internationally, so you should get a chance to see them in action.

FIONA BOYES Australianbluesroyalty

It seems Fiona has only been on the scene for a short time, reaching huge success in the US and Australia with the 2015 release “Box & Dice”. And in that time she has also been nominated by the Blues Music Awards in Memphis for the Koko Taylor award – the first Australian in history to be nominated by the BMAs – an incredible achievement. But in truth, she has been working on the scene in Australia for two decades and her experience definitely shows in the way she carries herself, writes killer material and now tours the world. Her influences include the one and only Bonnie Raitt, who incidentally, is also a favourite of mine, so it is no surprise I am a fan of Fiona’s sound. Her music really is as authentic as it comes in the blues genre. With genuinely soul-moving

FIONA BOYES PHOTO: CHRISTINA ARRIGONI

slide guitar work, she is a player of the ‘cigar box’ style guitar, among others, and really takes that tone to new heights in the way she plays. She also has a big voice and it really suits her journey in blues music – she seems to enjoy covering a wide variety of styles in the blues genre and does it in a way that makes you think she was born and bred in the Mississippi delta. She also carries it with a style that comes across as very down-to-earth and engaging rather than overtly flashy and dramatic. Her latest album ‘Voodoo in the Shadows’ is definitely one to check out.

LACHY DOLEY

Abonafidestar

Dubbed the ‘Jimi Hendrix of the whammy clavinet,’ Lachy Doley has been receiving huge kudos from legends such as Bootsy Collins and Glenn Hughes and; has even recorded and/or toured with artists such as Joe Bonamassa, Glenn Hughes, Steve Vai, The Beautiful Girls and Jimmy Barnes to name a few. One look online and you can see Lachy is tearing up YouTube with his live videos, displaying his prowess on the lesser known keyboard, the whammy clavinet. Basically an organ/clavinet with a huge whammy bar! Well, that’s what it looks like to me, Lachy, let me know if I got this wrong…

So, I was standing backstage several years ago at a venue in Perth – the Perth Blues Club in fact, waiting in the green-room to follow on from Lachy Doley’s astounding performance, and what struck me was how ‘guitar-like’ his sound was. It definitely took me to some Hendrix and Clapton territory, although there was not one single guitar on stage. Very impressive, to say the least. Add to that an electric stage presence and you have one incredible live

show. Now, The Lachy Doley Group has just released a brand new album ‘Make Or Break,’ definitely go and check it out. This is one artist you should be following.

HUSSY HICKS

Passionateandstrong Hussy Hicks started out as a duo of Leesa Gentz on powerhouse vocals and Julz Parker on electric blues guitar, with Julz even receiving kudos from Tommy Emmanuel for her guitar skills. They have been touring Australia for a considerable time, released six albums and toured internationally at least 15 times. You would see them regularly at BluesFest and many other blues festivals in Australia. Since adding drummer Ali Foster and Tracey Bassy – on bass guitar of course – they have

LACHY DOLEY HAS BEEN RECEIVING HUGE KUDOS FROM LEGENDS SUCH AS BOOTSY COLLINS AND GLENN HUGHES

become the female fighting force of the Australian blues scene.

Now I have come across many artists with a solid fan base, but I can tell you with certainty that the fans of Hussy Hicks are the most passionate and strongest in their loyalty to their favourite band – and this shows, as wherever Hussy Hicks go, they pack the place. I would describe Hussy Hicks’ sound as amped-up stomping country blues turned on its head with some screaming guitar and fine, fine singing, with really uplifting and positive vibes. It definitely makes you feel good being at one of their shows. But go and check them out yourself, their albums and live shows are absolute crackers.

LACHY DOOLEY

PHOTO: JASON ROSEWARNE

HUSSY HICKS

PHOTO: ROSEWARNEJASON

A MIX OF ROBBEN FORD, JEFF BECK AND WARM, FUNKY BLUES ACTION. GEOFF MAKES MUSIC TO MAKE YOU SMILE

GEOFF ACHISON

Funkblueskingofstrings

A mix of Robben Ford, Jeff Beck and warm, funky blues action. Geoff makes music to make you smile. He is most well-known for his work with his regular band Geoff Achison & The Soul Diggers, where his music comes alive. If you have seen him in action with his band, you’d know that he was an absolute master of the guitar.

I had the opportunity to share the stage with him at The Melbourne International Guitar Festival several years back, and we did the usual jam thing, showing off what we can do, then having a bit of fun. What struck me was how tasteful Geoff plays, really tasteful in that Clapton, Robben Ford way, where everything just sounds right. And not only that,

Geoff is renowned for his acoustic guitar prowess also, releasing albums such as the latest ‘Sovereign Town’ which highlights more of his abilities in the acoustic realm, along with his always engaging, storytelling style of songwriting.

Geoff started out in Melbourne as a young gun guitar player, playing alongside legendary Australian blues godfather, Dutch Tilders, where he honed his craft on that near-legendary goldtop Les Paul he is known for, working the scene in Melbourne and building up his loyal fanbase. These days, Geoff Achison is regularly touring the UK, so when you see his name pop up at venues near you, definitely get down and check out this master of the guitar.

Like I mentioned, these artists are currently touring internationally, and

that in itself is something to applaud, as Europe and the USA are literally 10,000 miles away from Australia –quite an investment to your favourite airline! So, Australian bands touring Europe/USA have to be at the top of their game. If you get a chance to go and catch an Australian blues band/ artist touring your city – definitely go and check them out. I guarantee two things: one, they will blow you away with their live show; and two, they will appreciate you making the time to come out and see them perform.

Well, that’s enough from me sitting here on the other side of the planet, make sure you check out these artists and I’ll catch up with you next time.

TURN TO PAGE 82 FOR OUR OUR INTERVIEW WITH THE WRITER OF THIS PIECE, MATTY T WALL

MATTY T WALL

PHOTO: SHEPHERDJAMES

GEOFF ATCHINSON PHOTO: SAM CHILDERS

RADIATING THE ‘88s

THREE PIANO SHOWS IN NEW ORLEANS

VERBALS AND VISUALS: DOM PIPKIN

AT THE TIME OF WRITING THIS I’M SITTING IN A FORMER PHOTOGRAPHY STUDIO, CLOSE TO WAREHOUSES ON THE RIVERSIDE OF NEW ORLEANS IN AN AREA THAT USED TO BE KNOWN AS THE IRISH CHANNEL

The walls are covered with original framed prints by the photographer Michael P Smith and mostly depict musicians in action and Mardi Gras Indian scenes. The space is cluttered with a lifetime’s work – archives, books, bizarre 1970s hippie trinkets and curiosities, pianos, musical instruments, and a fully-functioning recording studio snaked around the sofas and bookshelves. I can reach out and pick up Professor Longhair’s motorcycle helmet. It just lives here – not in a glass case, but just wherever it was last placed. Byrd had customized it with his name in gold letters – Henry Byrd II. Also, amazingly, Byrd posed for his “Crawfish Fiesta” album photograph in exactly the spot where Leslie Smith now has her recording studio control centre. The large rolls of paper used as photographic backgrounds still lean by the entrance door. I expect Longhair’s is among them. This is 636 Music headquarters and my home for two months.

I thought I’d report on three piano shows I’ve been to here with my wife, artist Hannah Luxton. I’m actually going to talk about four shows, two of which are at the famous Maple Leaf Bar, so it’s three venues, four piano players.

JOHN CLEARY

When Jon Cleary first arrived in New Orleans he found a

job painting the Maple Leaf. The legendary one-eyed piano genius James Booker had a residency there from 1978 to 1982 and Cleary would sit in for the master when Booker was sick. The bar now hosts the weekly ‘Booker Back Bar Sessions.’ I’m happy to report that I’ve been invited to play one of these prestigious showcases whilst on my stay – but I can’t review my own show (it was excellent by the way!)

RICHARD SCOTT

The first week gave us the chance to enjoy Richard Scott . Scott comes strictly from the stride school of piano. His language is robust and ‘two handed,’ as opposed to displaying a florid, expansive right hand. It’s a joy to experience this kind of authority in a genre (and Scott seems fairly young to me.) He hits hard and builds the level of excitement in his solos – his version of Tico Tico being an excellent case in point. I’m posting some video of this tune in the Radiating the 88s Facebook group, so do check that out.

Players like Scott build on the kinds of syncopation that Scott Joplin laid down using clusters of octave-

outlined chordal shapes almost like Latin American montunos to tell their story. He also had a great way of delineating the ‘big four’ – which is rhythmic stress found in much New Orleans music – one, two, three, four, one, two, three, FOUR. His facility, honed by many long shows a week at venues like Fritzels on Bourbon Street had me sitting and studying at the piano the next day mindful of how little I know.

The following week I had the chance to catch up with Josh Paxton. I’ve since conducted a lengthy interview with Josh – touching on his transcription work (he unlocked so much of James Booker’s style for me) and playing career – so watch out for that soon. Richard Scott sings in a pleasingly gravelly voice, clearly derived from Satchmo’s but evolved into something more personal and expressive. Paxton does not sing, and therefore crafts his style from nothing more than the 88 keys and sustain pedal.

Josh’s show represented a far broader stylistic range. Like me Josh came up playing modern jazz and then stumbled onto the Crescent City styles. Standout moments were his version of Booker’s version

STYLES FROM AN EARLIER ERA ARE PRESENTED WITH UTTER VIBRANCY AND RELEVANCE RENDERING THEM A LIVING MUSIC

of Come On In My House and a recreation of the late Henry Butler’s Orleans Inspiration. The two handed approach (hands working together to create a cohesive rhythmic push) was really in evidence on this virtuosic and uplifting tour-de-force. Then Paxton imbued a flavor of James Booker into classics like Bridge Over Troubled Water. It’s piano playing that takes you on a journey – watch out for his recent solo record, Standard Deviation.

TOM MCDERMOTT

Another pure piano player – ie one that does not sing – is the exceptional Tom McDermott. I’ve heard Tom many times, and on this occasion he was one half of a duo with the equally outstanding Aurora Nealand. Nealand plays the very finest saxophone and sings with beautiful intimacy. Their material ranged from McDermott’s own compositions to Tom Waits covers to traditional jazz material. McDermott is so at home in this world. His playing is a veritable living history of true stride, habanera, and beyond, and his music has a delicacy in its melody and ornamentation that brings composers such as Chopin to mind. It’s when in New Orleans, listening to exposed piano that isn’t fighting for attention with other instruments that the legacy of the great piano stylists and composers that came before really shows. Styles from an earlier era are presented with utter vibrancy and relevance rendering them a living music again. I had a sit-in on the St Louis Blues with Aurora, then went home, practised, and listened to Tom’s 2014 album All The Keys And Then Some – an astonishing 38 piece assemblage showcasing every piano mood possible – quite astonishing.

New Orleans is of course a city soaked in music. It emanates from every corner in the French Quarter. There is the relatively new BB King’s Blues Club on Decatur Street, music all around the French Market, The intense Frenchmen Street scene, Bourbon Street, and all kinds of classic venues in neighbourhoods

all over the city. You can a good selection of stride and classic jazz piano in these places if you listen hard enough. It can be a little harder to find the piano legacies of Fats Domino and Professor Longhair (which seems bizarre to me, but musical fashions change.) I’ll report on New Orleans Piano Night soon (a House of Blues roundup of the best piano players in town) and look into this phenomenon a little closer. Tom Worell and Tom McDermott do still represent the sound of Professor Longhair, as do other versatile piano players such as David Torkanowsky. It’s Worrell, however, who has placed himself most centrally in this curatorial role.

JOHN CLEARY

From stride, through James Booker, via historically-tinged virtuosity we come to Jon Cleary’s weekly solo show at Chickie Wah Wah’s. Like the venue name? The Bobby Marchan song it comes from is a real screamer. Cleary is assuming his place as one of the top acts in (and out) of town. As a confluence of singing, songwriting, and piano playing he’s almost impossible to beat, and he comes from our own south coast! I never miss a chance to hear Jon. He digs deep through the classic

New Orleans R&B era repertoire, covering songs like Lloyd Price’s Just Because and Toussaint’s Waiting At The Station.

Cleary’s piano approach is funky, impeccably tasteful and satisfying and rounded. You’ll hear the rolling joy of a Fats Domino riff, and without the constraint of other band members he can really pull the song around – stretching it out and building the tension. That said he was joined in the second set by saxophone player Roger Glenn who added a whole jazz dimension to the proceedings, and who was able to communicate intuitively with Jon’s musical mind.

This second set had all the soulful blues you could want – the piano and singing in superb attunement, plus a barnstorming boogie-woogie to finish up proceedings. Thank you to all these wonderful piano artists for keeping the importance of this instrument alive, and more from me on the subject of the 88s from the Crescent City soon.

FOR MORE INFORMATION, CHECK OUT: WWW.FACEBOOK.COM/GROUPS/RADIATINGTHE88S/ WWW.DOMPIPKIN.CO.UK, WWW.RICHARD PIANOSCOTT.COM, HTTPS://JOSHPAXTONPIANO. COM, HTTP://MCDERMOTTMUSIC.COM

JON CLEARY AT WAHCHICKIE WAH

WITH JOSH PAXTON AT THE MAPLE LEAF

THE ROOTS OF FLEETWOOD MAC

(OTHERS) SONY MUSIC ENTERTAINMENT WILL BE ANNOUNCING A THREE CD BOX SET WITH REMASTERED LIVE AND DEMO SESSIONS FROM 1968 AND 1970 BY FLEETWOOD MAC. AUTHORISED BY THE BAND, ALL TRACKS ARE HAND-PICKED BY MAC FOUNDER PETER GREEN. THE CD BOX VERSION COMES WITH A GENEROUSLY ILLUSTRATED 48-PAGE BOOKLET WITH EXTENSIVE LINER NOTES

To find the roots of Fleetwood Mac we need to wind the clock back more than fifty years to 1967, when the young London guitarist, singer and songwriter Peter Green has decided the time has come to strike out on his own and form his own group.

Joining Green were drummer Mick Fleetwood and guitarist and singer Jeremy Spencer, while bass player John McVie came aboard over the summer. It was a group that stood apart: Where some of their British contemporaries juggled pop, blues and jazz in different measures, the original Fleetwood Mac played deep and dirty blues exclusively.

A lads’ club on the face of it, it was Green who gave the gang a sense of brotherhood and belonging. A year later, in 1968, Fleetwood Mac expanded from four to five when Peter invited guitarist, singer and song-writer Danny Kirwan into the band. The expansion was also musical: with Kirwan’s entrance, the group’s repertoire became increasingly melodious, popish or psychedelic.

Fleetwood Mac released 3 albums (Peter Green’sFleetwoodMac; Mr.Wonderful; ThenPlayOn) and a handful of classic singles in the years 1968 to 1970, including ‘Black Magic Woman’, ‘Albatross’, ‘Man Of The World’, ‘Oh Well’ and ‘The Green Manalishi’ – all written by Peter Green.

The importance of a group’s concert repertoire is often neglected in preference

VERBALS: CHRISTOPHER HJORT VISUALS: BARRY PLUMMER (LEFT) BILL GREENSMITH

to its studio output. Music to be heard only once from a stage – intended so by the performer and perceived so by its audience – is created in the heat of the moment when a band interacts with the listeners. Luckily, concert experiences occasionally do not just drift off into the ether but are captured on tape or cassette for posterity. Sometimes recorded by design and sometimes taped by default, this collection lets us re-live the power of the original Fleetwood Mac on stage with material personally selected by Peter Green.

A FERTILE PERIOD

This collection pulls together recordings from three different areas. The first is from the summer of 1968, when Fleetwood Mac visited California during a fi ve-week tour that in hindsight was more like a working holiday with a dozen or so concerts spread across a leisurely fi ve weeks. The second is from a punishing North American tour in the winter of 1969/1970. The third batch of songs are recordings done for different promotional shows during 1968.

Highlights abound: From faithful interpretations (‘Madison Blues’, ‘Dust My Broom’, ‘The Sun Is Shining’, ‘I Can’t Hold Out’), to extended jams (‘Rattlesnake Shake’/‘Underway’, ‘Coming Your Way’); hit singles (‘Albatross’, ‘Oh Well’); rave-ups (‘Long Tall Sally’), the deep (‘The Woman I Love’, ‘Worried Dream’) and to the sorrowful (‘Trying So Hard To Forget’, ‘I Loved Another Woman’, ‘Before The Beginning’); the lustful (‘Lazy Poker Blues’, ‘Shake Your Money Maker’) and the happy (‘Homework’, ‘World In Harmony’). This collection gives a glimpse into a particularly fertile period in rock music, swept along on a mighty river of creativity, change and chaos. The music industry was not yet formulaic; experimentation was encouraged, boundaries were erased and so much seemed possible. Fleetwood Mac moved easily with the tide until the spring of 1970 when Peter Green’s quest for musical freedom ultimately was at odds with the rest of the band. As is well known, John McVie and Mick Fleetwood managed to keep the band going and reap riches they probably

would never have dreamt of back in 1967.

2019 marks the 50th anniversary of ThenPlayOn, while last year marked the sad passing of Danny Kirwan – 50 years after ‘Albatross’ changed the fortunes for Fleetwood Mac. What better time to look back and once again honour the group’s rise from its roots to riches; from blues band to unlikely pop stars and beyond. So, lean back, turn up the volume and let Mick, John, Jeremy, Danny and Peter take you on a journey back in time – to before the beginning.

AVAILABLE AS A THREE CD BOX SET, AND TWO TRIPLE VINYL SETS FROM SONY MUSIC. MORE INFORMATION: WWW.LEGACYRECORDINGS.CO.UK

A LADS’ CLUB ON THE FACE OF IT, IT WAS GREEN WHO GAVE THE GANG A SENSE OF BROTHERHOOD AND BELONGING

THE DEVIL’S MUSIC, OR A HOLY TRINITY?

THE LIFE AND TIMES OF CHARLEY PATTON, SON HOUSE AND ROBERT JOHNSON AND THE LEGENDS THEY LEFT BEHIND...

Much has been made of the so-called devil’s music. But this is quite surprising when one considers that most of these pioneers of blues music began their journey hearing gospel music.

Charley Patton was born in Hinds County, Mississippi, in 1891. It is also interesting to learn that he was of mixed race, White/ Black/ Cherokee, sometimes known as

Choctaw. He was the first born of these three men and such had more knowledge and expertise about blues/gospel music than his counterparts. He is rightly referred to as the father of country blues having influenced and played with such luminaries as Howlin ’Wolf to name but one.

Playing around the Mississippi Delta, Patton began a musical journey that would influence generations of musicians and fans alike. He started recording in 1929 in Richmond, Indiana, with his first song, Pony Blues. He recorded all year long and into 1930, mainly by himself but also on occasions with a couple of others such as Henry Sons Simms on fiddle and a young man by the name of Willie Brown on guitar.

He is still regarded by many as the best guitarist and most influential of all the early bluesmen but not by all.

Eddie James House (Son House) was born in 1902 in Lyon, Mississippi. He had a really mixed life as opposed to other bluesmen mainly because he began his career as a Preacher/Church Pastor. Not the usual route of passage we expect bluesmen to take. Indeed, he did not start singing and recording blues

music until he was at least 25 years old. Quickly he became established as a master of slide guitar and a superb vocalist. His first recording, My Black Mamma, was thought to have been around 1930. Son House recorded with a few other musicians such as Joe Martin Leroy Williams and Willie Brown.

His recording career was slightly interrupted by a spell in Parchman penitentiary which is a more understandable thing for a bluesman than being a preacher. Among his back catalogue of work are Death Letter Blues, John The Revelator and Levee Camp Blues. Like many old blues artists a lot of his work was considered lost to new audiences until around the early sixties when it was discovered once again by many British blues artists like The Rolling Stones and John Mayall. Eddie James House died in Michigan in 1988.

Robert Leroy Johnson was the youngest of the trio being born in 1911 in Hazlehurst, Mississippi. Even though he is the youngest, he is without doubt the most revered and most discussed. He was the first incumbent of the famous 27 club having led a very formidable life.

VERBALS: STEPHEN HARRISON VISUALS: DICK WATERMAN (SON HOUSE)

ROBERT JOHNSON

ROBERT LEROY JOHNSON – THE FIRST INCUMBENT OF THE FAMOUS 27 CLUB HAVING LED A VERY FORMIDABLE LIFE

He was the youngest of nine children and barely knew who his real father was until later on in years. As a young man, he had already heard of Son House and Charley Patton and immediately started following them around as he tried to copy their style of play. Much to his dismay he was not considered to be anywhere near them talent-wise.

MEETING THE DEVIL

Most of his early years were spent wandering from town to town alone playing on street corners and if he was lucky enough, at times with a road-buddy from Alabama, Johnny Shines, or maybe a local juke-joint on a Saturday night. Even though he spent most of his time travelling alone he did occasionally travel with and play with a young man by the name of Willie Brown. Name sound familiar?

On his travels, as far as Chicago and New York and even Canada, Johnson was getting a reputation as a good but by no means a great player. He also gained a reputation of a womaniser, which ultimately would signal his downfall. Then comes the well-known story of the crossroads. Now no-one will ever know the truth pertaining to Johnson’s meeting with the devil. But he certainly returned to Mississippi as the greatest guitarist and performer that there had ever been. Now, whether or not the crossroads story is true, and it was as a result of a meeting with the devil (I tend to believe the story myself), it’s certainly true that Johnson became the greatest guitarist and songwriter of all time. Just 29 songs lay testament to his legacy, many of which have been recorded and covered by the great blues artists that were to follow. His fate was sealed when he drank from a poisoned

bottle of whiskey and spent the next three days howling and screaming like a dog at the moon above. I personally feel that throughout all of his writing and recording Robert Johnson was merely writing his own obituary.

The common denominator in this blues tale, Willie Brown. He knew each of the artists and also recorded with two of them and was mentioned by Robert Johnson in Crossroads Blues (Tell My Friend Poor Willie Brown).Little more is known about Willie Brown other than he was born in 1900 in Clarksdale, Mississippi, and died in 1952.

He was basically a side player with Paramount records but also recorded three songs of his own. But here lies the twist. Willie Brown was

born in Clarksdale. Robert Johnson was a frequent visitor to Clarksdale. Between Clarksdale and Roseville is supposedly where Robert Johnson met the devil at the Crossroads. And when Johnson’s recordings became popular in the early sixties people were trying to guess who the second guitarist was because of the resonance of his playing.

Of course, there were no other people playing on Johnsons records. Such was his genius that made people think that there might have been. Was that the sublime talent that the devil gave him on that fateful night? Or did the devil sell his soul to Robert Johnson. Or was the devil already amongst the holy trinity of bluesmen in another guise? Food for thought.

CHARLEY PATTON. INSET: SON HOUSE

The 9th European Blues Challenge BIG BLUES GATHERING

VERBALS: ASHWYN SMYTH VISUALS: CHRISTOPHE LOSBERGER

THERE ARE MANY ILL-INFORMED FOLK WHO DISMISS THE EUROPEAN BLUES CHALLENGE (SET THIS YEAR IN THE AZORES, PORTUGAL) AS IRRELEVANT, AS NOTHING MORE THAN A BLUES EUROVISION, BUT I DOUBT ANY OF THEM HAVE EVER ATTENDED SUCH AN EVENT AND SO KNOW NOT OF WHAT THEY SPEAK!

This year’s Challenge, the 9th, took place between 4th & 6th April 2019 and the venue was the magnificent Coliseu Micaelense, Ponta Delgada in the gloriously beautiful island of São Miguel, The Azores, Portugal –the centre of the World as the locals have it!

25 bands, 22 of them each representing their country in the Challenge, a Blues Market, one of the finest networking opportunities around with major European Festivals and blues associations, societies, organisations, bands and fans all gathered in one place, the annual General Assembly of the European Blues Union and much more over three days.

Having attended all bar two of the EBCs, I was particularly honoured to be invited to be a member of the six-person jury whose scoring decided who came where – and just for the record, no judge is allowed to vote for his or her own country’s representative! I now have great sympathy for those whom I invite to be judges at the UKBlues Challenges!

The Azores are two hours behind France, where I live, so a 21.00 start meant my body was telling me it was time for bed! Equally, when I returned to my hotel at gone three a.m. I was nearly ready for breakfast!

The competition was split over two evenings with 11 bands each session and, as can only be expected, the style, scope and quality varied hugely. There were

bands that seemed to have very little, if anything, to do with the blues and one does wonder why countries keep sending bands to the EBC which just don’t fit the bill! (This was referred to at the General Assembly where the President, Davide Grandi, was on the receiving end of some flak for, rightly in my opinion, reminding the attendees that it was a Blues Challenge!)

As ever, the bill was a bit of a curate’s egg and the less said about the not so good bits the better! For me there were a number of bands/acts that stood out and/ or I particularly liked. There was Slovakia’s Tony Bigmouth Pearson, just a man playing an acoustic guitar and using a looping machine to build his accompaniment. Brave in a competition dominated by bands and also quite effective.

Belgium’s Black Cat Biscuit very much fulfilled the promise of their recently issued debut CD (a recent IBBA Pick of the Month) and are a band that would grace any major festival stage. I would love to see a full set from them for they are a band to whom you cannot sit still! Poland’s Smooth Gentlemen, a piano led trio, had us boogieing big-time whilst Norway’s GB Express once again demonstrated the quality of Scandinavian blues bands with a strong and excellently varied set which, ultimately, secured them second place.

Germany’s Richie Arndt was making a return visit to the Challenge after a number of years and he and

his band turned in a very polished set.

Croatia’s Tomislav Goluban Band gave us a master class in great Chicago style blues with some superb harmonica playing from the main man, again fulfilling the promise shown on his very recently released CD. Denmark’s Train Man Blues and the Netherlands’ The Dynamite Blues Band, who finished in third place, both entertained us greatly with their own well executed and exciting take on the blues.

And saving one of the best, in my opinion, to last, the excellent Marno Valle Band from Sweden who closed the completion in the early hours of Sunday morning. Marno has a wonderfully rich and soulful voice and delivery which was very much complimented by his fine band.

UK ENTRIES

What about the UK I hear you cry?!

As you should know by now, the UK’s representative was the Kyla Brox Quartet and it is safe to say that, for me, the audience response at the end of her first song really did set the tone. Whilst, unlike some of the Scandinavian countries, there were very few Brits in the audience, there were clearly many Kyla fans or simply people who appreciated real class! To say that the Coliseu erupted is an understatement.

Kyla, Danny, Paul and Mark delivered a supremely superb set (even if I am biased), which Kyla dedicated to the memory of the late Dave Raven, and proved, if proof

were needed, that they are one of the very best on the UK and European blues scene currently. Kyla has such control, such range and such finesse whilst Paul Farr’s guitar work is simply sublime and shows great individuality. Danny’s bass playing, which saw him deliver the only bass solo of the night, is inventive, fluid and always exciting whilst Mark’s drums are so cleverly understated that, in the nicest possible way, it is almost as if he is not there! But he so is!

After the presentation of EBU Blues Behind the Scenes Awards to Carlos Malles, director of Hondarribia Blues Festival (Spain) Erkan Özdemir owner of Lowtone Music (Germany) and Dirk Föhrs, director and current editor of German Bluesnews Magazine (Germany) and with the tension building, the top three places were announced in reverse order and standing with Kyla & the guys it was agonising waiting and fearing the worst whilst hoping and praying for the best!

Dreams do come true and, once again, the European Blues Challenge judges recognised in the UK’s entry the quality and talent, originality and blues content which the judges in Memphis sadly missed! A second win at the EBC for the UK in three years!

To say that the Kyla Brox Quartet were popular winners is a gross understatement. The roar of approval that almost drowned out the announcement was proof enough and the band was swamped with people congratulating them.

Accepting the trophy, Kyla dedicated the win to Dave Raven and seemed almost overcome by the fact they had won! A couple of encores were called for which

saw Kyla and the band joined by some of the members of the Dynamite Blues Band and GB Blues Express and a fitting close as Kyla sang her heart achingly beautiful version of ‘Hallelujah’ which was received with more roars of approval.

Those who dismiss or denigrate such events miss the point. Although it is a competition, it is also a great gathering of blues people from all over Europe, and some from the USA, sharing ideas, music, friendship and camaraderie. The Blues Market on Friday and Saturday afternoons was an unparalleled opportunity to meet old friends and new, including digital friends in person, to talk and compare notes, to offer and receive advice, to exchange ideas and experiences and, for the bands, to meet the organisers of many of the major European Blues Festivals. As winners, Kyla and her band will be offered slots at no less than 9 top European Festivals, sadly none in the UK, and will, no doubt, receive invitations to many others.

Congratulations must go to the

folk from the Associação Escravos da Cadeínha, organisers of the annual Santa Maria Blues Festival in The Azores, who worked so hard and to such great effect to put together the Challenge and to make it such a great success. Mind you, holding it in such a wonderful location helped! I wish I had stayed longer!

Next year sees the 10th European Blues Challenge being staged in Zaandam in the Netherlands on 17th & 18th April 2020 with the 2021 Challenge being in Chorzów in Poland. Why not join us there?

YOU CAN FIND OUT MORE ABOUT THE EUROPEAN BLUES UNION AND HOW YOU CAN JOIN BY VISITING WWW.EUROPEANBLUESUNION.COM

It is good to see that this event has gained in reputation from its beginnings when Blues Matters! was asked by the EBU Chairman to submit acts to it from the UK for which our writers voted over those early years from its launch. It then moved to Classic Rock for one year and then to the UKBlues who we support. Congratulations to Kyla and the lads.

KYLA BROX

BARRY'S BLUE BARN

LITTLE BIG BARN!

IAIN

MUSIC OF EVERY KIND HAS ITS SUPPORTERS. AND THERE ARE FANS AND….WELL, FANATICS! BLUES IS RIGHTLY A GENRE THAT HAS LONG ATTRACTED BOTH FANS AND FANATICS, GUYS AND GALS WHO LIVE FOR THE MUSIC ITSELF

Often true eccentrics and loyally fervent about their own long-held personal passion. However, few step over the gig boundary to not only promote the music but to create an entirely new, always welcome, blues-inspired and exclusively blues music venue. In deepest Essex, Barry Hopwood has done just that, from his

normal daytime job in construction, he set about creating something just a bit special a few years ago, Barry’s Blues Barn.

Hopwood is not your usual promoter or presenter, instead he’s a blues-geek with an astonishing passion for blues music in general and for UK players in particular. Armed with a love and knowledge

about the music he loves, Hopwood has been a regular at live blues gigs across London – where he often works – and the South East of England for many years. But unlike most who are happy to continue supporting the music by mere attendance at gigs, Hopwood decided to take matters into his own hands and create a live performance

VERBALS:

PATIENCE VISUALS: BARRY HOPWOOD, JAN VENNING AND STEVE THOMAS

BARRY HOPWWOOD INSIDE THE BARN

venue where he could pursue his driving passion almost from the comfort of his cosy armchair – by building a small, intimate blues hall in his own back-garden in Witham. Thus was Barry’s Blues Barn born. With a background in construction, Hopwood is no stranger to undertaking formidable tasks and set about building a suitable place for live acts in his own back-garden. As the project came together, Hopwood poured his passion, his money and hopes into the timeconsuming build, scanning the internet into the night, sourcing posters, badges, music paraphenalia and memorabilia wherever he could find suitable material. Many blues

fans gave their time to help, sending Hopwood material to decorate the Backyard Barn, often from their own personal collections. Hopwood himself explains his thinking in this straight-forward way:

‘Me, I'm a working-class, music-loving family man. I built my Blues Barn as a tribute to the good times I've had over the years and the music memories I've collected – also somewhere to do a little bit of hobby artwork. What has come about with the gigs happening there is beyond a dream and I love every minute of them but I'd like to state that it is a tiny venue that I really need fair weather for gigs, so I tend to only put them on

from April till October – plus as I fund them and have normal every day bills, this also limits the gigs. Believe me, if I had the money I'd do one a week. I've been going to see and support independent artists for a long time and have got to know a few of them, ,so when I started to put together a list of Artists to play here obviously I chose ones I loved, plus ones I – ,still want, so seven months

“I BUILT MY BLUES BARN AS A TRIBUTE TO THE GOOD TIMES I'VE HAD OVER THE YEARS AND THE MUSIC MEMORIES I'VE COLLECTED”

for gigs divided by the artists I want is gonna take time. I know it's frustrating for bands and artists as more and more venues are closing and less and less money is being offered, So Please bear with me...’

In addition, more recently, Hopwood has commissioned the fabrication of lapel badges, to his own design, featuring a guitar and the BBB motif. Others, including the recently passed blues radio presenter and UK Blues Federation member, Dave Raven, contributed some much welcome and necessary funds. (Raven sent £100 totally out of the blue(s) to Hopwood on condition it was kept private, though with Dave’s recent demise, maybe it’s okay to reveal and praise this offering. – I certainly think so.)

Now, in many ways, this would be more than enough to have achieved, but Hopwood looked beyond the usual range of artists and elected to pursue a successful and widely admired policy of booking and promoting mostly home-grown, UK blues talent, providing a truly welcome addition to the UK blues touring scene. Artists like Jack J Hutchinson, Dave Ferra, King Size Slim have all played the Barn so far, with a new schedule about to kick-off the 2019 Barry’s Blues Barn in April, including Dom Martin, King Size Slim and Catfish’ frontman, Matthew Long.

THE ADMIRATION AND THANKS FOR THIS

hard-blues-work, is well illustrated by the fact that when Hopwood was suffering from a significant debilitating health issue in 2018 –meaning funds were low and he felt obliged to cancel bookings – UK blues artists insisted that he keep them on the schedule and offered their services to support the man and his music. For Hopwood, this seemed to come as a marvelous surprise. For others, it was only to be expected. Having had the pleasure of visiting Barry following the recent British Rock & Blues Festival in Skegness, I can confirm it’s a remarkable achievement, for sure, and Barry Hopwood is over the moon about it

all, loving every minute and looking forward to many more years of homegrown, backyard blues music, in his own backyard juke-joint, Barry’s Blues Barn.

But maybe best to leave the last word to two of the UK’s finest acoustic bluesmen: “It's a beautiful gig. Everyone knows each other so there's a lot of love in the room. So intimate. And the marmalade sausages are to die for,” says Dave Ferra with a smile.

And a final thought from Jack J Hutchinson maybe sums it up perfectly: “There are some venues that as soon as you walk in you are struck by the ‘vibe’ of the place. Barry has poured his heart and soul into the Blues Barn and it shows. One

thing that I remember from playing there for the first time was the array of images of various musicians from the contemporary blues scene that adorn the walls. Barry has been a big supporter of upcoming acts and that’s been captured in the barn’s decor.

In many ways it feels like a splicing of old and new. It’s like someone has taken a little shack from the Dockery Plantation and transported it to modern day Essex. It ‘feels’ like Charlie Patton might have one played there...which is a pretty magical thing to have created in your back garden!”

FOR MORE NEWS ABOUT THE BARN BLUES GO TO: WWW.FACEBOOK.COM/BARRYS-BLUES-BARN

“IT'S A BEAUTIFUL GIG. EVERYONE KNOWS EACH OTHER SO THERE'S A LOT OF LOVE IN THE ROOM. SO INTIMATE ”

SUZI QUATRO

VERBALS: PETE SARGEANT VISUALS: TOM BEETZ (BB KING)

HERE ARE SUZI’S CHOICE OF BLUES FAVOURITES… AND THEY DON’T COME STRONGER OR ROOTSIER THAN THIS SET OF PICKS

The petite Detroit basswielding rock singer (and hit makers since the eraly 70's) creates a sound ten times her size. With a blues-soaked new album on current release – No Control – and a stack of live dates lined up, it now seemed a good time for our Pete to seek Suzi’s choice of her blues favourites…

01 BB KING

ALL I WANT IS A LITTLE BIT OF LOVE

Live at The Hit Factory, and a masterful performance of a great song, in my opinion.

02

ERIC CLAPTON COCAINE

Eric tears into this haunting J J Cale number.

03 SAM & DAVE

WHEN SOMETHING IS WRONG WITH MY BABY The soul duo on top heartfelt form.

04 OTIS REDDING

I'VE BEEN LOVING YOU TOO LONG

One of Otis’ deepest and most affecting recordings.

05 GARY MOORE STILL GOT THE BLUES

The Irish rock-blues star’s finest moment, and I'm that many would agree with me.

06 WILSON PICKETT MUSTANG SALLY Irresistible! Though Buddy Guy’s version is cool, too.

07

PETER GREEN’S FLEETWOOD MAC

SWEET HOME CHICAGO

A gem from the band’s sessions in Chicago and so authentic.

08

RAY CHARLES MESS AROUND

The Master himself with one of his best tracks.

09

RUFUS THOMAS WALKING THE DOG

Those dancin’ funky blues

10

WILLIE DIXON LITTLE RED ROOSTER

Great song from an all-time king of the bassist.

“BB KING: LIVE AT THE HIT FACTORY, AND A MASTERFUL PERFORMANCE OF A GREAT SONG, IN MY OPINION”

DAVID LAYTON

VERBAL AND VISUALS: THE ARTIST

DAVID LAYTON IS A GUITARIST, SINGER, AND SONGWRITER FROM SOUTH WALES. HE RELEASED HIS DEBUT COMMERCIAL SOLO ALBUM, PORLOCK, AT THE END OF 2018, TO CRITICAL ACCLAIM, BEING FAVOURABLY COMPARED TO ERIC CLAPTON AND GARY MOORE

The Porlockalbum features a shifting collage of rock pastiche, sparkling pop, quirky covers, and gritty gospelinflected blues, with the song, ‘Muddy Waters’ being a particular highlight.

David has had a musical history spanning over four decades. He began playing guitar at age twelve, when his mother received an acoustic parlour guitar with a near-unplayable action in exchange for a lost tennis racket. His early musical years were much influenced by The Beatles and his dad’s collection of 78’s of songs such as Guy Mitchell’s, prophetically- titled, ‘Singing The Blues.’

A decade of playing folk music at eisteddfodau and in sesiynau (semi-formal, folk jam sessions) followed, while he simultaneously developed a secret passion for the music of Eric Clapton, Cream, Jimi Hendrix, Free, and, through them, the Three Kings: BB, Albert, and Freddie.

Stints with various punk, funk, and alternative rock outfits came next, where he developed a reputation not only as a gifted guitarist but also as a songwriter of the highest calibre. These bands supported progressive-rock luminaries such as Man and The Enid at University gigs in South-West Wales. David would later write songs for, and pitch them to the management of, artists as varied as Tom Jones, Duffy, Lisa Stansfield, and Gov’t Mule though, to date, none of those songs have actually made it onto discs by these artists. Some of the compositions in question, however, do appear on Porlockor its soon- to-be-released successor, TouchSensitive.

Layton’s breakout came when his song, ‘Sexy Boy’ was recorded and released by the retro-funk band Shazoot, featuring David himself on guitar. It got worldwide radio airplay and over 100,000 online streams and downloads. Says David, “I always try to write tight, commercial songs, whatever the genre, as I like the structural discipline of pop music. And the stars really lined up on that track: we had some really great players and a fantastic singer, and we all hit the high notes, even me!“

David has clearly had a varied and interesting musical career so far but, by his own admission, his true home has always been the Blues: “I’d say every decent pop or rock song ever written is, thematically, with few exceptions, a reworking of ‘Have You Ever Loved A Woman?’ he says.

David’s second commercial album, TouchSensitiveis due for release in 2019 and he is already working on a third, which he says will feature a Mellotron, a full choir, and a German-language cover of Black Sabbath’s ‘Paranoid.’

FOR MORE INFORMATION, GO TO: WWW.REVERBNATION.COM/DOLAYTON

REDFISH

VERBALS: SUSIE FOG VISUALS: STUART STOTT

'Bob Dylan once said something about Robbie Robertson being the only guitar player who didn’t “offend his intestinal nervousness with his rear-guard sound." I don’t know what he meant but at the same time, I know exactly what he meant, if you know what I mean,' he says with a laugh. 'With Martin, I never worry about my intestines. He knows that groove and dynamics are more important than volume and speed.’ He refers to guitarist Martin McDonald who, along with Harris and keyboard player Fraser Clark, makes up the frontline of the band. Fraser (known to his bandmates as ‘Brother Fray’), a classical pianist and composer as well as an accomplished blues and jazz improviser, was described as 'a showman and a genius’ in a recent review and has been compared to both Jimmy Smith and Brian Auger. Martin learned to play guitar as a boy, practising along with Jimmy Reed records, and has pretty much played the blues exclusively since the age of 13, although Redfish’s repertoire ventures into other territories like funk, jazz and country soul.

Stumblin’ Harris cites his vocal influences as Van Morrison, Billie Holiday and Louis Prima, and his favourite bluesmen as Snooks Eaglin and Magic Sam. He first got into the blues through what he describes as his father’s ‘accessible’ record collection, comprising the likes of Josh White, Big Bill Broonzy, and Sonny Terry & Brownie McGhee. Bassist Rod Mackay and drummer Sandy Sweetman, who

make up the group’s tight and soulful rhythm section, previously played together in a short-lived seven-piece alongside Harris and Clark, so when that band fell apart at the same time as Rod and Martin’s previous blues band, The Deluxe, broke up, the pieces fell into place to make up Redfish. Hailing from both Dumfries and Cumbria, the band released their debut EP, 5x5, last year, comprising two covers and three highly-acclaimed originals. It was recorded live in the studio by Dave Miller at Circa 16 in Dumfries, where the quintet plans to start recording its first full album.

'We write the songs together,’ explains Harris. ‘One of us will come in with a riff, a rhythm pattern or a chord sequence and we’ll try and develop a song structure from there. Then I go and write some lyrics. My marriage just broke up in its 25th year and I’ve had my fair share of health troubles lately, so the blues are coming pretty easily to me,” he smiles. “Although I do try to avoid using too many clichés and Americanisms, of course, unless they can be subverted or upended in some way. At the same time, you don’t want to sound too incongruous. It’s a fine line but it’s fun to walk it.’ The album, as yet untitled, is due out later this summer, and you can catch Redfish at their monthly jam residency at the Old Fire Station in Carlisle or at one of their many other gigs listed on their website.

FOR MORE INFORMATION, GO TO: WWW.REDFISHBAND.CO.UK

'I OFTEN SEE SELF-DESCRIBED BLUES GUITARISTS AND THINK “JUST BECAUSE YOU CAN DO THAT, IT DOESN’T MEAN YOU SHOULD.” I’M SURE THEY’D BE HAPPIER IN HEAVY METAL BANDS, SHREDDING AWAY,’ SHUDDERS REDFISH VOCALIST, STUMBLIN’ HARRIS

TIWAYO

YOU CAN TELL THAT TIWAYO HAS BEEN WAITING THEIR WHOLE LIFE TO MAKE HIS DEBUT ALBUM THE GYPSY SOUL OF TIWAYO. TIWAYO HAILS FROM THE PARISIAN SUBURBS, BUT HAS HIS SPIRITUAL AND CREATIVE HOME IS IN AMERICA'S DEEP SOUTH

GypsySoul marks the exciting arrival of a bohemian spirit who has busked and gigged his way around the world to finesse a rare new talent. The album gathers his influences in blues, soul, gospel and reggae to create a gloriously stylish, rootsy sound all of his own. Listening to it is like finding a classic artist that you never knew about from the 1970s, but one with a completely contemporary ambience.

Tiwayo's emergence has seen him opening for such international luminaries as Cody Chesnutt, Sting, Seal, Marcus Miller and Norah Jones, and landing a deal with the legendary Blue Note label.

His back story has a few more chapters to it. Growing up in the suburbs of Paris, his early musical schooling came at home. “My dad was a jazz fan since the mid-'50s, so I have this pretty clear picture of his room and there's the sound of John Coltrane , blues, a lot of black American music, and maybe from my mother, more rock 'n' roll and '60s pop.

Soon came his formative efforts as a player. “I was at school, and around 16 I started to play guitar, a bit late,” he remembers. “But I had this group of friends and some of them already played guitar, so we started playing together. Then I met other musicians — most of the time with people much older than me, guys from West Indies or Jamaican musicians that lived in Paris.”

The next ingredient was the travel bug. “I travelled to Haiti when I was 16 years old,” Tiwayo explains, “and that experience changed my vision of music and the world. I've travelled to the US regularly. My first time there was a long road trip from New York to San Francisco, stopping in Chicago and obviously in Memphis and New Orleans.

For the best part of a decade, Tiwayo's American sojourns helped him soak up the soundtrack he craved.

“The cool thing,” says Tiwayo, “is that when I was in the studio for a month, so it was like ten years of experimentation and then we did something, and there was that southern vibe I was searching for. I've been waiting for this moment for a long time.”

GypsySoul is the exhilarating end product. After all his patience and preparation, this remarkable discovery is ready to make 2019 his own.

FOR MORE INFORMATION GO TO WWW.TIWAYO.COM ALSO FIND US ON FACEBOOK. PLEASE NOTE THAT BOTH SITES ARE IN FRENCH

VERBALS: JO ASHBRIDGE VISUALS: STUDIO PUYFONTAINE

LENA & THE SLIDE BROTHERS

ORIGINAL BLUES & ROOTS MUSIC PLAYERS SINCE 2009, LENA & THE SLIDE BROTHERS WERE FORMED TEN YEARS AGO IN HELSINKI, FINLAND

Singer and bass player Lena Lindroos, and guitarist Matti Kettunen wrote a bunch of new songs that just had to be recorded. Instead of making an album by themselves as a duo, the couple decided to form a band. Within no time they had gathered a group and went into the studio with Juha Litmanen on drums, and Ville ‘Lefty’ Leppänen on second guitar. Since then the band have toured and performed, released four albums and made their mark on the Finnish and European blues community. In 2015, Lefty had to leave the group due to his duties with Micke Bjorklof, and Ykä Putkinen took his place as the second slide guitar slinger. Each member of the group has made a notable contribution to the Finnish root’s music scene as professional musicians, playing in various bands. “It has always been clear that this band is all about making our own music and writing our own material. It’s hard to tell where the music comes from, but it must be a result of what we’ve heard, loved and experienced,” says the songwriting couple Kettunen and Lindroos.

Everything starts from a feeling, including the mood of the song, for us the blues is more like a language than a musical genre. We love the early blues stuff as well as Chess label’s finest artists, but we also have a thing for soul, country music, and gospel, classic rock, etc. We feel that we are making a kind of musical mixture, with the blues being at the core of it all and branching out in different directions.

Our lyrics are often small stories about small people in a big world, sometimes spiced up with humour and sometimes not. We’ve noticed that we have a tendency to be more serious as the world gets crazier by the day. The blues creates a wonderful canvas for improvisation and that’s what this band loves to do.

Our two versatile guitarists, both of them into the art of slide guitar playing, often engage in ferocious duels on stage. The drummer Litmanen, is a well-known boogie specialist, and the bass player Lena, keeps it all together with a steady groove. Lena’s singing has been described as ’powerful but sensitive’. Occasional three-piece harmonies are provided by

the band. We also have a large selection of cover songs in our repertoire, there’s all kinds of tunes from Son House and Ruth Brown to Muddy Waters and Tom Waits. Highlights for the band over the past ten years are in 2016, Lena & The Slide Brothers represented Finland at the European Blues Challenge in Italy. Then in January 2017, the band won two categories at the Finnish Blues Awards 2017: Artist/Band of the Year, and Best Song of the Year. The album ’The Road’ was acknowledged all over Europe and our latest album ’IV’ was released in March 2019. It is our most innovative and powerful work so far and the future is bright, so apparently, we have to wear shades.

VERBALS: LENA & THE SLIDE BROTHERS VISUALS: JUHA TANNINEN

EACH MEMBER OF THE GROUP HAS MADE A NOTABLE CONTRIBUTION TO THE FINNISH

HOLY MOLY & THE CRACKERS

The emotional depth of singers like Regina Spektor influenced Ruth while Rosie was inspired by the theatrical Balkan music of Emir Kusturica: Conrad loved the American blues tradition. Not long after forming, the trio moved to Newcastle-Upon-Tyne. Before long they were opening for American touring acts like The Hackensaw Boys and Hurray For The Riff Raff. In 2012, out of this cacophony of good music, new friends, and old whiskey, Holy Moly recorded their debut album First Avenue, a ‘stylistically dazzling’ (Bright Young Folk) collection of original folk songs.

In 2013, the band released an EP, “Lilly”, the eponymous song inspired by Lead Belly’s, My Girl and joined by two re-worked traditional songs, Cocaine Blues and Ain’t No Grave. The band had now grown: drum kit, electric guitar, bass and a brass section as well as the signature violin and accordion. Over the next few years the bombastic folk rockers, by then a six-piece, set out on what seemed like a never-ending tour; over 300 shows, 60 festivals (including Glastonbury) wowing their ever-expanding fan-base with an electrifying live show.

In 2017, Holy Moly & The Crackers stepped up a gear when they released their second album Salem, described as ‘a new kind of sonic madness’. This was no longer straight up ‘folk/blues’,

but more idiosyncratic: heavier, darker. The album took them to new heights, and has seen the band’s blend of folk, blues and contemporary rock receiving rotation on radio, TV and Spotify, and incredibly the album’s lead single Cold Comfort Lane was also featured on Hollywood’s no.1 blockbuster, Oceans8

As is their way, Holy Moly didn’t stop there, it was straight back on the road, selling out venues across the country and making headway in Europe, playing huge shows like Colours of Ostrava in Czech. And in the same breath, back into the studio to record their third album Take A Bite, released in 2019. As Blues Matters wrote in its review: “Whilst not a blues album in its purest sense, Take A Bite is a significant piece of creative, dynamic, interesting and original music covering themes, experiences and emotions which are central to the blues tradition”

2019 sees Holy Moly supporting the album release with tours in Europe & the UK, including their biggest headlines to date at London’s Scala and The Sage in Gateshead, and festival appearances with a slot at the famous Cambridge Folk Festival.

ALL THE FORTHCOMING TOUR DATES ARE ON THE BAND'S WEBSITE: WWW.HOLMOLYAND THE CRACKERS.COM. ALL THEIR CDS AND SINGLES ARE AVAILABLE ON SPOTIFY, GOOGLE PLAY MUSIC AND AMAZON

VERBALS: CONRAD BIRD VISUALS: CRAIG NEWTON

HOLY MOLY & THE CRACKERS STARTED AT A CROSSROADS OF GENRES WHEN RUTH PATTERSON, ROSIE BRISTOW AND CONRAD BIRD MET IN 2010.

LENY’S GIRL

VERBALS: LENY'S GIRL VISUALS: THE ARTIST

Fronting Leny's Girl is Kasey McKenzie who delivers an astonishing vocal range powerful enough to give Janis Joplin a run for her money. Beggsy is on guitar and is an outstanding musician who plays loud and crazy intricate solos as well as some smooth slide. Cookie joins in on harp adding a creative top end to proceedings. In the powerhouse on drums is Brownie with the addition of Tom Raw on bass, they create Leny's heart beat. Leny's Girl has blues at its roots and a train ride through country to rock and back again (once described as "BLUES TO GIVE YOU NIGHTMARES"). Right here we have a sublime combination of unique powerful and soulful vocals and genuine guitar versatility.

In Kasey we have a blues-wailing singer who embodies the storming passionate voice of Janis Joplin and incorporates some sweet stylings of her own on the likes of ‘Stay’ as sweet a ballad as you'll hear anywhere. Equally she can rock up a storm on the title track ‘Devil With A Gun’ and the closing ‘Little Miss Robin Hood’ where the guitars crack and the harmonica wails and you can imagine the band carving up a sweaty bar room on one of those great Friday nights you never want to end. On the title track Kasey's voice soars above the driving guitar and you

won't be surprised to hear that with a voice like that she's spent time playing the role of Evita in Sydney, Australia.

The band show themselves to be more than adept too with Beggsy's guitar prominent throughout whether it's the slide, solo's, or frantic riffing. Tom Raw on bass, holds it all down with his funky soulful groove. Drummer Brownie keeps it basic with a good boogie beat that keeps everyone on their toes. This classy rhythm section is at their best on ‘Pretend’ with some excellent stop-start sections that allow the frantic harmonica through to whip up a blues wailing storm. With ‘Stay’ there's a change of tempo and Kasey's sweet side is brought to the fore with a nice echo mixed in and then Beggy's guitar comes over all sensitive. It's an interesting a slightly different side that they would do well to develop.

This album is self released and only available via the band's website. An EP version is available for streaming on all online media outlets. Check them out and if you like your blues raw and smokin' then this one's for you. This band has its very own sound bringing blues into the 21st Century. Go on, buy it..

FOR MORE INFORMATION GO TO WWW.LENYSGIRL.COM

RISING FROM THE ASHES OF ‘A BAND NAMED TREVOR’, WE HAVE LENY'S GIRL. A MANIFESTATION OF FIVE INDIVIDUALS FROM A VARIETY OF BACKGROUNDS AND GENRES. A BLUES BAND WITH A TWIST

RORY GALLAGHER A BLUES TREASURE TROVE

VERBALS: PETE SARGEANT VISUALS: JOHN PREW (THIS PAGE)

THE UNEARTHING OF A SPLENDID COLLECTION OF LIVE AND STUDIO RECORDINGS BY THE LATE GREAT IRISH BLUES STAR RORY GALLAGHER MEANS THAT FANS CAN AT LAST ENJOY DOZENS OF UNRELEASED TRACKS. IN FACT, THREE ALBUMS’ WORTH!

These releases coming out on the Chess label, no less, have been overseen by Rory’s nephew Daniel and whilst he was over from New York, Gallagher fan and follower Pete met him to get the lowdown….

Let’s start, Daniel, right at the beginning – there are some lovely pictures of you larking about with Rory, what are your memories of time spent with your uncle?

Me and my older brother, yeah. Well Rory lived just up the road from us, that’s my Dad Donal and all of us...

In Fulham?

Yes, that’s right. And my Dad being his only sibling and Rory not having his own family it happened that when they weren’t on the road touring, Rory would come down for Sunday roast then play football with me

and my brother. He always brought the best Christmas and birthday presents. We just kinda knew that he really was The Cool Uncle!

And in your corner Ah very much so, correct. Me and my brother were actually talking about it the other day…maybe it wasn’t until my Dad took us along to a Hammersmith Apollo show (a mile or two west of Fulham – PS) when we were probably five and seven that it just sunk in what Rory did and moreover what my Dad did as road manager to make

the performances happen. We had never really thought about it otherwise, what they did for a living! We just knew that they’d go on tour a lot. We didn’t exactly know the whys and wherefores, being young. There’s super pictures, aren’t there, of them out in Amsterdam. Just taking everything in, soaking up the vibe..

Oh, he loved it, yes. He loved touring. For most of his career he just didn’t stop, it was on the next show and a new crowd. Apart from making albums, the live gigs were a complete lifeline, a constant goal. So yes, we knew him very, very well when we are younger. He passed away when I was thirteen.

Twenty four years ago! That’s

unbelievable for me..he was obviously not in great health before he passed. Indeed

So – bless the years you had with Rory…

Quite so, my brother and I were so lucky to have got to know him so closely. On the way back from primary school, we would pass his flat and every so often we might press the buzzer and he’d come to the door and invite us up. He might put a guitar on me and be intrigued as to what noises we might make! He always had guitars lying around. We thought that flat was the coolest place. Loved spending time with him. (Laughs) I wish I’d got more guitar lessons out of him!

I owe Rory for a few things, as a

musician. I had a female friend back in the 60s who was mad about Rory and Taste, we went to see the group on two consecutive nights at different London venues. Not one number the second night was the same! He even did Gershwin’s Summertime …it was spellbinding and to this day I won’t repeat a setlist. My first guitar was a butterscotch telecaster copy, as I wanted to learn slide. AND if you used a clean Fender sound from a small combo, I could get a personal tone. Just amplifying that… Yes! and in his playing you pick up elements of Irish folk in amongst everything else. The bent notes, the triplets. What’s Going On from Taste, that triplets intro well, it’s an Irish jig! In his hands a hard blues rock track, but from roots really. Those little touches of Irishness that come through.

Sometimes you can almost hear the pipes..like on Ghost Blues. Takes you on a trip, a mantra… His slide playing is possibly underrated..

He took the Ry Cooder and Duane Allman inspiration and took off his own way

The first person he saw was Brian Jones. A real eye opener for Rory. And he could play slide off standard tuning which was cool

I did an article on Rory a few years ago, with Joe Bonamassa. The fact Rory wasn’t relying on volume all the time, these things left their mark on Joe. Now on this album set the version of Secret Agent gets played on the National. Makes a completely different song from the Calling Card album one. It’s a reinvention of the number. What Jeff Beck and Rory can achieve is the manipulation of the guitar, not just picking notes but working the tone. Changing pickup selectors to get a fresh take on a riff. Driving the amps ..

An overdriven sound at low volume is something I love to produce, that singing sound. People like Bill Wyman, the late Tony Joe White, who I knew well…they couldn’t say enough good things about Rory When we worked on the Taste Isle Of Wight film, I asked Murray who played immediately after Taste and it was Tony Joe White!

I’m thinking this here San Francisco set was a good stepping stone to the new albums..

Yes, it was the first time I got into delving into the tapes archive to create a set.

Live AND Studio

Indeed. I knew the album had been binned by Rory. So, I knew there would be the multi-tracks to draw upon. I

worked with an engineer on mixing them. Got in touch with Elliot Mazer and told him about what we were finding, Rory’s session notes and all. To assess what he liked about the recordings and what he didn’t, to achieve a worthwhile release.

Was a time they brought in strangers on Jimi Hendrix material and that never worked.. Alan Douglas era

Oh no, I wouldn’t have other players come in and flesh out Rory’s work, never. On that and the Irish Tour and this Blues album we find out exactly what equipment they used on the recordings, so we can get it right. Whatever we do with the mix, we use what they would have used.

If I hear a Marley track with VoCoders stuck on it, that to me is desecration!

If it’s not there on the tapes, it won’t be used. The live album was trio format from five San Francisco shows, to complete that project.

I interviewed Gerry a while ago and Band Of Friends presenting Rory songs found so much favour in American shows I saw them in New York with Davey and they were absolutely brilliant

You have three discs here for Blues – how proud would Rory have been to be on Chess? He would have loved it. We have a track from the Muddy London Sessions here. Looking at his vinyl collection, there’s so much Chess material.

I got the Chris Barber one ….Drat That Frattle Rat and also the Lonnie Donegan one where Rory’s great and Brian May is awful! I read he was amazed at the professionalism of the session

guys who turned up for him in London. Kenney Jones. Peter Frampton…there’s a tape of Rory doing a guide vocal for Jerry on Satisfaction! But we couldn’t get the agreement to include it…

Was it easy to divide these cuts into acoustic/electric/live? Well we got as much material as possible and kinda went from there…when I realised how much acoustic material there was I decided to devote one disc to that

What’s your favoured track on the acoustic one?

I think..Should Have Learned My Lesson, overall. There’s a number of electric versions. Also, Secret Agent, such a wonderful take on that song. Prison Blues, no one knew that recording existed. My Dad didn’t even know about it. Blow Wind Blow I’d never heard Rory do before, so a great inclusion

On the Electric disc?

Nothing But The Devil was amazing, the tape was really mouldy but we rescued it. A two-inch multi-track in that instance. I Could Have Had Religion is a really great version. Tore Down was also on a multi-track.

There’s a fine John Hammond record, Southern Fried, where they do Tore Down

Oh, Rory really liked him, they were friends. In ’69 they both went guitar buying!

The live one?

Favourite tracks? When I heard the version of What In The World, I was just blown away. That Glasgow show is just extraordinary. Born Under A Bad Sign with Jack Bruce is so much fun! I Wonder Who is one I just digitised. Rory really fed off

the audience, took them with him.

So we have the three discs, does any one of them make you feel it’s a real achievement?

I think the acoustic one is quite striking.

You and Donal act as guardians of the muse, for Rory. Can it be uphill? Dodgy bootlegs still manage to get out, but, yes, we are quick to police all that, we don’t want the legacy diluted.

What’s happening overall about promotion of the set?

Very much press – including you and yours! – and online promotions.

BLUES IS AVAILABLEAS A DELUXE 36 TRACK 3CD, 15 TRACK SINGLE CD, DOUBLE VINYL LP AND LIMITED EDITION BLUE DOUBLE VINYL LP. CHECK OUT WWW.RORYGALLAGHER.COM FOR MORE.

DISCOGRAPHY STUDIO ALBUMS (SELECTIVE):

Fresh Evidence 1990

Defender 1987

Jinx 1982

Top Priority 1979

Photo-Finish 1978

Calling Card 1976

Against the Grain 1975

In the Beginning 1974

Tattoo 1973

Blueprint 1973

Deuce 1972

Rory Gallagher 1971

POSTHUMOUS:

Notes From San Francisco 2011

Wheels Within Wheels 2003

The Bullfrog Interlude 1992

COMPILATIONS:

Kickback City 2013

The Rory Gallagher Story 2009

LIVE:

BBC Sessions 1999

The Muddy Waters London Sessions 1995

PSYCHEDELIC BANJO POSSE

VERBALS: DON WILCOCK VISUALS: ARNIE GOODMAN

HE’S A LIVING OXYMORON. HIS SECOND ALBUM WAS CALLED WHEN NEGROES WALKED THE EARTH , MANY OF HIS SONGS ARE UNFLINCHING EXAMINATIONS OF THE HORRORS OF RACISM, BUT AS OTIS SAYS HIMSELF, HE DOESN’T MAKE VALUE JUDGMENTS ABOUT IT

It’s almost as though he’s an observer, an alien who studies racism as if it were a virus growing under a microscope. He is an African American who shatters all the clichés about black blues artists. He started out playing psychedelic music and walked away from being a musician for 19 years to become an antiques dealer specializing in photography with an emphasis on photos of American Indians. He married his wife during this period, and when he recorded his first album, she predicted it would be his last.

Surprise!

He holds an annual seminar on trance music. And therein lies his genius as a musician. He transports listeners into an altered state of nirvana that somehow rolls the rock like new age bliss, but with balls. If there are any rules in blues, he’s oblivious to them. Except the one that says blues has to be about life and come from way down inside as Led Zeppelin would sing.

At 70, he’s no longer obsessed with making music,

and he’s unlike most artists I’ve interviewed in that you can’t turn him on like a switch about his latest recording or some major tour. It takes an hour of unbridled meandering to get 1000 words of copy. Years ago, he used to call me out of the blue and ask me what was going on. One time it was 7:30 on a Saturday night. He called me the northern wind. We’d just shoot the shit. This interview was a return to that mode. It was a random back fence dangling

conversation by two old guys who just like talking to each other.

How ya doing?

I’m ok. I’m getting older. I’m 70 now you know. I’ve got some hot news for you, ok?

I’m open for hot news. Because I have to tell you, or I’ll forget. So, I’m working on a new project. It’s called Otis Taylor Psychedelic Banjo Posse.

Wow.

I don’t know if I’ll do an album. I’ll just do a 45 or just do a high definition, you know, for the computer. I haven’t decided how we’re gonna sell it, but we already have the photographs to it. My daughter Cassy will be in it. I’ll decide what drummer. I’ll have certain people that are free to come play with me. Maybe Albert Youngblood Hart. Depends on

what their booking is. Cassy’s playing banjo now, see? So, I have a bass player that used to play with me a long time ago. So, I’ll (pick) drummers.

Ok, but nothing right away?

Nothing in London. I have a tour in France in May. So, I go where they pay. If they don’t pay enough, I’m old. I’m not going for exposure anymore. This isn’t about exposure. It’s true, man. The last three years if I worked twice as hard, I

might go up 5%. You gotta understand me. I’m the guy that quit the music industry for 19 years. I don’t want the music business to overpower me. I don’t need to be working every night.

I still cannot forget that show you did at the Pocono Blues Festival in that tent where Charlie Musselwhite was playing down that road and you –That was a legendary concert I’d say, and that first set was

with no drums. I still play sometimes without drums. I played last weekend without drums.

Really? Do you change the way you play when you don’t have drums? It doesn’t matter because the bass is the basis. That’s how I look at things. If you don’t have a drummer you should be playing differently. It’s more ethereal. It’s spacier. It’s more psychedelic. It becomes more like a floating trance, like a hard trance.

Speaking of that, what’s going on with the trance festival? It’s going good. It’s sold out the last two years.

Tell me a little bit about it. It’s in Boulder, right?

Yeah. We have workshops all day and it’s sold out. We have workshops with about 60 people playing at the same time. It’s a good festival. We have people like George Porter, Chuck Campbell, and Tony Trishka. We’ve got a lot of good people. We just kinda do it, you know. We have a website. Go to the website.

When did you marry your wife?

In ’85. I wasn’t playing music when I married my wife.

And when you released your first album, she said, “That’s the last one you’ll ever do.” She had no idea where you were going, did she? Well, I wasn’t sure then either. I’ve done 15 (albums) now. We’re still married.

So, how do you balance that, and how do you keep from becoming addicted like everyone else?

Well, my addiction is I like to buy things. I still have an addiction. It’s not that I don’t have an addiction. It’s just not an addiction to music.

What do you collect?

“IT’S LIKE THE CAROLINA CHOCOLATE DROPS MEET BELA FLECK. THIS IS THE PSYCHEDELIC BANJO”

I collect photography. Native American and African. I still like to go shopping. That’s an addiction. I’m a hunter. I like to hunt. It’s like being a detective. You’re hunting things down So, for me buying and selling buying skills. I’m creating something that I distribute.

You one told me what you did in the studio are like secrets and you didn’t want to reveal them. Do you still feel that way?

I feel that way, yeah.

So, what are you thinking in your head you’re gonna do with the new band?

I call it a project. You have bluegrass banjos. You have old timey banjos or you have Dixieland banjos. You have jazz banjos. But you don’t have psychedelic banjos. So, what can I do to make a mark? And I think psychedelic banjos. But now, I’m gonna concentrate on it more. I always have played psychedelic banjo on songs. So, now, I’m just labelling it a whole different label. So, people will go, “Yeah, I never thought about that, psychedelic banjo!” It’s like the Carolina Chocolate Drops meet Bela Fleck. This is the psychedelic banjo.

So, you like the studio better than performing live?

I think in a lot of ways, yeah. Sometimes if you’re performing it’s really cool, but most of the time you’re concentrating, and it’s very fucked up. When you’re a band leader it’s not like you’re a guitar player just playing lead. I’ve got to make sure musicians are on the right path. I gotta make sure I’m on the right path. I gotta make sure my voice is on the right path. I gotta make sure the audience is getting into what we’re doing, you know. The

head guy does a lot of work. I love watching Buddy Guy ’cause he’s so precise. He can control the band and the crowd at the same time. I wasn’t happy (with touring). I didn’t need the money, and I wasn’t happy. I don’t know. I’m a little dysfunctional. Performing is very hard because it’s serious. In the studio I have more control over input. It’s more exciting for me ’cause I can control everything. The concerts you can’t control everything. There’s a lot of variables you can’t control. Plus, all the travel. I’m a million-mile traveler, and I’m not bragging. That’s just shows you how fucked up my life is.

Let’s look at the last album, Fantasizing about Being Black. So many of the songs on there are about the horrors of racism, and I know you’ve had some experiences even before you were born and after you were born with racism, and how does that inform how you write that kind of music?

I don’t know. Sometimes you write about what you know the best, so, that’s what I’ve written about.

When you had your cyst operation in 2010, you went into the studio before you had it because you were scared you might die of cancer Yeah, that’s true. The doctor took out part of my liver. I mean it was serious shit, but it didn’t change me. I got fatter. I still have a bad habit of eating. I didn’t know until he got inside of me what was going on. I had a cyst as big as a softball. It was connected to my knee and my spine, and it was pretty painful. The funny part was when I was in the hospital, I had a private room. It was a teaching hospital, and all these doctors were playing my music. “We should play

guitar and get together.” But I was really uncomfortable. I had all these tubes. I wasn’t in the best of moods. They wake you up every 15 minutes. I never could get any sleep.

You used to give me a call like on a Saturday night at 7:30.

I don’t talk to everybody. I’m getting like an old grumpy black man.

Why did you agree to talk to me? Because I’ve been talking to you for many years. Because I know if I talk to you, it’s gonna be half an hour to an hour and a half. I’m not being sarcastic. It’s like if I’m gonna call a friend I gotta be at the right time so I have enough time to talk to them.

You once told me you don’t make value judgments about some of these African American issues that you sing about, particularly in the last album. As you get older and grumpier, do you think that’s going to change?

No, because there’s no clean money now. Africans enslaved Africans. American Indians fought with other tribes. There’s no clean dollars.

FOR FURTHER INFORMATION SEE WEBSITE; WWW.OTISTAYLOR.COM/

DISCOGRAPHY

Fantasizing About Being Black 2017

Hey Joe Opus 2015

My World Is Gone 2013

Contraband 2012

Clovis People Vol 2 2010

Pentatonic Wars And Love Songs 2009

Definition Of A Circle 2006

Below The Fold 2005

Double V 2004

Truth Is Not Fiction 2003

Respect The Dead 2002

White African 2001

Blue Eyed Monster 1997

When Negroes Walked The Earth 1997

Colin Linden

NASHVILLE BLUE

COLIN LINDEN IS A GUY WHO WALKS A MUSICAL TIGHTROPE. FROM HIS WORK WITH US HIT TV SERIES, NASHVILLE, TO PICKING GUITAR WITH KEB MO, BEFRIENDING HOWLIN’ WOLF AND LEARNING FROM SAM CHATMON, HE CROSSES GENRES WITH FLAIR, SENSITIVITY AND EASE. NOW WITH A NEW ALBUM ON THE STREETS, LINDEN FINDS THE TIME TO PUT HIS FEET UP, PUT DOWN HIS GUITAR AND CHAT TO BLUES MATTERS! FOR THE FIRST TIME

Speaking to Colin Linden is a true pleasure. Here we have a widely admired international star, a US musician with a foot in any number of musical camps yet a clear blues bias at his heart. Anyone who has heard this guy play or listened to any of his recent albums will already be aware of his driving, fiery fretwork, often with a positive blues push and purpose. But at the same time, Linden works a tricky path that takes him through pretty full-tilt rock-inspired edges to straight-on, in-your-face country and Americana, cross-over genres that often blur the blues edges. Maybe not so surprising, as Muddy Waters once said: ‘The blues had a baby and they called it Rockn’Roll.”

Linden is another of those bluesmen who is evidently more than happy to work as a broad-brush musician, covering a range of bases while always aiming for musical perfection and quality. Based in Nashville, Tennessee, he is comfortable with his place and will be known to many for his prominent role

at the head of the popular US television series, Nashville, where he played guitar and worked with some truly unexpected storylines. In addition, Linden hooked up with many of the Nashville, Music City, greats, the sidemen that make projects simply outstanding. At the moment Linden has a genuinely

unexpected new album out on the street: Amour, on Stony Plain records, is a joint effort with another bluesman who also played a central role in the Nashville Television show, Luther Dickinson, a guy known for his work as a frontman with blues outfit, the North Mississippi Allstars.

The new release has a delightfully nuanced, laid-back vibe, a feel that ripples through from start to finish and features a variety of backing vocalists, the Tennessee Valentines, including Rachael Davies. Linden covers a batch of oldtimey tracks, with takes on 50s and 60s hits like Careless Love, Honest I Do, I Forgot to Remember To Forget and a wonderful cover of Kris Kristofferson’s For The Good Times. All in all, it makes for an interesting and different release that highlights both Linden and Dickinson’s

VER B ALS: IAIN PATIENCE VISUALS: BOB DELEVANTE

COLIN LINDEN (LEFT), WITH AMOUR CO-STAR LUTHOR DICKINSON

influences and musical mastery.

With the Nashville series in mind, I raise the subject of this unexpected offering and musical combination, especially given the at times hardnosed blues background of both Linden and Dickinson:

‘I was hanging out on the set of Nashville and Luther was in the band for a fair few episodes. I knew we could work together almost immediately. I remember talking to him and we just hit it off, like old pals,’ he recalls with a hint of pleasure. ‘Nashville was a hugely successful series and we covered some tricky stories, some confrontational stuff. But it was always great fun. It just reached a point where the finance was no longer there and the show lost its viability.

But I made some great friends with the series. I think it really did portray the lives of working musicians pretty accurately.’

With Nashville his current hometown – ‘I’ve been here playing around ten to twelve years now and lived here for over twenty years’ – Linden is deeply entrenched in the musical flow of the place nowadays: ‘Nashville’s a wonderful place, all kinds of music can be heard here. People always think it’s just country music. And I remember as a kid being hit by the bug, with Johnny Cash and the Everly Brothers being major stars and big influences. But now it’s more than that, there’s every kind of music being played widely around town. Where I live, for example,

I’m only twenty-five minutes down the road from Keb Mo. He’s great, a local player. I’ve been in the studio for the past few weeks working with Keb, always a pleasure. Then we have Luther, of course, and the great producer, Tom Hambridge, and bluesman Ray Bonneville too. There’s just so many great musicians around, all of the time.’

‘When it came to the new album, I was hanging with Luther and he said “Why don’t we make it happen? Initially we were going to produce a mostly instrumental album then other ideas developed and Rachael Davies came onboard. Bass player, Dominic Davis also got involved, another guy from the Nashville television series, and a cool player, and Ruby Amanfu, also from the series. It all just came together

and we had a real blast in the Blackbird Studios.’

Linden, a Canadian by birth, has long been associated with one of his homeland’s music greats, Bruce Cockburn, and also worked with legendary, late Ex-Band drummer, Levon Helm in Woodstock, a musician he recalls with clear affection and admiration:

‘Levon had such a great grasp on the music. He was always so charming. And the Band has always been one of my favourite bands. They could play country, Rockn’roll, R&B, anything really, in a seamless fashion. I had the great pleasure, a privilege to get to know the late Rick Danko well and he endorsed my work, so introduced me to Levon and the guys. We got on just great and they came to treat me as family!’

Asked if he’s working on anything new at the moment, Linden confirms he’s always working on something or other, it goes with the territory:

‘I’m always thinking of something, looking ahead. You never know what might be around the corner with this stuff. Every single day is inspiring. I learn something new from somebody every day. It helps continue your musical education, looking for perfection as a player.

Living in Nashville is a great thing. It’s a city but small enough to be comfortable and accessible. It’s relatively cheap to live here, so musicians can come here and try to make it. Nashville sort of takes them under its wing! Unlike, say, Austin, where Texas has

become just so hard to crack and can be so expensive to live in,’ he explains with a laugh.

Turning back to his youth and his interest in blues music more generally, Linden remembers his time as a kid, kicking off as a sixyear old kid with a guitar: ‘It was a $5 guitar, my brother’s. I gave him $4 for it and I always thank him for that. It started me off on a lifetime adventure. I got to know the great Howlin’ Wolf. I got to meet him and we became friends, probably best for around the last five years of his life. But the blues first got me back in around 1971 when I saw him play at a theatre matinee in Canada one afternoon.

I spoke to him and he was great to me. He got me into being a musician. I discovered the work of guys like Charley Patton and met and spoke with Sam Chatmon, a huge influence on my own playing and attack. Sam was a Mississippi Sheik, of course, a guy with a pure blues history and pedigree. I remember Sam Chatman and the BBQ Boys, fabulous stuff. I was under his wing for a long time, learning and developing musically. Sam was just so helpful and welcoming to everyone. He was encouraging and inspiring and I used to spend six or seven hours a day playing.

Sam always understood that you have to learn how to play for your own, personal greater self-development. “You’ll always be playing stuff I showed you,” he used to say to me. He called those

of us who learned from him, ‘his children.’ I’m proud to be one of Sam’s kids! Sam knew you always also have to make music for your own generation.’

‘I remember when I hit my teens, maybe around 16 or so, getting into electric guitar more, and hearing greats like Hubert Sumlin, Robbie Robertson and many others. Some of these guys were just great, tremendously influential. They got me into electric playing and looking back now, I felt I had found my own voice.’

As we close our time together, I’m tempted to wonder whether Linden has a preference – acoustic or electric guitar?:

‘In my late 20s and early 30s I would switch between both electric and acoustic more readily. Then I got myself an electric Dobro, and an old acoustic, a 1937 Regal, and I was hooked on that sort of combination of instruments and playing. With these two guitars I often feel like I’m walking in my own shoes. There’s a comfortable feel for me there, I guess,’ Linden laughs, as we say goodbye: ‘Hey, but don’t forget, when you’re next in Nashville, give me call – you’ve got my number - and I’ll show you the town and we can meet the guys.’ A pleasure ahead, I hope.

CHECK OUT WWW.COLINLINDEN.COM FOR MORE INFORMATION

DISCOGRAPHY

Amour (With Luther Dickinson)2019

Still Live 2012

From the Wate 2009

Southern Jumbo 2005

Big Mouth 2003

Raised By Wolves 2000

“I GOT TO KNOW THE GREAT HOWLIN’ WOLF. I GOT TO MEET HIM AND WE BECAME FRIENDS”

Robert Randolph STEELIN’ THE SPOTLIGHT

VER B ALS: PETE SARGEANT VISUALS: JIM ARBOGAST

IT IS SOME SIXTEEN YEARS NOW THAT STEEL GUITAR ACE AND SINGER ROBERT RANDOLPH MET UP WITH BM THE AFTERNOON BEFORE HE AND THE FAMILY BAND PLAYED THEIR LONDON DEBUT AT DINGWALLS IN CAMDEN LOCK, LONDON

Now older and wiser, Randolph does not seem to have lost any of his zest for life –indeed with a brand new album Brighter Days coming out on Mascot, the musician appears ready to rock out once more…

Do you realise, matey that it’s just over sixteen years ago that we first talked about you and your music, in London?

Oh wow, Pete – is it really?

You had not long heard your first Dylan track!

You know, that would be right… his stuff didn’t get used a lot in church…but yeah I do remember that day…it was sunny? and your ‘old film’ voice haha..I’m at home right now in New Jersey... Hey, did we talk about the Royal Albert Hall one time?

That’s right, you were opening for Eric Clapton and we were batting around suitable numbers… you came right with a Jimi tune,

knocked ‘em out ! (Laughs) A useful exchange, we have to call that !

Lyrically you’re reflecting the world, Robert... Ha! Well now there’s so much going on across the globe right now..and things could be running much more smoothly, I would contend anyway. Things could be so much better, less bitterness, more pure kindness... it’s lacking don’t you think?

I hate anything divisive…like politics and religion. Like, do either of us two care what the other of us believes, when we get on? Got nothing to argue about, have we?

Certainly not on music..and associates. How is Neal Casal by the way?

Oh he’s good, a cool guy. Dependable. A great originator of sounds, tones, ever’thang..that’s Neal. When you’re in your Twenties, early Thirties well you don’treally have a great plan, you don’t have everything mapped out, it’s kinda looser. However as you know, Pete you will meet people that have a spark, have an effect upon you and yes how you might approach things..IF you are open to it. So, stay open to it !

True!

You experience places, you travel, you stay up all night… letting it roll. Then maybe it can hit you, you realise you want to follow the path of an artist like Otis Rush, to keep on being The Real Deal, something solid. B B King,

Eric Clapton, The tones… Buddy Guy, all those great characters. When you’re say seventy years old, you want to leave a legacy of a hundred songs, good songs that make a statement, that’s the point I’m looking at right now, as you get older you can recall those landmark moments that you’ve achieved. It’s warm…

Well we are all on a crusade to get quality live music out there and heard. That’s how I feel about it... That is exactly the mentality that I have – put on a show, don’t hold back, spray them with things to remember ! On the stage, you can respond and vibe off everything that’s happening in that room..feed off the energy ! The fans,,they want those magical moments.. but you know what I mean on that!

There’s no formula – it happens or it doesn’t.

See, events here in the USA.. and yes over in the UK and Europe you know how music can change things in the world..it’s powerful!

Baptise Me is a strong opener, it just takes off!

Yeah it’s all release..the vocal blend is strong ain’t it?

I like the Gimme Shelter reverb and the Hammond chording. Thanks, you get it.

Don’t Fight It has echoes of the great Live At The Wetlands album, to me.

I can see that..party time

Simple Man – that’s very Pop Staples, with the tremelo’d amp on the guitar. I Met him once after a show. He asked whether I prayed

and I said no BUT he did sound like he knew something ! (Laughs) That’s cool..he got to you!

Have Mercy has a jukebox tempo…a lost soul redeemed. You think so? (Ponders) Oh yes, maybe that is in there!

Second Hand Man makes me think of The Meters … Well THAT ain’t no bad thing – who doesn’t love The Meters?

Is that an Octaver playing on that song?

Yes, it is. Cry Over me features Lanesha..

Lovely number, almost like the Steve Winwood band Traffic. I’m Living Off The Love has a tinge of The Family done your way… Yeah the beat’s got that stabbing funk going on there!

I gave you a trilby hat one time at The Borderline and you had that red oblong Bo Diddley guitar. Still got both! I love the tone, the vibes.

By the way, tell me something I may not know about Danyel. (Shaking head) He just ain’t so keen on touring any more…he gets homesick!

Good luck with the album… So glad you got to hear it, brother! Til we meet again.

CHECK OUT WWW.ROBERT RANDOLPH.NET FOR THE LATEST NEWS

DISCOGRAPHY

Brighter Days 2018

Got Soul 2017

Lickety Split 2013

Live in Concert 2011

We Walk This Road 2010

Colorblind 2006

Unclassified 2003

Live at the Wetlands 2002

“YOU EXPERIENCE PLACES, YOU TRAVEL, YOU STAY UP ALL NIGHT… LETTING IT ROLL”

STILL

SHINING FOR EVERYONE

MIKE FARRIS IS A WIDELY ADMIRED ROOTS MUSICIAN, A LIFE-LONG TENNESSEE RESIDENT WITH AN ACUTE EAR AND SOUL FOR SPIRITUAL MUSIC THAT MOVES AND SHAPES MUCH OF WHAT HE DOES

With a Grammy already in the bag back in 2015, he has again delivered another striking release, ‘Silver & Stone,’ reflecting his love, life, thoughts and hopes. We caught up with Mike at home in Nashville.

When Nashville-based roots musician Mike Farris picked up a Grammy in 2015 for his album, ‘Shine For All The People,’ few were surprised, save for Farris himself, it seems. When I ask about the Grammy Award and how he feels about that, he is clearly phlegmatic - grateful, but in no way, shape or form overwhelmed or over-effusive about it all:

‘Sure, it’s great to have that sort of respect from my peers, I guess. But music isn’t about getting awards. It’s more about trying to make the best record possible, for me, at any rate. I didn’t set out looking for a Grammy.

It just kind of happened,’ he laughs at the recollection of first learning about the award.

But Farris now has another superbly soulful and thoughtfully delivered album out on the streets. ‘Silver & Stone,’ again gaining international acclaim, is a sparkling release that seems more focused in its execution in many ways. So, where did the idea for it come from, I ask:

‘Well, after ‘Shine for all the People,’ and the Grammy, I felt I was entering another chapter of my life. I was ready for another journey. I had lots of influences around,

competing for my interest, pushing me into this new chapter, if you like. It also reflects the fact that I’ve been married to my wife, Julie, for around twenty-five years.

In some ways it felt kind of scary and I wasn’t sure just what might come out, where it might lead me. But in the end it all turned around, revolved around my life and my wife. All the songs were written here at home for her and for us really. She’s used to me sitting around, working with my guitar, but I’m not really sure she knew just what was going down at the time.’

‘I didn’t know how it was all gonna come out. But I found the electricity, the energy to put it out and now that it’s out there, it feels like the album is the record I really needed to make,’ he adds with a thoughtful smile.

Mike Farris

VERBALS: IAIN PATIENCE VISUALS: SEBASTIAN SMITH

From his early years in Memphis, Farris considers himself to be essentially lucky, fortunate to be living in some comfort in a town he now loves and sees as home. Nashville (and his wife, Julie) has become his anchor, with its remarkable range of sidemen and top-rate musicians almost everywhere:

‘It’s been one of those things. Nashville’s now my home, my whole life revolves around the place. The music business doesn’t have to be all about New York or L.A. There’s so much here for comparison. I’m surrounded by an embarrassment of riches in Nashville. I like to think all these great musicians, all these people are my friends. When I needed people to come into the studio, they came through. It was all pretty easy, they agreed to help. That’s important to me. These are guys who take a pride in their music.’

ALTHOUGH FARRIS HAS been now been around recording for a few decades, he is not noted for regular releases and views the current music industry as being a difficult game. He says he prefers to think of his material as being more about quality than quantity and is content to take it easy and turn out an album only when the time is right for him:

‘I know some of those kids, artists who put out an album like every year. It’s often all shit. I’m not naming any names here, but that’s how it seems to be right now. But what do I know….. they’re all more successful than I am!’ Farris laughs selfdeprecatingly, before adding: ‘ I get it, but see it as a bit of an indulgence, much of their

It’s a steal!

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

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

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

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

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

“Phenomenal musicianship” (BluesMatters)

independent material.’

Turning to his love of general roots music and blues in particular, I suggest that Gospel clearly also has a hold of his own soul in many ways, as appears evident from his recent recording history. Farris immediately agrees:

‘Old spiritual music really resonates with me. It goes far beyond those of a simply Christian faith. These are stories of personal struggle, of hope and longing for a better day. Old spiritual music is pure in that way. It’s beyond religion to me. It’s more of an essential thing to me.’

On his current offering, ‘Silver & Stone,’ Farris has an outstanding tribute track he wrote about the now legendary Chicago spiritual-gospel diva Mavis Staples. I mention this to him as perhaps a reflection of his thinking and he bursts into a smile and confirms:

‘That was a song that just about wrote itself! I had the chorus in my mind for a long time but when I sat down to flesh it out, well, I only had to look at Mavis’s own amazing life for it all to come together. It’s just her life story, really.’

FOR SOMETIME,FARRIS

fronted Double Trouble, Stevie Ray Vaughn’s band. Looking back at those years, he now reels at the thought of the hard life, the over-indulgence in almost everything that came his way from drink and drugs on. Though he sadly – as he now believes – never personally played with the band when SRV was still around, those years changed his life and when he eventually

shook free, he cleaned himself up and turned a corner:

‘There were times when there was just so much going on back then. It was amazing. The amounts of drink and the like. I’m lucky to have survived it really. It was all a blur, a madness in many ways but also great fun at the time. I ended up with a drink and drug problem. Those were tricky times. I can think back now on all those steps, those things I’ve done in my career. Now, everything is good. I’m in a better place and while ‘Shine for all the People,’ was a sort of sentimental song-thing – still a record I love, they’re all my babes - ‘Silver & Stone’ is more personal, it reflects where I am now, settled with a wife I deeply love and a life that’s solid and secure.’

‘With “Shine’, I honestly thought it was the best record I’d made in my career. But with ‘Silver & Stone’ I think I’ve moved on. I bounced many of the ideas off my wife, Julie, as I worked on it. When it was all sort of ready – or as ready as it was gonna get (he again laughs) - she gave it the green light. In reality, it’s an album where I’m doing it all for Julie. What I’m trying to say, what I want to say there is all for her.’

For now, Farris remains anchored in the roots music tradition he so clearly loves with thoughts of a follow up album in his mind but not a pressing demand on his thinking or time:

‘I was just drawn to roots music, music that began in the early 1920s. I started to

dig into it. I dig into old catalogues, soul music from the Deep South really. There’s always a drama to it. That Tennessee - Memphis thing maybe. It leads me to that southern church soul thing, my roots too. It means I might find something, dig up something, an album I never heard before. It’s just such a rich area to explore. I might pick up my guitar, or maybe turn to the piano, and work on a theme that has my attention, that hooks me. With “Silver & Stone’ I had the idea for the album, with several things already lined up. So, now, I’m there again, with stuff already written, ready for the next one, the next record. One thing’s for sure, there won’t be so much time between this one and the next,’ says Farris with a confident grin.

CHECK OUT WWW.MIKEFARRISMUSIC.NET FOR THE LATEST NEWS

“I WAS JUST DRAWN TO ROOTS MUSIC, MUSIC THAT BEGAN IN THE EARLY 1920S. I STARTED TO DIG INTO IT”

Hollis Brown

IT’S ALL ABOUT THE SONG

BM RECENTLY GOT THE CHANCE TO TALK WITH LEAD SINGER MIKE MONTALI OF THE BAND HOLLIS BROWN FROM QUEENS, NEW YORK

Af our-piece band formed in a garage in the Ozone Park area of Queens. Ozone Park is their new release. This, amongst other subjects, was discussed including influences, and it went something like this…

Hi Mike thanks for taking time out to talk to Blues Matters magazine, where are you just now?

In my apartment in Queens, New York. I love it, I grew up in Queens, it’s my home town. Had a good weekend, recovering a bit just now!

We played The Underwater Sunshine Festival in New York put on by Adam Duritz from The Counting Crows. We got to play with Cyndi Lauper. It was epic man, she was great. I’m now sitting on my couch watching an Oasis documentary, love that band.

What was it like playing with Cyndi Lauper?

It was awesome, she has got great energy. It was very inspiring for us and a little

throw and go, we didn’t get a chance to rehearse with her. We sang two songs with her and pulled it off! We did, You Can’t Always Get What You Want and Money Changes Everything, a Cyndi song. It was rocking; keep rock and roll alive man!

In general, what are the demographics of your audiences like?

It fluctuates; we get a lot of students. People in their thirties and forties who like the bands such as Oasis, and the baby boomer crowd in their sixties who have found time after they’re retired to do something! You look out at an audience, seeing young people mix with older people in the

same way. It’s kind of weird and interesting. We’ll play to whoever is out there.

You’ve played a lot of venues can we talk about that? We’ve played all over America and Europe. We have done every gig you can imagine from tiny little shithole bars where we set up in the corner, to Red Rocks. We hit the road younger and went from there. We started in Queens. We had our first gig on Sunday and progressed to Philadelphia and regional stuff. Now we’re trying to go to thirteen countries this year. We believe in what we do, it is our passion, we love playing live, we like to give people a break from the bullshit in their lives when they come out to see us.

Any favourite venues you like playing?

Yeah, the Santa Barbara Bowl in California, it is an

VER B ALS: COLIN CAMPBELL VISUALS: SHERVIN LAINEZ (THIS PAGE ONLY)

incredible venue. PNC Bank and Arts Centre in New Jersey saw some great shows there, as well as ZZ Top, John Fogarty. To play that venue was special. My parents are Italian immigrants so being able to play in Italy and get a response from people there was amazing. We’ve played the Iridium in New York, a little blues club, cool and where Les Paul played, it’s a classic blues club, intimate, we played there once. Dingwalls in London, King Tut’s in Glasgow. Everywhere is cool.

Do you change your style to suit the venue?

If we play a sit-down place where people are eating, we won’t play the heavy stuff. But we roughly play US, but we change the gig depending on the vibe of a place.

How would you describe your music style, it seems eclectic and organic even, very tuneful and stylish? For us it starts with the songs. We do rock and soul. We do straight ahead T.Rex rock and roll, Bob Dylan, Americana, blues. We try and take all American rock music stuff from funk to soul to rhythm and blues and arrange whatever song we have that fits that mode. The new record we put out is rock and soul that’s the best way to describe it.

Talk about your new release Ozone Park.

I was trying to write lyrics that are more personal to me. We’re a band of five guys and everyone needs to believe the voice. I know I’m the singer and do the lyrics but want to make sure everybody can stand behind what we are

saying. It’s not just me saying “Fuck the world, or I love the world”. I want people to be proud of our records. In the past this was a challenge for me, to be personal. I always wanted to be a writer and I think my poetry is shit but thought I could tell stories through songs. On this record I wanted to talk about love and what was around in my life. It’s a relationship record, with women, with families and friends. Every song I wanted is a personal attachment and I think I’ve done that. I’m happy you noticed it was more lyrical and personal.

Your vocals have a sweet tenor tone, how did you learn to sing, have you had vocal lessons? There are Simon and Garfunkel influences on your style?

No, we were twelve years old when we started out. We

wanted to play this eighthgrade talent show, me and my buddies from School, but nobody wanted to sing. I said, I’ll sing, why not? I sang and when I was in the eighth grade, there was the cutest girl in the class and… well I always had a knack for it. I feel great after I sing it’s very therapeutic. When you come on stage you leave it on stage if there’s something on your mind. Well Simon and Garfunkel were from Queens.

I’m influenced by people’s songwriting. I love great songs; Paul Simon was an influence also The Everly Brothers, and The Beatles. I love melodies and great harmonies. There are jam bands that play live three hundred days a year, that’s what they do, and no one gives a shit about their records. Then there’s record bands whose live shows are shit. For us, my favourite bands are, The Rolling Stones, The Allman Brothers, The Beatles, and Oasis, they could do both. They connected with people in their ordinary lives and be moved by the music. They also had that live show that gave people a break to entertain. That’s what I strive to do both well!

How did you choose music as a profession?

The Beatles! when I was in sixth-grade, I fell in love with it. I wanted to do something different with my life, my mother died when I was younger, and it flipped a switch in me. You only get

one go around this earth and having a straight job didn’t interest me. I started a band and we’re still going. We’re more visceral, like Chuck Berry and the early blues guys, he is my hero. I’m sure in Chuck’s defence being a coloured person in the South at that time was difficult. When he wrote all that music and then got ripped off, you might feel pissed off too! I love Chuck Berry.

What’s your style of blues? It ranges, I like electric blues, Buddy Guy kind of stuff. Eric Clapton, and British guys ripping off American bluesmen, that’s my favourite stuff. Albert King, and when blues went electric, I like that stuff. The Beatles were a great influence, and Bob Dylan is the best songwriter. The way he matches his lyrics with the music is phenomenal. Went to see him live at a small theatre in New York he was fantastic.

The band name Hollis Brown is from a Bob Dylan track, why choose that one?

We were in Jon’s, the guitarist in the band’s garage starting off the band at Ozone Park and we were putting names about. We thought The Rolling Stones got their name from a Muddy Waters song. Bob Dylan is our hero, go for his tune Hollis Brown. There are five people with similar identities which is the pink one sort of thing? We’re a band not a man, we went with it, not realising how dark the song was but we stuck with

it. As long as the music’s good who cares about the name.

What’s the best advice you have had musically and personally?

Musically, is be yourself and hold onto your masters. Not watering down your sound. We have kept to the music we want, and we have an audience. Not losing sight, you are creating something. A lot of bands get together for the same reason, then it becomes a business, getting agents and managers, bands fall apart because of that. Wanting to say something and be true to yourself is very important. Personally, telling the truth and having an opinion are important. Being able to look at yourself in the mirror is also important!

Is image important, how do you keep your music fresh and available given there are so many platforms to play music on?

YES! especially in Instagram world and especially music. It is harder to stay around long term in music. We want to always be playing. I didn’t want to be a one hit wonder band. One summer, crazy, then two years later their away. Back in the old days you would have to be a working band and established before you got into a studio.

Now I can make a record and text it to you and you’d have a piece of music. It’s all relative. It took a long time to make our new record, we wanted to make it special. We did it quick and on a shoe string budget. It was mixed and recorded in ten days. A lot of people don’t give attention to how they will release their music. It took over a year to ensure our team was right, we were patient and got a new label Mascot on board.

“WE HAVE DONE EVERY GIG YOU CAN IMAGINE FROM TINY LITTLE SHITHOLE BARS WHERE WE SET UP IN THE CORNER, TO RED ROCKS”

DANA GILLESPIE TAKE IT OFF SLOWLY

After a long wait finally great new recordings by the Queen of UK/European Blues with the great Al Cook Band! After a very long time this brand-new CD from the  great Dana Gillespie. This time she is singing some erotic songs, which are nice to listen to. Brand new material, but also great covers. Dana is in a great form! There is no soul blues or rock blues, just pure traditional blues!

www.wolfrec.com/produkt/ dana-gillespie-take-it-off-slowly/

How did you get on to the Mascot Recording Label?

We have a bit of a following in the Netherlands, that helped, as their main office is in Rotterdam. Also, our management and booking agent both knew the people in their Head Office in New York. When we had finished the record, we were on a smaller label. But we thought this record is better than it was going to be, so we showcased for them.

It took a little time, but we got the deal! I’m excited, they are a great team. Hopefully it will be the perfect combination for us all! The hardest thing for us was making rock and roll music that’s modern and relevant. We wanted to make a statement it took a long time. We wanted to make a rock record sounding like 2019 not 1974, you know what I mean. We added some modern synthesiser sounds. We made a point that we are a band of today and not ripping off old sounds. This is the first time we have sounded like the way Hollis Brown should.

Tell us about some tracks on the new album, have you any favourites?

Hard one! Think I like, Do Me Right, it captures the sound of today but also has the song at the core, piano and acoustics, it highlights all of the strengths of our band. I like, Bad Mistakes, it’s more of a rocker, I like the bad ass quality. She Don’t Love Me

Now, written by a friend Jesse Malin from New York. It gets to the core and the singing is great, it’s easy to listen

to. Forever In Me, opened the door to a new direction for the band, and it leads the band to a different sonic landscape. Stubborn Man has an R&B feel, like the opener, Blood From A Stone. We are influenced by a whole lot of music including hip hop.

What is your song writing process? Sometimes a melody comes to me and I start humming it then it develops. The songs usually start with me and John the guitar player. We get the song to what we like then go to the band and arrange it with them, the feel and structure might change. Then we go to the studio, then take it onstage and it evolves even more. The fun thing about music is it keeps evolving. We recorded it in Florida where we felt more relaxed. It wasn’t easy. I like bands with multiple personalities. That’s what I like about our band. If you removed one person, it is different. Everyone has their own imprint on the music, and we all get on.

You have had some scary moments with the band. Yeah, if there’s a mistake a band could make, or sex, drugs, and rock and roll cliché a band could make, we have survived it. We have not always got on. Somehow, we persevere. We’re good just now, we love each other!

If you were not a musician what would you be?

Probably a teacher or somewherhere you’re spreading knowledge. Something in the education

world. I can draw the line, if it sounds good music to me, I’ll listen to you doesn’t matter what it is. I love all types of blues. I used to go to Terra Blues club we grew up on that. The blues is in anything. It’s about making it original that’s the trick, very difficult. I like “pop” bands too.

What about the future for Hollis Brown?

We’re going on tour for six weeks in America soon then bringing out the new album in June. We’re playing Woodstock Festival which is a dream come true for us. We will be touring a lot including a full European tour. We will be playing all the new songs. I like touring, I like being on the road about a third of the year. Never want to be a jam band.

What do you do to relax when not touring?

I’m a foodie, I like travelling, watching movies. Have my wife, we like going to museums. We have a dog. I like working a lot and playing a lot, meeting regular people. Music brings it all together; I feel a great song and the world cup are things everyone on earth can get involved with.

Well, great speaking to you, hope we meet up in the UK later this year. Thanks a lot, it’s been fun.

FOR MORE INFORMATION SEE WEBSITE: WWW.HOLLISBROWN.COM

DISCOGRAPHY

Ozone Park 2019

Cluster Of Pearls 2016

On Audiotree Live 2016

3 Shots 2019

Gets Loaded 2014

Ride On The Train 2013

Hollis Brown 2009

Nothing & The Famous Noone 2009

“WE WANTED TO MAKE A ROCK RECORD SOUNDING LIKE 2019 NOT 1974, YOU KNOW WHAT I MEAN”

Jon Paris

showed up and we all jammed. I was a little nervous...’’

The Johnny Winter Band, Elephants Memory, Link Wray... if anyone could claim to be a true rock-blues journeyman, Jon Paris is that man. Here, Pete and Jon discuss matters past, present and future

I’m pretty sure I first saw you play live with the great Johnny Winter, butwhat were you doing musically before that please?

I sang in our junior high school choir, played drums through high school in The Fabulous Chevelles (with David Zucker), played bass and harmonica in The Walkers (with Jerry Harrison), formed OX with Bob Metzger, joined Short Stuff with Junior Brantley and Joe Kelley, and played guitar in a Blues band with James Solberg. I moved to New York in ‘74 and worked with singer-songwriters

like Stuffy Shmitt and John Carney, and in bands like Jake and the Family Jewels and Elephant’s Memory. I did a lot of solo gigs (singing, playing guitar and harmonica on a rack), and finally formed The Jon Paris Band. In late ‘77 and early ‘78 I toured with Robert Gordon and Link Wray (with Anton Fig on drums)...

My memory says that the Johnny Winter show was at The Venue in London’s Victoria. Mid-70s? What memories might you have of that set of dates?

According to ‘The Jon Paris

Archives’ it was May 1979, we did three nights there. It was great to be back in London.

There were a couple of little stage tricks you and Johnny had up your sleeves?...

Once in a while I would play guitar and Johnny would play bass, sometimes he’d reach around and play my guitar and I’d reach back and play the bass.

Other than that maybe, no tricks that I can remember; no gimmicks, no smoke machines, no strobe lights, just MUSIC!

Regarding your current power trio act, who plays what, who sings, what’s the dynamic?

I sing and play guitar and harmonica. The multi-talented

‘‘Dylan

VERBALS: PETE SARGEANT VISUALS: ARNIE GOODMAN

A MANHATTAN FIXTURE WHO HAS BACKED JOHNNY WINTER (AMONG OTHERS), GUITARIST/ SINGER PARIS PACKS A MEAN BLUES PUNCH. BM CATCHES UP WITH THE GREAT MAN...

Amy Madden is my first-call bassist. We’ve had several great drummers over the years: Steve Holley, Bobby Chouinard, Sandy Gennaro, Yoshi Shimada, Mark Greenberg, and most recently Sam Bryant. Look ‘em up, all World-Class musicians.

For present day shows, say with the trio, what gear do you opt forinstruments and amplification?

Fender American Standard Strat, Tele (with a Bigsby Palm-Pedal) for slide, various Boss and Ibanez pedals... I own a couple of Fender Princeton Reverbs, but most of the clubs have house gear. For concerts I usually request Fender Hot Rods or Marshall half-stacks. And of course, Hohner Marine Band harmonicas.

Paul Jones would support you there! For my style I go for Lee Oskars. OK the radio is playing in your kitchen - what would you cross the room to turn up?

The Blues, Rock’n’Roll, 60s R&B, 40s or 50s Jazz, Rockabilly, good Country, maybe even Classical.

And what would you cross the room to turn off?

I don’t know… probably Rap or Pop

Did you first get into blues and roots music via the radio, records/ the jukebox or live shows?

All of the above. Certainly listening to my transistor radio under my pillow at night, hearing the music of other worlds, like Chicago and Nashville.

We had Radio Luxembourg, Jon. Poor signal, but Slim Harpo. Do you recall the first blues performance that you went or were taken to, and where was that?

Don’t remember the first, but there were some clubs in my hometown, like The Avant Garde and Teddy’s, where we were fortunate to catch Magic Sam, Big Walter Horton, Big Joe Williams, Johnny Young, Johnny Shines, Dave Ray, John Koerner, James Cotton with Matt Murphy, Muddy Waters, Freddy King, Luther Allison...

Just on your recordings with Johnny Winter, which do you regard as the most successful or impactful?

My favourite was probably Johnny’s ‘Raisin’ Cain’ LP. I played bass, harmonica, and guitar, and Johnny covered two of my songs (‘Wolf in Sheep’s Clothing’ and ‘Don’t Hide Yer Love’). It sold really well for a Blues record, but for a Johnny Winter record, I wish it was more successful, I wish more people were hip to it.

I have a high regard for Edgar Winter - do you ever play with him? Never gigged with Edgar, but I did record with him, and I did sit in with him. He sat in with us several times over my years with Johnny; the two of them together was just magical. Edgar’s a monster talent, and he’s still out there rockin’! Check him out, People!

How do you look after your voice?

I don’t really, Pete. I just get up there and let it out!

How would you describe the place where you live, in five words?

I can describe this place in one word, lucky! Lucky to have a roof over my head!

Do you tour much these days ? In current conditions what are the

A MONSTER

pluses and minuses?

Not as much as I’d like to. Sadly, it costs too much to make it financially worthwhile.

I really like backing female musicians and singing with them - what are your thoughts on that musical situation?

For me, male or female, Black or White, young or old, if someone has talent and has something to say, that’s the important thing.

Do you keep your personal politics out of your lyrics, and what about in live performances?

(Smiles) If I have something to say, I’ll try to express it.

This Ain’t The Planet I Signed Up For - how did that song happen?

That’s a common phrase from my comedian friend Steven Pearl. Pretty much sums up The State of Affairs, don’t you think?

Is there an album - any artist, any genre - that you can play all the way through and still enjoy?

Jimi Hendrix, Jimi Hendrix, and Jimi Hendrix.

If you got to record a number with Dr John, what song and arrangement might you suggest?

As you might know, Johnny did a month-long tour of Europe in the late 80s with Dr. John. Mac opened solo every night and then joined us for about a third of Johnny’s set. Being with those two legends was a high point for me and drummer Tom Compton.

I’d asked Mac to play on my recording of ‘So Much Love,’ but he was a busy man at the time... he still is, God bless him! My trio occasionally does

‘Walk on Guilded Splinters’ which we’ve also done a few very memorable times augmented by The Uptown Horns. Or, it’d be a dreamcome-true to have Dr. John on a crazy little number I wrote called ‘I Really Love You, But I’m Glad Yer Gone.’

Which of your own songs finds you at your most reflective? Lost in the Shuffle, ‘Til I Lost You, Blues This Bad.

And which one your most lighthearted?

Good to Go, So Much Love

Any memories of playing bass with Bob Dylan?

I’d been doing some sessions with Ron Wood, Dylan showed up one night and we all jammed. I was a little nervous, but when I mentioned that I knew Jim and Chuck Solberg, who had known Bob as youngsters back in Hibbing, I was put at ease. Instead of Iconic DYLAN, he became, in my eyes, Fellow-Midwesterner BOB.

A week or so after that I got a call to do what I thought were some demos with him... I was pleasantly surprised when ‘Driftin’ Too Far From Shore’ and ‘Clean Cut Kid’ were later released.

We have a couple of friendsmaybe more! - in common, namely Peter Green and Pete Brown. What might be their influences on you, if any?

Peter Green is a huge influence. I always felt that his version of Freddy King’s ‘The Stumble’ far exceeds Clapton’s version of ‘Hideaway’ ...and Peter sings

great and writes great songs. I got to record three tunes on a Peter Green tribute project (‘Rattlesnake Guitar’) that Pete Brown produced. An honour to work with Pete; and his Cream classics with Jack Bruce were, and still are, also a huge influence. Please give them my regards.

What makes Jon Paris happy? Playing music, being with good friends, spending time with a good woman. Reminiscing about the great experiences I’ve had, like touring with Bo Diddley, sitting in with B.B. King, my friendship with Les Paul...

And what makes you sad?

What really depresses me is how Mankind has been on this planet for thousands of years and we still haven’t figured out how to solve our biggest problems: war, greed, poverty, violence, suffering, man’s inhumanity to man... don’t get me started, it’s like the whole World’s got The Blues.

Any recording plans that you can tell us about please?

(Sighs) I’m way overdue. I’ve got about three-fourths of an album already completed AND a bunch more tunes I’d like to record. Any record deals out there?!.

CHECK OUT WWW.JONPARIS.COM FOR MORE INFORMATION

DISCOGRAPHY SELECTIVE RELEASES

Blues Planet 2004 Roots Revolution 2002

Blues Power 1999

Rock The Universe 1996

Rattlesnake Guitar 1995

Raisin’ Cane (Johnny Winter) 1980

“EDGAR’S

TALENT, AND HE’S STILL OUT THERE ROCKIN’!”

Katie Knipp

JUSTLETDON’T THE BLUES STOP

CALIFORNIA’S, KATIE KNIPP TOOK TIME OFF FROM GIGGING TO GIVE BIRTH AND RAISE TWO CHILDREN TO AN AGE WHERE SHE WAS COMFORTABLE ABOUT RESTARTING HER 20 YEAR CAREER

Her new release, Take It With You restarted with a bang at 10 on Billboard Blues Charts. The release is still charting and has her balancing time as a mother and a professional musician taking on the challenges of managing both careers. Her oldest is now four and the break between CD’s lasted almost five years. I caught up with Katie at various times during her hectic schedule to talk about the refocused efforts and stories behind a few of the songs on the new CD

Good morning Katie, thanks for the call. Sounds like you are in the car. Yes, I just dropped my son off at pre-school and now have as much uninterrupted time as we need for the interview.

Perfect. What did you do in terms of music while taking that lengthy break to start your family?

I did some singles and a holiday single to kind of pass the time, a Christmas In New Orleans thing. So me and this killer clarinetist cranked that out while I was 8 months

pregnant. He and I also did a little duet version of St. James Infirmary. I just kind of focused on honing my own skills a little bit and teaching and writing music. All that in between giving birth and breast feeding.

Your approach to marketing this album changed from releases in the past.

Thank goodness for technology because there was a heck of a lot of stuff I was able to do on my phone. My

whole strategy even before starting recording was to collect contacts for local press. That was really important to me. And securing the Capital Public Radio interest way ahead of time. It’s all about timing. I was really planning on doing everything one hundred percent myself but this publicity team found me. I made sure to use them two weeks before the release and two weeks after. A local DJ told me I should get in touch with The National Women in Blues organization and things just took off from there. One of the things I learned was running a pre-sale campaign and that’s what really put me on the Billboard charts.

Take It With You features your vocals, piano and Dobro Guitar on original tunes, often with friends. The tracks have the deep feeling of the blues yet cross into several genres of Americana, blues,

VERBALS: DARRELL SAGE VISUALS: LEE HOLMES

Interview KATIE KNIPP

jazz, and ballads. How would you describe yourself as an artist? You know, more a blues singer because I’m way too influenced by many styles. Blues singing has always been my thing since I was a teenager, so everything’s been bluezeee. Some stuff has been straight ahead but my heart kinda lies in New Orleans piano styles and sprinkling in a little bit of jazz. Just being soulful and honest. A lot of that comes out as blues and sometimes a ballad.

Your piano and the music during Another Round is a straight shot of that New Orleans influence. Lyrically spot on too. Alan Toussaint! I finally got to mention him in a song. His influence on me is profound. When I saw him perform at Yoshi’s in Oakland they had a Mardi Gras style ending to the show. He tossed me a t-shirt. I thought, OK, I can die now. But then the next morning, I go down to a continental breakfast and guess who is sitting there with his band?

I thought, be cool be cool be cool be cool. So I turned around and said, great show last night guys. That was the absolute best way to spend my birthday. Thank you. So they said thank you and I backed away slowly so as not to look like a freak and let them have their own conversation at the little breakfast table. As my husband and I were entering the elevator with our luggage to check out later the elevator stopped on the second floor. The doors opened. There he stood. Tall, full of wonder, grace, and his iconic suit paired with comfy sandals and socks. My eyes widened. I smiled as he got in with us. My heart was racing. He started to sing happy birthday to me right there in that private

elevator. The doors opened again and off he went. I wonder if he knew how much that meant to me.

When you write, is it on the piano or the guitar?

These days it’s been right down the middle, half and half. Part of that has to do with the fact that when I play live, especially because I play solo a lot live, I really want to give people an experience and I never want people to be bored, so it’s important to me that I switch instruments back and forth during my set. And add a harmonica or a foot

tambourine when appropriate. I’ll also use a regular guitar sometimes.

When writing and playing I like the gritty raw, it leaves room to be messy and human and allows me to not be perfect at my instruments. I just want the freedom of not worrying about instrumental technicality so much. When I open solo in these huge venues, like for Robert Cray I know that I have to give these people a really memorable experience, where they walk away going like, who the ffffudge was that?

They say within conformity

“I LOVE THAT SLIDE IS LIKE A VOICE. YOU HAVE ALL THE VIBRATO AND IN BETWEEN NOTES GOING ON”

lies great freedom. My mentor, Joe Barnett told me that. He died at the age of 46 so his baby grand piano sits in my house now. I bought it from his wife about 3 years ago and its extra special

The album opens with Ya Make It So Hard which introduces us to your voice while playing Dobro and kick drum like a wife delightfully possessed.

Yeah, I just kind of liked the energy of it. It’s a very freeing song and positive. I think in the past I’ve had a lot of sadness and darkness in my music and this is the first time where it’s not. There’s definitely some darkness in some of the writing on this record but I wanted to open up with some stomp and holler, fun and energizing thing. And yes, it is a song about my husband. Finally! We’ve been together for ten years and that’s the first song I’ve written for him.

Santa Cruz Blues is one dark tune, but with a surprisingly bright melody. Is Santa Cruz where you got your degree? And there has to be a totally crazy story behind the song.

No, Santa Cruz was just one of the colleges I went to for studying music. I transferred after the suicide thing and knowing I could finish faster at Cal State Hayward. My time in Santa Cruz was very special though and where one of the most painful things happened I’ve ever been through. But it’s a very meaningful place for me.

It’s where I taught myself guitar on the beach and wrote my first song and part of that was the need to heal from the suicide. Another part of teaching myself the guitar was it’s an easier instrument to write songs on. But I’m glad it ended up being kind

of an upbeat song. So, on my twenty first birthday I witnessed a suicide at UC Santa Cruz. I’m in my dorm and someone fell off the balcony. Someone said, oh Katie, you’re a lifeguard. Go down and give him first aid. I run down there and crouch over him only to see that half his head is gone. His dorm was right next to ours so I look up and see a rifle leaning against the railing of the balcony. He had shot himself and for the first time in my life I felt an evil presence in the air around me. I can’t explain it, I just felt it

Whoa! I wasn’t expecting that. Why as a beginner did you pick the Dobro Guitar?

It speaks to my soul. First of all, I love that slide is like a voice. You have all the vibrato and in between notes going on. I have not yet learned how to properly play table top, lap style slide but look forward to learning. I also love the vintage sound you get from a resonator guitar.

People ask, why I don’t do electric and use an effects pedal, and like no! I’ll strap on a foot tambourine and that’s what I’ll do. At least for now I’m not inspired to go all electric. In fact I’m really picky about electric guitar tone in general. It really takes a special player to reel me in. Stevie Ray Vaughn is one of them. I could listen to him forever.

Let me take a wild ass guess that neither the guitar nor piano is your first instrument of choice. No, it’s my voice! Yeah, I actually have a degree in opera. So, right before I called you I was doing my daily vocal warm ups which are pretty intense.

KATIE KNIPP TAKE IT WITH YOU Independent

Operatically trained Katie Knipp’s fifth release after a hiatus to bear two children isn’t music Ameriana opera style, but has many elements of a good one. Love, hate, conflict, death, spirits and more are leitmotifs offered. Vocally powerful songs present a combination of musical genres as she throws down on piano or tears it up on Dobro guitar, kick drum and harp that features the many talents of this Sacramento song writer / singer.

The opener, Ya Make It So Hard stretches her vocals to the limits in a one-woman band dedication to her man. Sometimes breathy, but definitely deliberate vocals during I Don’t Sing For You has Katie wandering thru the keys while friends accompany her on drums, electric guitar and thumping bass to bring closure to an ex from her past. Torment continues during Letters, a somber ballad as she picks and slides through roller coaster vocals in a cycle of hope and despair. Metro In Paris, a torchy minor key piano indulgence during rush hour with Katie while she fantasizes sexually about the stranger she’s pressed tightly against. I Will Stick Around showcases Katie’s vocal range while backed by keys and electric guitar licks in a persuasive confirmation of love and loyalty. The earthy tones of Katie’s Dobro and a drum roll opens Come Back for an emotionally loaded slow roller of obsessive love. She rock and rolls her way out of a liaison wanted long gone on Get Outta My Dream. Katie kicks the devil out of her drum kit, wails on the harp and slides through Santa Cruz Blues like a woman possessed, ‘suicide blues’, she screams at the haunting memory of evil personified. Another Round has us hanging with the band in the early morning Quarter complete with a horn section and the spirit of Alan Toussaint hovering over her piano. Descriptive lyrics, instrumental journeys, images and melodies that linger all shape Take It With You into a bravo performance.

COLIN CAMPBELL

You do vocal warm-ups in the car? Yes, with the windows rolled up tight.

No, no, roll them down! No, no, never! People would think I was a little bit crazy.

Cool, let them. Musicians are expected to be a bit crazy anyway. Most people will never hear me sing opera, but I go thru all those warm ups then through the belty chest warm ups where I bring it up real high in my chest voice. You know, after exercising the head voice. Unfortunately there are so many singers out there that were never told

how important it is so a lot of them will get vocal nodes and have to take breaks from touring. For me, the more I sing, the stronger it gets. Talking puts more stress on your voice than singing. The first people to get vocal nodes are like gym instructors and public speakers.

With your controlled rage on I Don’t Sing For You and the anger during Get Outta My Dream, I get the sense you’re going chesty on the same dude.

You guessed that right. Get Outta My Dream is about the same guy! I can be stubborn with my memories of

heartbreaks. I hang onto them just long enough to get the songs out. Hah!

Get mad and get even huh?

Ignore my comment about crazy musicians. Moving safely along here, Letters filled me with memories of when snail mail was vital in my life. You’re very skilled at dredging up visuals within your tunes.

Thank you for really listening to my stuff. It means a lot. Letters, it’s about a military couple where one has PTSD and starts drinking too much. The other is trying to have hope in their marriage during this very rough patch. Letters were written between them since it was during the Vietnam War.

It’s right on girl. Why did you title the new CD, Take It With You? Well, there’s so much variety on this record that it needed to be just a separate title, something to sum up everything. I wanted to give the listener an experience and something for the people to remember me by. Something they could take with them.

Thank you for the often vivid images with a lovely soundtrack Katie. It’s been a pleasure getting to know you and your record. I’ll take it with me and will be looking forward to your next Billboard debut.

Absolutely! This was so much fun. Stay in touch.

CHECK OUT WWW.KATIEKNIPP.COM FOR THE LATEST NEWS

“BLUES SINGING HAS ALWAYS BEEN MY THING SINCE I WAS A TEENAGER”

Matty T Wall COMING UP FROM DOWN UNDER

VERBALS: IAIN PATIENCE VISUALS: SEBASTIAN SMITH

MATTY T WALL IS AN AUSTRALIAN BLUES BASED ARTIST WHO HAS NOW RELEASED TWO ALBUMS OF GUITAR DRIVEN ROCKING BLUES, WHILE ISOLATED IN PERTH HIS MUSIC IS STARTING TO CROSS BOUNDARIES

Matty is receiving international recognition for his latest album release, Sidewinder, I was able to pose some questions to him and have his thoughts on his music, the new album and his future hopes.

I reviewed your recent released album Sidewinder for Blues Matters which I found very enjoyable, I noticed it incorporated several genres; do you have a favoured Blues sound?

Well, I seem to be drawn to Texas based sounds, I really don’t know why, maybe it is the groove, the edginess and the attitude, from Freddie King to Albert Collins, SRV, ZZTop, Gary Clark Jr are all my faves when it comes to blues. Outside of these artists, Buddy Guy, Robert Cray and Gary Moore are others I listen to a lot.

Who inspired you to play the Blues? Gary Moore. When I was

younger I was into Metallica, ACDC, Joe Satriani etc, then along comes this guy ripping incredibly passionate blues runs with this heavy guitar sound. That got me hooked. I have done plenty of listening to Eric Clapton too, and then delved back into the Buddy Guys, Robert Cray, Albert Collins etc to find the source material.

You covered Jimi Hendrix’s Voodoo Chile on your debut album Blue Skies, was he also an inspiration? Hendrix was the Coltrane of the guitar, so yes, hard not to be an inspiration. The Band Of Gypsies album in particular. I really liked what

he did with Voodoo Chile, a slow blues song taken into the future

On your album you did a cracking version of Going Down originally written by Don Nix, whose version inspired you to record this song?

I’ve only really liked Freddie Kings take on this song, so my idea was to take the vibe he was able to achieve, then impart it with the background I had in playing heavy metal, make it big, loud bombastic etc. It turned out real well

What has been the press and fan reaction to your Album? The reaction to Sidewinder has been very positive; I really did not expect so many great reviews to come flooding in, from all over the world, from small publications to large. It has been almost overwhelming.

What touring have you done to support the album?

I have toured my home country, Australia, for the Sidewinder album and it has gone very well. I am really itching to get over to the UK, Europe and the USA as soon as I can. I suppose it would be a dream of any musician to tour internationally.

Is your touring band the same musicians who appeared on the album, namely Ric Whittle & Stephen Walker?

Yes, indeed I’m learning to not take myself too seriously and just do my best to connect with the song and the audience – and this one does it in spades. Ric is freaking incredible, I gotta say. He has spent many years touring with Dave Hole and Vdelli and knows his stuff.

Do you enjoy playing in a Trio?

Definitely. I like space and I like when a rhythm section can follow and build with what I am doing on the guitar and vocals. A trio seems to be able to nail the versatility needed for true improvisation.

What is the current Blues/Rock scene like in Australia, particularly Perth?

Australia is having somewhat of resurgence in 60s blues at the moment that is really kinda cool. Melbourne would be the capital of that, there are bands playing everywhere, every night – the scene is killer.

Apparently Melbourne is now the top live music city in the world – so things are really pumping down here. Perth is a lot smaller and a bit more sleepy, but since it is so

isolated, it has a very unique music scene, a great deal of experimentation and new sounds here.

Has any of your music been nominated for Blues Awards in Australia

Quite a few nominations from the West Australian Music awards for the last 3 years running which has been a great achievement so far.

I have seen reference to you studying Jazz earlier in your career?

Really it was self-taught jazz, which really did my head in at the time. Eventually I got good enough at it to do solo jazz gigs. I would take popular songs from artists like Fleetwood Mac, Police, Dire Straits etc and turn them into solo jazz guitar pieces. It

was quite fun at the time, but I didn’t write any of these arrangements out, so they are now all lost in the ether.

. Australia has produced some excellent international musicians and bands over the past couple of decades are there any in particular that were inspirational?

Because I am from Perth, Dave Hole would have to be the most inspirational. The fact that from the most isolated large city on the planet, he ended up becoming the first non-American to be signed to the famous Alligator Records label, then proceeded to conquer the blues world. If that isn’t inspirational to a blues artist, I don’t know what is!

Do you have any particular career aspirations?

Touring internationally is right up there, along with doing some big major festivals, like the Big Blues Bender in Las Vegas would be awesome.

Where do you see your music taking you?

Other than Australia, the next biggest group of fans are in the USA, UK, Germany, Europe and the USA will be seeing me soon hopefully.

Do you feel restricted being based in Australia?

It’s not so much Australia, but being in Perth. It costs $500 per person more to fly from Perth to the major cities than any other city in Australia, so touring can be expensive. We are literally 4000kms away from the major cities.

I suppose that does mean

that if you want to tour, you really need to bring your A-game, so that extra motivation helps to hone the live show. There are positives and negatives. Travelling internationally can be tricky to do also – Europe and the US are on the other side of the planet!

Has the Record Company ‘Hipsterdumpster’ agreed for you to release a further album? Well, Hipsterdumpster Records is me! It’s just a label I made for tax reasons, so I’m sure there will be plenty more albums to come. I’m 100% self-funded, which can be tough sometimes, but I seem to be getting the hang of it now.

What do you consider to be your strengths?

That has been slowly changing. It used to be that my strength was guitar, but I am finding out that my strength really is song writing, including rearranging cover songs in interesting ways.

I have also been working to improve my vocal chops, too, so all of that is coming together more and more every day. Sometimes I consider myself a singer first and sometimes a guitarist, it can change day to day, depending on the shape that my voice is in, or how much practice I did on the guitar the previous day.

What guitars do you play and do you have a favourite?

I’ve got a bunch of guitars, but my number 1 for a many

years has been a particularly road-worn (I’ve done most of that!!) 1961 Les Paul (SG) Custom that I picked up in New York. These days it is becoming far too expensive to tour with or take on the road – they seem as rare as hen’s teeth and the prices of them don’t stop going up. In the studio, I have used many different guitars; I think there were a total of 12 guitars used on the first album alone!

Right now I am favouring a 1982 Gibson Korina Flying V, quite a rare model, but it has a killer sound. The original 1959 versions of these flying Vs are more expensive than a good 1959 Les Paul and sound remarkably similar. I can’t afford a 59, so I’ll take the next best thing, when Gibson remade these in the early 80s.

Sidewinder is your second album following your debut Blue Skies in 2016, was this your first professional recording?

I have done recordings with heavy metal bands and rock bands prior, but yes, this was my first official release (Blue Skies 2016). In fact, when I was 16, my heavy metal band

“I’M LEARNING TO NOT TAKE MYSELF TOO SERIOUSLY AND JUST DO MY BEST TO CONNECT WITH THE SONG”

won a recording session in a local band competition – that was my first encounter with recording studios – I’ve been in love with them ever since!

When did you start playing live were you in a band or played solo? I started playing live when I was about 14 or 15 years old. Playing hard rock and heavy metal in party bands. I only became a singer reluctantly, since we couldn’t find other singers that worked, and also I was a huge James Hetfield (Metallica) fan. That quickly changed to becoming an up and coming

metal band in the Perth music scene, but then the band drifted apart.

I was scouring you on the internet and came across a session you did at the Melbourne Guitar Show in 2017, I bet that was fun. Did you ‘rip it up’?

Ha,ha, I was a bit worse for wear with that show, since we had a huge gig the night before after a TV appearance the day before. I put a lot of pressure on myself that day and may have overplayed a little! Ha,ha. These days I’m learning to not take myself too seriously and just do my best

to connect with the song and the audience.

What are your interests outside of your music?

If I wasn’t doing music, I would be a doctor, specialising in natural alternative treatments. I’ve been interested in that stuff since I left school and got into fighting sports (Thai Boxing). I still study new health breakthroughs when I get the chance; I’m still interested.

CHECK OUT WWW.MATTYTWALL.COM FOR THE LATEST NEWS

“HENDRIX WAS THE COLTRANE OF THE GUITAR, SO YES, HARD NOT TO BE AN INSPIRATION”

Kai Strauss

THERE WAS NEVER A PLAN B!

THE GERMAN BLUES GUITARIST AND SINGER IS PROBABLY STILL A STRANGER TO THE BLUES WORLD FOR MANY READERS...

Yet he has been around for a long time, he played in the Memo Gonzales Band for fifteen years and got that band together himself. In the year 2011 he started his own band, Kai Strauss & The Electric Blues Allstars. Live, this man’s guitar work is explosive, as noted on his newest release, Live In Concert. Here, Blues Matters caught up with him and chatted about various topics including his influences and career. It went something like this…

Thanks for taking time out to talk to Blues Matters, where are you today?

At home in my basement! My messy office in a small town called Lengerich near Dortmund; it’s a working class town.

You’ve just finished touring, that’s right; you enjoy touring? That’s right not with my own band though, with some friends from France, a good harmonica player and piano player from Spain. We backed up Steve Guyger the

harmonica player, four weeks on the road! I love touring. I have a wife and two daughters but so far I manage a good balance. But when I’m on the road I miss my family. When I’m at home I miss being on the road.

How often do you go touring?

Long tours of over a fortnight, about twice a year. Usually I play at weekends. I have regular local gigs during the week. We have two really good blues jam sessions locally. In Osnabruck, this is one of the

oldest blues jam sessions in Germany, weekly for about thirty years. I play in the house band every Monday night. There’s one in Munster and that is on a Tuesday and been going fifteen years I think. I play still with Memo Gonzalez in the house band there. He lives in Germany.

You got the Memo Gonzalez Band together?

Yes, in the late eighties, the line up changed. I wasn’t good at doing bookings back then. We started playing with Memo in ’95. The idea was he would stay for a year but then he stayed in Germany ever since. We were relatively famous then and had a good time for a blues band that is.

How would you define success?

I’m able to pay my bills with what I love to do. Luckily, I can pay my bills. Booking and managing is my day job. I’m a

VER B ALS: COLIN CAMPBELL VISUALS: MANFRED POLLERT / KARO ACHTENG

one man company. I like being my own boss, I don’t have to ask people. I get things done faster than with other bands I played in before, a big plus!

What made you choose blues music as a genre?

I started when I was ten years old. I bought the record Giants Of Rock And Roll. Chuck Berry, Little Richard and Fats Domino were on that. I saw the advert on

television; I spent all my pocket money on that! I started listening to fifties classic rock and roll. When I was ten that kind of music was only thirty years old. Like being ten now and listening to Nirvana. It wasn’t a long way from the blues.

My father had John Mayall’s Turning Point, I went through his record collection. One day he came home with Albert King’s New Orleans

Heat, I fell in love with that. I played it a hundred times more than he ever did! I was playing acoustic guitar then, some Cat Stevens and Beatles, just playing chords.

Did you get guitar lessons?

Yes I played acoustic from ten to fourteen years old. Our teacher never taught us to play by sheet music; he showed us chords and finger picking. I got my first electric guitar at fourteen. Then got into Stevie Ray Vaughn and those guys. I got more interested in guitar playing then. What was your first electric guitar? Fender Stratocaster copy,

“I TRY TO PLAY IN THE MOOD OF THE SONG. I DON’T JUST CHOOSE ONE SONG TO SHOW OFF SOME LICKS”

a cheap one found in the classified ads, it cost about 100 marks. It looks like the one I play now. Had to get rid of it - have only three guitars I would keep, they are only tools. My mother, when I was four, took me to an early music school. She thought it would be good to try to play music, that’s where it started. I played the flute first in preschool.

When I was ten, the flute wasn’t cool enough so my mother bought an Elvis Presley record, he looked cool on the cover with his guitar, so I wanted to play the guitar and look like Elvis! Then I got a group together. My mother was the reason I got into music. I might have been a truck driver otherwise! She pushed the right button!

When did you make your first album, how did that come about? My first album with Memo Gonzalez, came out in ’96. Let’s All Get Drunk And Get Tattooed was the first official one I am on.

Talk about your new band?

I started this band in 2014 and went back to playing pure blues, a five-piece band. Alex Lex on drums, Kevin DuVernay on bass guitar, from Seattle. Thomas Feldmann who was also in the Bluescasters with Memo plays sax and harmonica and Nico Dreier on organ. It’s hard to make a living playing in just one band especially for a sideman, I have two piano players sometimes. The more I play the less they have to develop things!

Tell us about some blues styles you like.

When I started getting deep into blues music, I chose Texas blues, T Bone Walker, Freddie King. I love that style, leave a little space at the right

moment. In past few years I listen to sixties and seventies blues, always been a big Albert King fan though!. Not into technical players. I want a feeling to come across.

On your new Live album, it seems very emotionally charged. Want to say something about that? Loving the instrumental Shades Of Earl, how did that come about? I try to play in the mood of the song. I don’t just choose one song to show off some licks. All the songs were recorded during three concerts in 2018. We picked some nice clubs we liked and the engineer mixed it up.

The sound is really good. We have our sound and it’s well produced. I spent most my money on producing this. Other guys go to the pub every night. I like to make good Cd’s! It’s a question of good luck I don’t have the budget to record a whole tour. The songs are all in our repertoire. We have our own favourites. I like Highway Blues. I like playing original music, it’s a great feeling writing a song and playing it live. Hard Life is a favourite since I can play a long, slow minor blues solo, we captured a good version. If I could sing like Little Milton I would play slow blues all the time! I’m in my prime to sing the blues! Shades Of Earl is more or less inspired by Earl Hooker’s Blues In D Natural. Instead of playing that, I wrote an instrumental in that style for Earl Hooker and Ronnie Earl a particular influence. I don’t want to sound like somebody else, I mix my influences.

Your sound is very eclectic; the horn section really adds power. I always had horns on my studio albums. Sax Gordon

KAI STRAUSS & THE ELECTRIC BLUES ALL STARS LIVE IN CONCERT

Continental Record Services

Well when you get liner notes written by no less than the blues guitar legend, Otis Grand you just know the product has to be majorly good. Well this is high energy top quality electric blues as it should be, from the heart and with punches of feelings and emotions. Hard to believe this man is a blues player from Germany and not from either Chicago or Memphis, he plays guitar so sweetly and has a vocal range to suit all styles. The band is terrific also and has a great rhythm section with Alex Lex on drums, Nico Dreier on piano, joining Kevin DuVermay on saxophone, Thomas Feldmann is the bass man, and Kai in a tour de force of blues styles.

This double album of fourteen tracks covering three nights in their favourite clubs encapsulates the full sound. Kai just knows how to play and to be honest to himself and his audience. He instinctively knows what chords to go with and what solos, he is a complete frontman. There are so many good tunes to choose from, the opener Gotta Let You Go has a Texas twang mixed with Chicago harmonica playing. Highway Blues is an undoubted highlight with a huge nod to influences such as Albert King without being a copycat, he brings his own feel to the tune, the music flows and the melody is sweet and slow. Hard Life is driven by horns and Kai’s singing is full of passion. Get The Ball Rolling, has a house rocking feel.

The Blues Is Handmade has a real funky vibe, again punctuated by great musicianship and solid vocals. Let Me Love You Baby is another crowd-pleasing Texan shuffle exhibiting some great guitar technique. The final instrumental is wonderful. Shades Of Earl is a homage to the influential Ronnie Earl and Earl Hooker. So, grab them when they are on tour near you, you will not be disappointed. A brilliant release..

COLIN CAMPBELL

Beadle does the arrangements. I was introduced to him by an American harmonica player. I wanted to have a horn section on my Electric Blues album , there are some T Bone Walker covers on that. Sax Gordon is one of the best sax players. I send him my songs he puts his part to it, I love the sound of a horn section. I would like to play a live tour with a horn section. I think style does not necessarily come from variety, style means to reduce yourself to what you like the most. I play the songs I like. Live it is entertaining for the audience. We have a little soul blues and shuffles, we have a good variety.

What’s the best advice musically you have had?

Standing next to Memo Gonzalez for fifteen years, taught me not to be shy and be self-confident. Most important thing is to keep on doing what you love to do and not change your style for commercial reasons, that’s bullshit. I won’t play through a distortion channel! I’m happy playing the way I do. I first, play for myself. I’m happy if the audience like a gig but if I don’t think it is good then it doesn’t help me. I love when people like what we do.

What kind of audiences do you get?

90% men of forty and older! I blame young people for not coming.

How do you reach a younger audience?

I think blues or noncommercial music is kept out of the main media. If you’re not going

out there looking for it, no kid is getting introduced to it by commercial radio. That’s why they don’t know about it. When you’ve never had a good steak, you have no idea how a good steak tastes like. I think it’s a plan not to show you what is good food!.

They say on the radio that is what people want to hear but I think that’s wrong, they play what they want us to hear and buy. That’s why young people don’t listen. If you listen to pop music then hear Muddy Waters or Lurrie Bell it’s too strong for you! I always tell my kids to listen to a song until the end, it’s like a painting, and the song is a piece of art. In outdoor gigs and festivals, families come, some like listening to live music including blues but they need more chance to listen to it.

It’s our generation, those between thirty and sixty who make the smartphones and tv programmes that feed this bullshit to them, it’s not them they have no choice! Me, being a musician to my kids in past three years recognise it’s an unusual profession. But until other people told them this was different. They seem to like the blues when they come to see me but they wouldn’t put on a blues record. Some of their friends follow me on Instagram!

You got any venues you really enjoy playing?

I like playing in front of people who want to hear blues. I don’t like free events. You can tell a blues or roots audience. I like Clubs, if the room sounds

good that’s fine. The old blues clubs are what keep the music going.

Describe your music to someone who has never heard of you before. If the person knows blues music then I play American style blues music with the guitar and voice being the main instruments.

I play timeless blues, I don’t follow fashion. I don’t want to sound retro, I live in 2019 not 1953. I live for today. I love the albums like Anson Funderburgh and Sam Myers of the eighties. It’s hard to describe your own music. I am influenced all the time by American players. I was too young to be brought up on the British blues stuff. From Muddy Waters to Robert Cray I suppose!

What’s the strangest thing that’s happened to you on stage? I fell on stage once, wasn’t even drunk. I stumbled over a cable. Luckily not too many strange things have happened! Pretty boring answer, oh we had a naked man in an audience dancing at our concert about ten years ago.

We love good music and good food. Music is my hobby and my job that’s what I do. I’m collecting ideas for lyrics always. It can start with an idea on the guitar or a song I’ve heard. I use a classic Ipod on shuffle and that’s good inspiration when I haven’t heard a song for a while. I like to stay in the tradition of blues writing. Today, some people make it too complicated, and they think it’s boring to play

just a shuffle. I think if you have a good shuffle and okay lyrics that’s fine. It can be a simple song.Simple but good that’s what I’m aiming for.

What about the future?

It’s good when I think of the way things are going. In five years, we have climbed up the ladder. It has paid off working on new material. Next year we come to the UK, Romania, France. Other than that I just want to keep it this way for twenty or thirty years. I just want to play blues as good as I can!

If you were not a musician what would you be?

My parents worried when my love for music was too much. I studied for two years teaching but didn’t finish education. It’s good to take care of things, I don’t Have a plan B.Plan A was always to play music. I like doing creative things I would work in a simple job. I wanted to be a truck driver when I was a kid. I kind of became one, just the truck isn’t that big yet. The most important thing is to keep healthy. I’m not planning on retiring when I’m sixty five. That will be the saddest day when I retire.

Well thanks, it’s been a pleasure talking to you and hopefully will see you next year when you come to the UK, good luck. We’ll make it happen!

“IF YOU LISTEN TO POP MUSIC THEN HEAR MUDDY WATERS OR LURRIE BELL IT’S TOO STRONG FOR YOU!”

Duke Robillard

‘‘When I write a song, I never know what’s gonna come first’’

DUKE ROBILLARD PRESENTS THE BEST CASE AGAINST BLUES TRADITIONALISTS WHO REFUTE THE VALUE OF ARTISTS WHO PLAY ALL SIDES OF THE FENCE FOR INSPIRATION –TRADITIONAL VS. CONTEMPORARY SONGS, ROCK AND ROLL VS. DELTA BLUES, EARLY JAZZ AGAINST NEW ORLEANS R&B, ETC., ETC., ETC.

On one hand he got his start in the traditional blues band Roomful of Blues, but he’s also toured with Dylan, produced Tom Waits, replaced Jimmie Vaughan in The Fabulous Thunderbirds and has taken home the Best Guitarist Blues Music Award four times. His latest album Ear Worms features an instrumental version of “Careless Love” inspired by early rock guitarist Duane Eddy without Bessie Smith’s cautionary lyrics.

He covers Bob Dylan’s “I’m A Lonesome Hobo” but admits his favorite cut on his latest album is “Rawhide,” a 1959 primal rock instrumental hit by Link Wray.

“When I was six or seven, my brother had a band of friends that didn’t really gig,

but they would rehearse and jam at our house, and my brother would play some of those Link Wray songs. So, I got very inspired by those records because he would have the 45s, and I remember, not “Rawhide” but “Rumble,” the other big Link Wray tune. (My

brother) would play “Rumble,” and he didn’t have a vibrato on his amplifier. So, he used to have me turn the volume control really fast so it would sound like he had a vibrato when he would play it with his friends. If I slowed down, he would give me a little kick. I always said that was my introduction to rock and roll. That was my first gig, being a human vibrato.”

Robillard builds songs like an Erector Set. He joins disparate parts together to create a merry go round of sound. But whereas Erector Set parts are all sharp edges that point and poke, his genius is that he hones each

VERBALS: DON WILCOCK VISUALS: DAVID LEE BLACK

ROBILLARD BUILDS SONGS LIKE AN ERECTOR SET. HE JOINS DISPARATE PARTS TOGETHER TO CREATE A MERRY GO ROUND OF SOUND

of his parts or influences into a smooth delivery where the whole is more than the sum of its parts. Ear Worms is his personal juke box full of his favorite songs, some 50 or even a hundred years old. He has a pocket full of quarters that allow him to play whatever he wants.

“I guess I listened to things with production in mind when I was a kid. I just naturally wondered what they did to make things sound like that, you know? I wanted to learn to get the feel of so many different guitar players’ music because I’m first of all, a fan. So, I’ve wanted to learn to play like T Bone Walker.

I’ve

wanted to learn to play like Johnny Guitar Watson and make it feel like you were listening to them and every guitar player that I love, and there are hundreds of them.

“This has just been something I do for the love of the true styles and the love of the music. So, after I learned how to do that, I’m able to switch hats very easily to do what is appropriate for the song. And I do have my own style and my own way of playing in certain genres in a kind of a blues, R&B, jump swing kind of a way.”

He’s also an abstract painter and draws parallels between his art work and his music. “A lot of people think (my paintings) are musical for some reason. I don’t know, I think all arts are related in some way. I know one thing. Because I paint abstractly, that it’s very improvisational. I rarely start off with an actual theme in mind, and as I blend

different colors, it all comes together in my mind as I’m going along.”

He makes music the same way. “When I write a song, I never know what’s gonna come first. It could be a riff or a rhythm. It could be a melody. It could be a lyric. It’s not always the same thing. I don’t have a formula. Basically, the formula is follow your inspiration, your muse.”

DUKE’S CAREER OF accolades grew on a bell curve. It took a while before people in and out of the industry caught on to what he’s about. “From the beginning I was kind of hard to peg. I mean the 12 years I spent in Roomful of Blues I was easy to peg, but when I left Roomful of Blues I was kinda rootsy rock and roll and blues, and so they didn’t know what to do with me or how to categorize me because I kept changing, but it was not that I was changing. It’s that my music incorporates all those different things.

“So, I think it took people a while to understand and accept that I wasn’t just one thing. I wasn’t a blues man changing his mind. I really actually played all those things authentically and loved all that music. So, I think that’s why it took me quite a while to catch on that way.”

“Every Day I Have to Cry Some” on the new album has been an ear worm in Robillard’s head for 55 years. His version features to the vocals of Sunny Crownover and Julie Grant. “I love that tune. It’s a tune I heard Dusty Springfield sing when I was a kid, and then I met the woman who also recorded it, an English pop singer named Julie Grant. She had a hit with it in England, but it didn’t make it over to the states, but I liked her version even better.

She was 17 when she cut that.

“So, I met her. She actually became a booking agent and used to book me at one of the casinos. When I realized who she was, I asked her if she’d sing on the record, and she was hesitant because she hadn’t sung in about 10 years, but she did, and it came out great, and it was a lot of fun to remake that British ’60s pop sound with all that reverb and the big drum sound that was just so much fun. I loved it.”

Robillard put his experience as a producer to work on “Yellow Moon,” a 1980s Neville Brothers song originally produced by Don Was. It was not one of the ear worms stuck in his head.

“We recorded that particular tune because I was looking for some of the guys in my band to do some vocals, and my drummer has sung that a bunch with different groups he worked with when they were playing New Orleans music. It wasn’t a song I was very familiar with, but I listened to it by the Neville Brothers, and then I just kind of put my own thing on the guitar playing which is very different for me because it’s almost like a straight kind of bluesy rock playing which is different for me, and I took my own approach to the guitar arranging and playing in that particular song.”

Great artists can a song and make you feel like you’re hearing an old saw for the first time. You might even forget who did the original. Duke Robillard owns the songs he covers. He may have brought Julie Grant in for her flavor on “Every Day I Have to Cry Some,” but from that point on he took control of the song. “It’s like a Tony Hatch kind of British 1965 wall of sound.

(Note: Tony Hatch wrote The Searchers’ “Needles and Pins,” Petula Clark’s “Downtown” and produced hundreds of acts).

I tried to keep the essence of that in there because if we recorded it or mixed it in a contemporary way, it wouldn’t really work. You have to retain the sound of the big open bass drum and reverb and then hand clasps and everything.

“It’s all part of the sound. It’s all what attracted me to all these different sounds when I was young. I guess I listened to things with production in mind when I was a kid. I just naturally wondered what they did to make things sound like that, you know?”

FOR FURTHER INFORMATION SEE WEBSITE; WWW.DUKEROBILLARD.COM

DISCOGRAPHY RECENT RELEASES:

...& His Dames of Rhythm 2017

Blues Full Circle 2016

The Acoustic Blues & Roots of... 2015

Calling All Blues 2014

Independently Blue 2013

Low Down and Tore Up 2011

Wobble Walkin 2011

Passport to the Blues 2010

Josh Smith

BORN UNDER A BLUES SIGN

IF YOU’VE BEEN A REGULAR VISITOR TO THE BRISTOL BLUES AND JAZZ FESTIVAL OVER THE YEARS YOU WILL HAVE NOTICED JUST HOW MUCH IT’S CHANGED. THIS YEAR WAS NO DIFFERENT WITH AN INCREASE IN SIZE AND PLENTY TO INTEREST ATTENDING BLUES FANS. THE LINE-UP INCLUDED SEVERAL INNOVATIVE ARTISTS VISITING THE FESTIVAL FOR THE FIRST TIME.... ONE SUCH ARTIST WAS THE MUCH-RESPECTED

AMERICAN BLUES FUSION GUITARIST JOSH SMITH

Smith was visiting Bristol as part of his extended European tour. Nothing in life can afford to stand still and whilst we may feel the need to identify in the music of a past generation we should always be encouraged by innovation. By change and invention the music stays fresh and reaches out to a new generation of Blues fans.

It was therefore interesting to watch Josh Smith live and to have a chance to get his views on all things music and to discuss where he see’s Blues progressing to in the future. Firstly, I have a confession to make, as a guitarist myself I’m a bit of Josh Smith fan.

Perhaps all the more so after sitting in on Smith’s guitar master class, which he gave to a small collection of fans immediately after playing

his live set in the main Anson Room.

The first thing that strikes you about this likable guitarist is just how driven he is in his endeavor to explore new ways of playing expressive Blues. His ability to reach out beyond the boundaries of other artists is in part due to his early exposure to other genres of music, namely Jazz and country. His interest in the Jazz greats of the past and

present has molded the way he plays, always looking for new ideas for phrasing within his licks, whilst Country music helped in defining his hybrid picking style that makes his playing so fluent.

Considering his prodigious talent, Smith was given his first guitar at the age of three and by the age of six was taking guitar lessons; one would have expected that he had been exposed to music at a young age by musically adept parents, yet this isn’t the case. Whilst both of Josh’s parents have a deep love of music and supported his early career, neither are involved in music as professional musicians. Having been exposed to Blues at an early age, listening to artists such as Muddy

VERBALS: SHAUN FREKE VISUALS: C/O JOSHSMITHGUITAR.COM

Waters, B.B. King, Albert King and T-Bone Walker, by the age of twelve Josh had progressed to such an extent that he had begun to play with established artist at the Musicians Exchange, often being invited to jam on stage.

By the age of fourteen Smith had released his first CD, ‘Born under a Blues sign’ which was quickly followed up by ‘Woodsheddin’. After graduating in 1997 as an Honour Student Smith decided to take up music as a full time professional. Astutely he enlisted the assistance of World renowned producer Jim Gaines, who had previous produced for artists such as Carlos Santana and Stevie Ray Vaughan, to produce his third album ‘Too Damn Cold’, which was rightly critically acclaimed. By 1998 Smith had completed four national tours and supported BB King on a number of theatre dates.

OTHER SUCCESSFUL

albums quickly followed but despite this Smith felt the need to expand the boundaries of his playing and looked outside of Blues to get inspiration.

At this time Josh Smith was gaining notoriety amongst his peers for his playing skills and often employed in the role of sideman and hired gun.

“Although by now I could play just about anything Stevie Ray Vaughan could play, I realized I needed to move out of the shadows and define my own style if I wanted to progress to the next level”

With an interest in Jazz it was perhaps natural that Josh Smith turned to Jazz greats

to look for inspiration. Whilst Country great Danny Gatton, himself an exponent of fusion music, provided Josh with the hybrid picking technique that has allowed him to explore and push his playing to new levels.

Whilst Smith recognises the need to move forward he also feels the need to honour the traditional roots of Blues.

“The Blues audience is incredibly good at preserving history, but not so receptive to new ideas. It’s a balancing act to move forward and not alienate the fans. That sometimes causes stagnation in growth, that’s what I see happening right now. All I can do is be the best I can be whilst staying true to myself”

“I’m not trying to copy my heroes, but sometimes Blues

fans want to hear what they know, often to the detriment of the music”

Listening to Josh Smith it’s not difficult to recognise that along with a handful of other young Bluesmen he sits at the vanguard of a new generation of guitarists who are keen not just to honour their roots but to explore new ways to express themselves through innovative playing.

Whilst we have artists like Josh Smith it’s hard not to see a bright future for Blues.

FOR FURTHER INFORMATION SEE WEBSITE; WWW.JOSHSMITHGUITAR.COM

THE BRISTOL JAZZ & BLUES FESTIVAL

The Bristol International Jazz and Blues features a diverse and engaging programme together for all to enjoy every March. The festival takes place in various venues across the city, all within easy reach. For more information, go to www.bristoljazzandbluesfest.com

“I’M NOT TRYING TO COPY MY HEROES, BUT SOMETIMES BLUES FANS WANT TO HEAR WHAT THEY KNOW”

THE BEST BLUES REVIEWS GUIDE – ACCEPT NO SUBSTITUTE!

REBECCA DOWNES MORE SINNER THAN SAINT

Mad Hat Records

Following critical acclaim for her two previous studio albums

Rebecca Downes has continued her evolution towards rock. This album showcases her powerful, gutsy vocals and places them firmly in a rock setting courtesy of producer Chris Kimsey who has worked with The Rolling Stones. Opening track Take Me

Higher sets the scene with fiery guitar riffs, crashing drums and of course Rebecca’s voice taking the song to formidable heights.

Chains Fall Down is a little more melodic and restrained with Rebecca showing she also has greater range and depth than anything she’s done before. The material is all co-written by Rebecca with guitarist Steve Birkett and Screaming Your Name is a powerhouse ballad which features Rick Benton on keys and builds in intensity with Rebecca’s emotive vocals. Hurts is a thumping blues-rocker but the tempo drops for the sultry Breath Out featuring a sparkling solo from guest lead guitarist Tony Clarkin (Magnum).

Title track More Sinner

Than Saint is a big production soul belter which opens with Hammond organ and piano from Rick Benton and features a soaring vocal from Rebecca backed up by multi-layered guitars and keys. The thumping If I Go To Sleep features a guest spot from Alan Nimmo with a typically sturdy guitar solo.

The thunderous Big Sky takes off into the stratosphere but the slightly more restrained In Reverse leads us into the closing track With Me. This closer finds Rebecca initially calling her lover softly towards her but hots up as her pleas become more strident and imploring. This powerful album should certainly move Rebecca Downes towards a more mainstream rock audience and increase her profile further.

DAVE DRURY

KEL ASSOUF BLACK TENERE

Glitterbeat

Kel Assouf are a power trio but before you start to imagine bands of the ilk of Cream and ZZ Top these guys are using their Nigerian roots to create a traditional Ishumar sound incorporating 1970’s rock with some Trance thrown in for good measure, the results are scintillating, it is a real crossover with the authentic African roots sound to the fore but instead of the traditional supporting instruments you have a Gibson Flying V, Hammond Organ and Drums transforming the sound into driving rock.

The band are all currently based in Belgium although the album was recorded in Sweden by the band’s Keyboardist Sofyann Ben Youssef, the other members are Drummer Oliver Penu and Guitarist Anana Ag Haroun, there are nine songs on the album all written by the band members, the titles of the songs and associated lyrics mean nothing to me but I believe

they cover the struggles of the nomadic peoples probably not to dissimilar to how the original American Blues music started.

While the lyrics cannot be understood by me I did get a strong “sense” for the music through the musicianship and the angst of the vocals, two songs in particular I found inspiring; these were Tamatant which has a soft lead guitar intro that ebbs and flows throughout the song interspersed with some chanting style vocals and the thundering Tenere which certainly takes no prisoners with its intensity created by a very heavy bass organ sound and hypnotic drumming.

This music breaks down cultures, it will be just as appealing to Western Rock fans as it is to the African music purists, there is a constant raw edge to the music but the musicians do experiment particularly guitarist Anana Ag Haroun who uses some distortion to good effect, this is a unique album that is thought provoking and excellent from start to finish.

ADRIAN BLACKLEE

TIFFANY POLLACK & ERIC JOHANSON BLUES IN MY BLOOD

Nola Blue Records

Acclaimed New Orleans jazz Singer Tiffany Pollack, and Whiskey Bayou Records

guitarist Eric Johanson have teamed up to give us Blues In My Blood. Pollack was reunited with her biological family at 25,

discovering that she and Eric were third-generation members of a musical family. The duo have now released a personal family celebration of the blues, with four selected covers and seven originals written or co written by Pollack and Johanson, also contributing is multi award winner Jack Miele who played on, recorded and produced the album at The Music Shed Studios.

Opening with title track Blues In My Blood a swampy blues slide guitar sets the scene as powerful vocals from Pollack recall her life’s story and journey to discover the musical origins that’s always burned at her soul, slowing the pace with Memories To Forget, a wonderful ballad in which Johnny Sansome’s plaintive harmonica coerces wistfully heartfelt vocals from Johanson, Brentt Arcement’s rhythmic drum beat and swirling organ from John Gros drive the funkier Keep It Simple, having previously worked in the mortuary business Pollack delivers a poignant dirge from the perspective of an undertaker in a tribute to fallen solder Michael, with melancholic slide before the 504 Horns join the funeral procession.

My highlight, next is the blues rocker Diamonds On The Crown, next a cover of The Stones No Expectations is played with a low-key country lilt highlighting the vocal harmonies, Pollack’s sultry vocals shine on a cover of Do

Albums REVIEWS

I Move you by Nina Simone with some excellent keys from John Gros and slow driving guitar from Johanson, then Johanson takes over the vocals on the southern rocker Slave Of Tomorrow, a touch of laidback Memphis blues on Get Lost With Me feature a soaring guitar solo,

Joni Mitchell’s River is another beautifully played cover, closing the album with a slow tempo soulful version of the freedom song If I Had A Hammer vocally trading verses as they put the accent on the lyrics an excellent finale to an excellent album.

SHIRL

ALLY VENABLE

TEXAS HONEY

Award winning Ally’s third album recorded when she was only 19 years old takes the new Texas sensation to an even higher level thanks to her collaboration with label owner Thomas Ruf and Lone Star State legendary musician and producer Mike Zito. You have to believe someone of Mike’s stature when he describes Ally as having “the voice of a Blues Angel” who also “pierces the heart with her stinging guitar playing.” The high impact, funky opener Nowhere To Hide sets the scene for a classic power trio performance with Venable’s soaring guitar, Bobby Wallace’s pulsating bass and Elijah Owings’ dynamic percussion. Ally remains strong and gutsy on Broken despite the heartache of an inevitable ending to a relationship.

The title track epitomises the energy and indomitable spirit of a Texas girl reflected in her vocals and guitar work. The slow burning, confessional and poignant Blind To Bad Love is honest to the point of despair as Zito’s strings and backing vocals enhance the atmosphere. However, Ally roars back with Come And Take It as she duels with Eric Gales whilst Wallace and Owings maintain a mesmeric driving rhythm. Stevie Ray Vaughan’s Love Struck Baby moves along at a jaunty pace before the more serious mood of One Sided Misunderstanding raises its head as pain and confusion reign. White Flag is one of the many highlights as it showcases Venable at her meanest and most aggressive, reflected in the distorted vocals and piercing licks. Long Way Home with its infectious chorus has Texas rock written through its centre whilst Running After you maintains the pace, power and passion of the guitar slinger in a song magnificently arranged and skillfully executed. It takes a confident young chanteuse to end an album with the classic Careless Love and make it her own but Ally nails it superbly, her anguished voice and guitar solos confirming exceptional maturity and talent. The good news for UK blues enthusiasts is that there will be a chance to catch up with Ally on the touring Ruf Blues Caravan revue this autumn.

THE BISHOP

SWAMPCANDY MINE

Independent

A fascinating album, not exactly easy to pin down but then that’s no bad thing. Swampcandy are, essentially, two musicians: Reuben Dobbs and Joey Mitchell. Reuben writes most of the songs, plays guitar, sings and handles “things that go bump in the night” while Joey arranges, plays basses and the kick drum. Add to that Gina F Cottey on featured vocals and backing vox and the first WTF moments appear – but more of that shortly. Describing Swampcandy’s music starts out easily. The opening track, JC’s Revenge, is full of thumping drum and hillbilly rhythms, military snare, dark vocals and, hang on, what the heck, Beach Boy-esque harmonies in the break. Weirdly delightful and unexpected at every turn.

Then we find ourselves at track twoand the first real WTF moment comes at you with Party With The Devil with Ms Cottey on lead vocals and the whole thing sounding like a Dan Hicks Western Swing meets Andrews Sisters ditty – it’s wonderful but really not what you are expecting! Holy Rope then takes the music is yet another direction with a string laden number, firmly rooted in folk and baroque and satisfying in a totally different way.

Finally, we find ourselves back in the hillbilly Blues groove of the album opener with San Francisco (the hills of) featuring washboard, handclaps, massive kick drum, banjo. Just as you are settling in and thinking you have a handle on Swampcandy they then throw in Red Shoes which takes us back to the Western Swing thing crossed with pure country in the breakdown. Dead Man Walking is pure punk, an electric attack, and by this time you are utterly confused as to what Swampcandy are – but, strangely, really enjoying the journey. The constant changes

keep on through the rest of the album, even including some moments that feel like Eastern European Klezmer, and it really is all good. The album is wonderful, just don’t expect to get it all on first listen.

ANDY SNIPPER

SNOWY WHITE AND THE WHITE FLAMES THE SITUATION

Snowy white Music

When you have recorded and played with Peter Green, Roger Waters, Pink Floyd and Thin Lizzy it is pretty obvious that you know your way around a guitar, and so Snowy White proves on The Situation. Across the albums 12 tracks, lead guitar, harmony guitar, and funk instrumentals help to show White’s pedigree. Adding in a crack band of musicians such as Max Middleton, Kuma Harada and Richard Bailey means that the right mood is always struck, from the bluesy opener of the title track, the slow fuse build up of This Feeling, or the funky instrumental L.A Skip, there is a lot of musical ground covered here. It is also not just guitar here, White has a pleasingly tuneful voice, with touches of Nils Lofgren to it, whilst his string synth playing helps to add some depth and weight to some of the pieces here.

Blues in my Reflection is a driving, harmony guitar laced song, and Why Do I Still Have The Blues? asks searching questions over aching lead guitar, and keyboards, sounding not unlike his former employers, Pink Floyd. You Can’t Take It

With You is a great slice of jum jive blues, and the instrumental Migration is a slow-paced ballad that allows for plenty of improvisation on guitar and keyboards. The album closer I Can’t Imagine is another slow ballad that builds to a guitar solo of both musical and technical

Ruf Records

skill. This is a fine album, that puts song-craft and mood as being important, whilst also looking at the pieces as a whole. It is one of those albums that does its work over repeated listens, and is well worth the investment.

BEN MCNAIR

“CHICAGO” CARL SNYDER & FRIENDS LOST WORLD BLUES

Independent

Despite working with Jimmy Johnson, Son Seals, Otis Rush and Junior Wells, “Chicago” Carl Snyder is not popularly recognised which just seems a bit unfair. He moved to Pennsylvania in the mid nineties and continues to play blues, jazz and other styles wherever he goes. Lost World Blues is his own label and previously he brought out a mainly piano based project “Blue Keys”. Here is a retrospective release spanning about twenty years, a thirteen track plus bonus with different lead singers on each track.

He plays on each track in differing guise with a plethora of vocalists and other musicians, recordings encompass two decades of up-tempo rhythm and blues. Dan Noland sings first track, I’d Rather Drink Muddy Water, a fast paced vibe to this with superb horn section. Jimmy Lawrence sings Early In The Morning, pure New Orleans style. Phil Pilorz sings and plays mean guitar on the slow blues number, Long Night In the City smoky lyrics. I See Your Cadillac, has Sonny Carso on lead vocals, this has a country blues tinge.

The Only Thing I Fear has Eric Steckel guesting on guitar and Slim on vocals, great Chicago blues, they also play The Second Time Around. I Don’t Remember sees Mike Mettallia playing harmonica and singing, a cautionary drinking tale, very humorous and catchy. Jean Avery

covers Chick Willis tune Don’t Deceive Me with sultry vocals and great backing group. Searching, finds Billy Sharp on vocals with Larry Burton playing fine guitar solo under the big band sound.

Slip On Outta Sight is stamped in New Orleans flavour Thom Palmer joining in here on vocals. Where I Need To Be has a funky soul tinge vocals are by Christopher Dean. Stormy Monday has a jazzy take, Fredrick Douglas vocals powerful here. Sparky’s Lounge has up-tempo juke joint melodies arranged by singer and guitarist Frank Mirra. There is a bonus track also; The Blues Just Stay The Same, Larry Burton singing and playing guitar, bringing this release to a great finish. There is something here for any blues music listener and worth coming back to reference less popular or well-known musicians. A real upbeat feel, tones and styles are very catchy and overall Carl Snyder is the glue to every song and never overplays his role. A very good eclectic release.

COLIN CAMPBELL

DAVID KING CUSTODIAN

Independent

It would be stretching a point to say that blues has suddenly accumulated a fourth great King after Albert, BB and Freddie, but David King’s second album is of a standard well above the average self-release. It’s all his own work, too, from the songwriting to every note of music on the CD, and even half the production chores. Musically speaking, we are in the territory where Led Zepp III meets the Delta via the acoustic side of Rory Gallagher. Suffice to say, the fingerpicking’ is just fine and the vocals gritty enough to handle the material. The strongest track is Crazy Crow, an everyday tale of a man reduced to drinking whiskey at five o’clock in the morning on account of his woman done left him. It’s built around a nagging insistent minor chord progression that does an efficient job of lodging itself in your consciousness.

Dogs In The Bathtub is a

big slide riff number with a vibe so Zeppelinesque that I was left expecting a massive Bonzo-style drum break to cut in half way through. The Sun Never Rose features one of those fancy minor scales I never quite mastered in guitar lessons, generating something of quasi-psychedelic effect, while Occasional Oblivion gives your man the opportunity to demonstrate his harmonica competence, and Hardliners must be the only blues track ever to favourably namecheck legendary Irish republican James Connolly. King does solo gigs in the Dublin area, and sounds worth checking out.

DAVID OSLER

DADDY LONG LEGS LOWDOWN WAYS

Yep Roc

New York trio Daddy Long Legs have managed to pull off a remarkable feat in that they have taken the Blues, in many ways, right back to basics then

BIG DADDY WILSON - Deep In My Soul RUF 1259

THE BB KING BLUES BAND - The Soul Of The King RUF 1268

TajMahal Joe Louis Walker KennyWayneShepherd MichaelKennyNeal Lee

BOB CORRITORE & FRIENDS

DO THE HIP SHAKE BABY

VIzztone

This is the fourteenth album from top US Harp player Bob Corritore and is comprised of 13 tracks all studio recorded between 2016 to 2018, A quick check of the sleeve notes and there are more than 35 guest artists and other musicians throwing their contribution into the mix. The notes say that you should regard this as a live music dance club (with Go Go dancers!) You get Blues, R’n’B, Rock’n’ Roll and a snatch of country. Once again it is one of those albums that will have you changing your mind as to which is your favourite song with tracks ranging from Gonna Tell Your Mother (2.42 mins) to the more than seven-minute version of Keep The Lord On With You. There is almost certainly something for everyone here, I just wish that I had so many friends to call on!

through Snagglepuss a mean old bag of bones. You’ll find all of life’s rich tapestry within these twelve original tunes. The album closes out with a bit of a call and response in Wrong Side Of The River. Yes, this was certainly an interesting trip with these guys. Strap yourselves in for a wild ride on the wrong side of the tracks.

GRAEME SCOTT

MIGHTY MIKE SCHERMER BAD TATTOO

VIZZTONE

Mighty Mike Schermer is one of those musicians who rather flies under the radar though this is his seventh CD release and anyone who holds down the guitar slot in Marcia Ball’s band is no slouch. On this disc Mike displays a great range of styles covering blues, soul, rock and roll and Tex-Mex rhythms. Recorded at Kid Andersen’s Greaseland studio in California, the sessions include contributions from a host of West Coast musicians. The title track is terrific with amusing lyrics about ill-placed tattoos and a fine solo by Nancy Wright on sax and opener She Won’t Be Coming Back finds Mike regretting the end of a relationship with strong contributions from Nancy on tenor and Eric Bernhardt on baritone sax.

pulled the strands apart before putting them back together again in a different way which still has those base elements of earthy Blues but re-energised with bits of Punk, Rock ‘n’ Roll, Cajun and real low down and dirty street beats. It is an interesting mix for sure. The opening cut Theme From Daddy Long Legs is beyond doubt a chain gang, field holler song transporting you to the

Deep South. This is simply an audible tapestry of hot sweaty, pain and suffering of those unfortunate enough to fall foul of the law or enslaved by others. Throughout vocals are delivered at full shouted volume sitting alongside distorted guitar amps and harmonica over primeval rhythms. Not for the fainthearted this lot. Played throughout with real angry intensity, which I’m

sure if seen live might become a tad much, but that said there is much to commend about this album which I liked. Of course, there has to be love lost or misdirected as in Célaphine, seeking solace in someone else’s bed Back Door Fool or looking for trouble on the streets Bad Neighborhood. Have you got attached to your pet cat? If yes then look away as they blast

Rick Estrin’s harp gives a Jimmy Reed feel to the loping country rhythms of Stop Looking For Love and Aki Kumar’s harp adds an appropriately menacing tone to Baby Down The Well. Mike’s funky riff underpins the attractive groove of Lover’s Hall Of Fame and the mid-paced soul tune I Can’t Let It Go is another winner with Mike’s expressive guitar underpinned by Tony Stead (Tommy Castro) and Jim Pugh (Robert Cray) on keys, soul man Billy Price combining with Kid’s wife Lisa Andersen on the backing vocals.

DAVE STONE

PHOTO: MARJANI VIOLA HAWKINS

LOL GOODMAN BAND

SCRUDDY AND THE HEALING SUN

Right Track Records

Southern rock from a northern town, with one man’s fight against depression replacing sweet home Alabama as the principal lyrical subject matter; it’s fair to say that the fourth studio album from the Manchester-based Lol Goodman Band stands out on several fronts. Of the 15 all original tracks, Scruddy And The Healing Sun’s obvious high point is Grind Me Down, which runs to nine minutes of Allman Brothers-inspired mixolydian riffing, with vocalist/guitarist Goodman making known his defiant determination not to let the you-know-who’s achieve the mission implied in the title.

The extended interplay between guitar, piano, organ and female backing vocals is right up there with anything I’ve heard from a British band in recent decades. Other songs of note include Utopia, built on a chord progression that Pete Townshend would have been proud to have devised, and words that a happy bunny would not have written. Still Got A Place In My Heart is a straight ahead my-woman-left-me rocker that almost qualifies as light relief, while If I Agreed With You We’d Both Be Wrong is a mock 1920s ditty along the lines of Ain’t Nobody’s Business, on which Goodman duets vocally with Jessie Galante. Healing Sun closes the CD by making it clear that Goodman has won his mental health battle, at least for now. Kudos to LGB for exploring a theme that still carries a stigma, and doing so with much musical aplomb.

DAVID OSLER

Suffocating Love is a fine soul-blues with the superb twin guitars of Mike and Chris Cain over swirling organ from Tony Stead and Ain’t That The Way Love Goes? is perhaps Mike’s best vocal of the set as he finds himself falling for another guy’s woman. The driving One Thing Every Day has a genuinely positive lyric and a fine solo from Mike. Hey Francine is a borderflavoured piece of rock and roll while How Much Longer? includes a Farsifa organ that gives the rocking tune a real 60’s sound and Up All Night has a JJ Cale feel, just to demonstrate the range here. Overall a solid CD with lots of good songs, all written by Mike himself with a couple of assists from bass man Steve Ehrmann. Good stuff!

JOHN MITCHELL

HAT FITZ & CARA HAND IT OVER Independent

Hat Fitz & Cara Robinson are back with their new album Hand It Over. Expect to be excited, delighted and thoroughly entertained by the infectious duo across the nine splendid tracks.

The duo from Australia have taken the raw essence of blues and folk and created a sound that intoxicates as the songs explore the road that is life lived to the full savoring the highs and learning from the lows. The album opens with Step Up as we step easily into the vibe that they always bring with a gentleness as the groove grows and deepens. What makes Hat Fitz & Cara stand out from the crowd is the way they impeccably layer the percussive sound that Cara brings to the party along with the guitar of Hat Fitz. Harmonies that swell and fade are the glue that holds the music together whether Cara sings or if the lead vocals are taken over by Hat Fitz as on City Lights. We want to hear some blues with a zinging delivery and that is on

the menu four tracks on with Harbour Master, you will be foot tapping along with them from the first to last note. This is blues that shimmers and sparkles with energy and fluidity. We re-visit the blues with Under Wing and the vibe of ADHD is country folk infused blues. We are in for a real treat with this trio of numbers. We have heard the wonderful electric magnatone guitar manipulated by Hat Fitz now the banjo has an outing with the closing number Unbound. Yes, this is a stupendous duo who are unbound by convention the interchanging of lead vocals keeps your interest and make sure every song is one you take notice of. Nothing fades into the background with music that is blues infused, stepping back into the past and jumping firmly into the here and now with a delivery full of soul and vigour. One for your collection.

LIZ AIKEN

COLD NORTON DEMONS

Independent

The old saying “...do not judge a book by its cover” has once again proved true. This album didn’t inspire as I looked at the CD cover which lacked information, purely a band name, and the accompanying sheet told me very little about the band, so I was left thinking this was just another local band with little to offer.

However, upon playing the album, any forebodings were swept away and for a four-piece who describe their music as “...a mix of Blues, country tinged dark western and soul”, I thoroughly enjoyed their debut album. The focus here is strong songs and tight musicianship as opposed to clichés and long solos. The ten track album, with the majority written by guitarist and vocalist Noel Gander, comprises eight originals plus two radio edits of the tracks and I was delighted

to discover that the music does not follow or outright copy any recognised formula but is definitely unique to them.

There are a multitude of influences within, but they have been used and blended with their own ideas to present a fresh take on the music they love.

Opening with Perfect Storm, Django Rheinhardt is brought to mind, but this quickly segues into a Love Sculpture Sabre Dance sounding style before morphing into a Shadows style instrumental. Vocals hit late on, sounding as if they were sung two studios away, different but effective. The track Demons shows Gander at his best. He is able to replicate several different guitar styles in the one tune, sounding like a Duane Eddy or Eddie Cochran with a fat sounding guitar but then effortlessly producing a metal edged solo at another point.

The band lay back for Lay Down Your Worries, a slow country tinged ballad with beautiful traces of pedal steel sounding guitar in the background. This Essex based band have developed from the previously known NavaCross, with Gary Choules on double bass, Andy Pilgrim on drums and Ian Fulcher on keys and are truly worth a listen.

MERV OSBORNE

OTIS RUSH LIVE IN BOSTON APRIL 1973

RetroWorld

The late West Side Chicago blues singer and guitarist Otis Rush, who died in 2017, never quite got the acclaim he deserved – sure, he was recognised as a huge influence on Eric Clapton, Peter Green, Ronnie Earl, his first release I Can’t Quit You Baby was a bonafida blues classic and was recorded by John Mayall and Led Zeppelin (among others), and Stevie Ray Vaughan named his band after an Otis Rush song.

But Otis was frequently reported as suffering from depression and at a time when Buddy Guy was able to capitalise on his talent, Otis suffered a stroke that meant his touring and recording days were more or less over. More than this though, I saw Otis live several times – he was never poor, and I do recall seeing a particularly excellent gig in a cinema on Tottenham Court Road in London, but he could be inconsistent, seeming a little unsure of his capabilities, and taking his time. This set, recorded for radio broadcast, is one of the better ones. Otis is backed by sax, bass and drums, and the group ease into the show, hitting their stride by track three, a version of the aforementioned I Can’t Quit You Baby, and then they keep it at this high standard throughout. Besides his own classics, Otis also tackles material by BB King, Ike & Tina Turner and James Brown, much as he would have done in a Chicago club, and it is good – very good - to hear him like this.

NORMAN DARWEN

ELLES BAILEY THE ROAD I CALL HOME

Outlaw Music

There must be something special in the water down in Bristol. Unfamiliar with Elles Bailey, when I first played this disk I immediately thought USA; mid-west, maybe even Nashville. Nope. This fine singer, framed here by equally classy musicians and superb production, is British. Her first album, Wildfire, was well received so I regret missing it. The songs are top drawer compositions.

For example, Wild Wild West will stay with you, and Elles as co-writer has been working with some gilt-edged names such as Ivor Novello award winner Roger Cook, Nashville’s Bobby Wood and multiple Grammy winner Dan Auerbach of The

Black Keys. Quality gravitates to quality, and as you work your way through this album, with soaring, meaningful songs such as Deeper and the soulful, bluesy What’s The Matter With You, plus the uplifting Little Piece of Heaven, you’ll realize you are in the presence of an artist on the threshold of a great career. The final track, Light In The Distance is a moving expression of hope underpinned by a terrific solo piano. We’ll be hearing much more of Elles Bailey, because talent like this doesn’t surface every day.

ROY BAINTON

LI’L CHUCK MONO

Independent

Described as a one-man skiffle machine, as soon as you hear the first track you will automatically know why. The album is recorded in a live environment straight from the floor. No overdubs at all. Right By My Side is the opening track and is also going to be the first single off the album. Sadly, few people record like this nowadays but it really works well here. One man one guitar and a harmonica put you in the frame of mind of 1940s type blues.

The studio in which the recording tales place really captures the feel of acoustic blues in all it’s glory. Mono is the title of the album and it’s also the way it is recorded. Backyard Harmonica Boogie is a short instrumental tune that really needs no explanation. An acoustic guitar and harmonica. Simplicity itself.

The album consists of original material and blues standards. Cross Road Blues is probably the best-known blues song of all time. I’ve heard so many versions over the years but this one is refreshingly different. I’m not saying it’s the best version I’ve ever heard but it is different and very well done. In keeping with the structure of

the original it has its own identity which is nice. Crying just goes to show how good Li’l Chuck is in his own right. Melodic and peaceful. And highlighting his prowess as a singer-songwriter while still remaining within the realms of a blues singer. Red Rooster, or Little Red Rooster, as we all know is a blues standard. Willie Dixon Sam Cooke The Rolling Stones to name but a few, have all done versions of it.

But here it is really just stunning vocal stunning harmonica and acoustic guitar that needs no window dressing. Although Li’l Chuck hails from New Zealand and the album was recorded in England you still get the overwhelming feeling of the deep south from whence this tune originated. The Devil Came To See Me is as laid-back blues as you will ever hear. Harmonica and vocals. Sublime. As is the whole album

STEPHEN HARRISON

BRANDON SANTINI THE LONGSHOT

American Showplace

“Brandon Santini’s latest release, The Longshot, from the American Showplace Music label takes listeners on a slight detour from the traditional blues highway he has logged many miles on”. This is a great description from his website of the 36-year-old vocalist & harmonica player’s current album. Brandon lists modern greats such as The Rolling Stones, Tom Petty and The Allman Brothers along with classic greats such as Little Walter, Howlin’ Wolf and Muddy Waters amongst his influences.

Elements from all the above are in evidence on this album, which contains 10 self-penned tracks and a Willie Dixon song. The opener Don’t Come Around Here has a very catchy beat,

which grabs the attention and sets the tone for the rest of the album. The soulful harmonica shows exactly what Brandon can do, not to mention the tuneful yet gravelly vocals. Beggin’ Baby has a slightly more laid-back JJ Cale sound to it, which certainly ain’t a bad thing.

One More Day opens as an acoustic number, which has a more country blues feel to it, but is played with a dogged determination. Drive You Off My Mind is a bluesy driving number, with a great combination of organ and slightly distorted slide, which conjures up visions of straight, dusty highway heading nowhere in particular. Heartbreaker is a riff based bluesy/rock track, which opens in a Stones style and has a fantastic harp solo from Brandon and some great guitarwork from Timo Arthur. Broken Bones is a country Blues track, which shows Brandon’s stylistic versatility. Back To You opens with more great harping played over a steady rocking beat. It’s a touching love song/tribute about being on the road and missing loved ones back home.

My Worried Mind has a driving heavy beat and would make a brilliant opener at a gig. Going Home sounds like Little Walter himself is back in the studio! The Willie Dixon song Evil slows the pace down and the title is reflected in the distorted vocals and haunting harmonica. The final track Somebody’s Gotta Go is a great musical conclusion to a very fine album.

STEVE BANKS

JOHN CEE STANNARD MOVING ON Castiron

Recordings

John Cee Stannard has been a musician for nigh on fifty years tracing his roots back to the early days of English folk rock with Tudor Lodge who have maintained a cult following ever

since. However recent times have seen him writing and recording in a blues idiom with this album being the fifth in six years. Add in a Christmas EP, Tudor Lodge recordings and a novel and he certainly likes to keep himself busy.

After the last few records which had more an acoustic feel he’s decided to return to the sound of his debut, The Doob Doob Album, which had a fuller big band type sound. Musically, it’s quite old fashioned which is fine by me as he and the many musicians who’re helping out seem well invested in his songs.

There are still some folky touches to the material but he’s equally at home with some rolling New Orleans vibes, a touch of funk, a hint of blues rock and even some moments of near crooning. I’m also fond of the fact that there seems to be a very English undercurrent to the record with no pretense or deference to the music’s American roots. It’s largely original material with just the two covers – one a Jimmy Witherspoon song and one from Julia Titus, who I presume is the Berkshire based Bessie Smith interpreter.

My favorites were the two originals about his home town of Reading. Seventeen is a horn driven trip along a Reading bus route and Cemetery Junction celebrates a local road junction. A very enjoyable release indeed.

STUART A HAMILTON

ROBIN BIBI & ALAN GLEN ST. LAWRENCE BLUES

Ashwood Records

As regular readers will know, live recordings are not my favourite item, as there is usually someone trying to get their nanosecond on the tape. This recording though is pure and unspoiled with the audience presumably totally

JONTAVIOUS WILLIS SPECTACULAR CLASS

Kind of Blue

What a fine name, Jontavious! And what an inspiration for blues fans, because this guy is just 22 years old, hails from Greenville, Georgia, and his mentors are none other than Taj Mahal and Keb Mo. This is like all the blues you’ve ever enjoyed rolled into one lively package. Jontavious is a composer and a multiinstrumentalist. Listen to the terrific song The Blues is Dead? and it pumps out the eminence of a dozen major names from past decades. His vocals offer a versatility tailored to fit each carefully crafted song. Blues balladeering, such as Resting on My Mind is just one flavour, followed by the bounce and lyrical bravado of Daddy’s Dough, with a perky harmonica break from Andrew Alli. Among the backing musicians Keb Mo is featured on six tracks. By the time I got to Jon’s Boogie, I was dancing around the kitchen. If you ever had any doubts about the next generation of bluesmen delivering the goods, forget them. Jontavious Willis is the real, youthful deal. As he sings ‘Take me to the country - we can have a real good time’, that’s no idle invitation. You’ll be there with him. Terrific stuff, Jon.

ROY BAINTON

Albums REVIEWS

taken by the quality of the music and the environment with the acoustics of an eleventh century church.

Now there is a venue you don’t really expect to resonate with blues of any description much less the quality on display here. This is the crème de la crème of blues both in terms of harmonica and guitar playing outside of the Delta. Notwithstanding the lyrics which are sung with real visceral feeling, these two artists are experienced bluesmen with Bibi’s list of associated participation with Van Morrison, Ben E. King, Robert Plant, Jimmy Page, Chuck Berry, UB40 and one of my favourites The Pretty Things.

This gives you a marker for the quality of the veteran performer. He’s most assuredly a renowned skilful guitarist who is rated by his contemporaries. This live album opens with dexterous guitar picking and soulful

harmonica accompaniment from Glen before the vocal gifts of Bibi come to the fore with “Hey Mama”. A particular favourite for me was track 4 “Things I Used To Do” as it showed all the attributes of both musicians to their best. That said there really isn’t a track on this gem that I didn’t like, they were all a pleasure to listen to and will add to anyone’s collection. British Blues at its best.

TOM WALKER

THE LACHY DOLEY GROUP MAKE OR BREAK

Independent

This is the fifth album release by the Lachy Doley Group who play a heavy fusion of Soul, Jazz and Blues music, which is driven by Lachy Doley’s crunchy Hammond Organ and a remarkable instrument called a Whammy Clavinet, it is not often you come across a Blues band who do not use an acoustic

or Electric lead guitar but the Hammond more than makes up for it on this album, it is totally dominant.

The opening track A Woman is a funky blues track with some scorching lead guitar sounding solo’s produced by the Hohner D6 Whammy Clavinet, this is followed by one of the more mellow and soulful songs on the album called Cruel Cruel World with Lachy demonstrating his vocal skills on a very catchy song that makes you sing along with the chorus, the real standout though is the slow blues track The Greatest Blues, the three musicians put there heart and soul into the throbbing rhythmic beat that drives the song along. The band are only a three piece but create a full band sound through the use of the Hammond Organ and Whammy Clavinet, I have seen reference to Lachy being recognised as the Jimi Hendrix of the Hammond which is indeed an honour

but listen to his playing on this album and you will see that this suggestion is fully justified, the rhythm section of Joel Burton and Jackie Barnes should not be forgotten as this is very much a band who integrate well together. From a Blues perspective this is a different type of album than the norm but the self written material is very strong and with the instrumentation on show it should make it onto your wants list, you will not be disappointed.

ADRIAN BLACKLEE

STEF PAGLIA NEVER FORGET

Independent

Stef Paglia is a 23-year-old Belgium born musician, picking up the guitar at the age of 12 after his father introduced him to the blues, learning to play from listening to blues records he has always been influenced by the various styles within the genre. Always encouraged by his parents in his musical ambitions,

HOWLIN’ MOJO BONES

the young sixteen year old joined Belgium Blues-rockers The BluesBones, In 2015 he met his girlfriend Iris Teunissen, the driving force and steady rock in his life.

Still together with The BluesBones, Stet expands his musical development with this solo project, an energetic album in his own modern, groovy, blues-rock style, containing nine original songs and one cover. The original tracks are credited to Stef music and Iris lyrics, the story of their life over the last few years turned into songs. Stef is backed by Belgium bass guitarist Geert Schurmans and Canadian Joel Purkes on drums.

The album was produced by Wayne Proctor at superfly studios. Watch Out a radio friendly blues rocker with some nice changes in tempo and guitar riffs start the album, while Take Me Away is a tightly played solid rocker, next comes Freedom, a Hendrix cover which has a good funky groove driving the track along, Death tree starts out as a soulful blues ballad before given a southern rock finish, instrumental Mystery Heaven with its steady rhythmic beat allows Stef to evoke a dreamy atmosphere with some fine slide guitar playing, some thumping drum patterns and rocking guitar riffs drive Twilight a rocker with a hint of prog.

Next the band get down and tight on Dirty Woman a well played blues rocker, With slide guitar riding over the funky beat of Crush On You, The Unknown has a Texas shuffle vibe going on with blistering guitar, closing the album with the ballad Warmth Instead Of Cold where we are treated to melancholic and blistering guitar work from Stef as the song ebbs and flows.

Some finely crafted songs and excellent musicianship make this a very good debut, check it out!

SHIRL

HOWLIN’ MOJO BONES VOODOO

SHE DO Independent

Twelve grooving tracks running for fifty-two minutes on this independently released second CD from ‘these Bones’, and all original material to boot! Coming from the ‘Enfield Delta’ of North East London they sure do pump out some damn good boogie of their own. A thumping, ground out intro to the opening Livin’ The Dream with repeating structure and growly vocal (provided by Howlin’ George Witter) works though to a neat, winding guitar solo of great tone from Steve Crane and all more than ably driven along by the (back)bones supplied by John Baker (drums) and Gus Denton (bass). This lays it out for you, and you just know you are in for a good time on the rest of the album. Good Woman Blues will make you smile with the lyric and part sung part howlin’ words. I wonder did he find that woman? Must ask them when you see them live. The group shuffle into I Want My Life Back which seems to have it’s tongue planted in its cheek. The plain and simple style and sound certainly takes you back to them good ole days of Blues, you can feel it. The title track attacks the speakers with chunky chording, harmonic vocal and is a real foot-tapper, be careful in case it really does put the Voodoo on you. Alive & Kickin’ actually brings you back to modern days when you hear the lyric: ‘I was walking down the street this morning when I got the call on my phone…..’ , old style Blues and mobile phones…think I’d rather leave the phone at home on the shelf. The lyric would indicate that he did too! Slow down on Operator, Operator think pleading, think sad, think desperate as this track moves along and we get a tasteful guitar solo over the constant backbeat, and he never got to speak to her! Get up and boogie for Wild, Wild, Wild as we charge into track ten with some rock’n’roll guitar. Then we’re Chicago Bound and that deep voice tells you what goes down. When you’ve had a good meal you end with coffee and sugar and just like that we end this album with Sweet & Fine. Recommended and make sure you see them near you

TONY ORNOTT

LUCA BURGALASSI ON THE OTHER SIDE OF THE WATER Independent

An absolutely delightful album, softly played, heartfelt and with a sense of gentle humour that pervades the whole piece. Luca Burgalassi originated in Tuscany but the album was recorded in the USA with Tommy Emmanuel’s producer Kim Person at the controls. He crosses between Blues, jazz and even pop and all the songs were written by Bergalassi. He has a gentle voice with a soft Italian accent and his guitar picking is very much in the Jazz vein but songs such as Broken Heart Blues – a duet with Resa Gibbs and featuring Jackie Merrit on harmonica – is absolutely a Blues. May Water Fall is loaded with a

deep melancholy, remembering the attack at the Bataclan in Paris in 2015. When he turns to electric guitar he plays with real detail and his guitar battle with Franco Ceccanti on Minor And Major Change is great fun but, to my ear, he seems more comfortable with his acoustic based music where his clever wordplay and meaningful lyrics can shine.

Blues In My Mind again sees him playing against Franco Ceccanti with Burgalassi doubling up on harmonica. The title track is probably the standout here with his steel stringed acoustic picked beautifully and a sense of wonderment and relief at the crossing to The Other Side Of The Water. A very pleasant album, not exactly a rocker but definitely the sort of album for

playing as the sun drops and the sunset washes the whole world with colour.

ANDY SNIPPER

WILY BO WALKER & E D BRAYSHAW THE ROADS WE RIDE

Mescal Canyon Records

This is the second of a trio of releases starting with the much-acclaimed Moon Over Indigo. It is a very interesting project on many levels as it can be interpreted as a straight musical soundtrack, or even Rock Opera. Thirteen tracks here let the music flow on this stunning double CD. Disc One starts off with Storm Warning. The scene is set for an epic tale of three people, two paths and one story Wily’s vocals are gruff

Albums REVIEWS

and lived in and very expressive, marrying Brayshaw’s searing guitar on the opener Storm Warning. I Want To Know is a slow song with a Carlos Santana tinged guitar feel keeping a dark sinister tone to proceedings. Mood changes on Motel Blues, a more country tinged style with a fuzzy guitar feel.

Fenton Robinson ‘s cover Loan Me A Dime, has tear sodden guitar riffs that are just great. September Red is an optimistic love tune full of soulful notes and backing vocals are fantastic and build up to a gospel haunting creshendo.Killers On The Run sees the bad times coming , this is another epic tune reflecting relationships. Disc two’s first offering is Running Wild and pertains to a killing spree, adding a grungy edge to the music.

Night Of The Hunter was chosen as a single and gets into Wily’s swampy style. Onto the catchy, Tennessee Blues, more soul searching on this one. After The Storm is a punchy, rocky retrospective. The Ballad Of Johnny And Louise has a dark feel to it and the ending is pure blues guitar heaven. The Roads We Ride is the finale with a twist of blues, country and Southern style grooves. There is a very short reprise of Storm Warning as final song. Got to say this is a musical masterpiece by a man at the top of his musical career. There are twists and turns throughout the tale, but it is the music that stands out.

COLIN CAMPBELL

BLUES ARCADIA CARNIVAL OF FOOLS

Independent

Opening track Seven Days

A Week scorches out of the speakers with a funky rhythm guitar swiftly followed by a crashing drumbeat, a wailing rock guitar and a sharp fanfare of horns topped off by impassioned vocals from Alan Boyle. The

soul-infused stomper

Hear

It Now features great guitar work from Chris Harvey, fiery vocals and swaggering horns.

The pace drops for the bluesy power ballad Remedy featuring careworn, beseeching vocals which builds steadily to an emotional climax. Title track Carnival Of Fools is a smooth soul crooner but the punchy Two Wrongs (Don’t Make It Right) rocks steadily featuring a good keyboard solo from Parmis Rose set against wailing trumpets. This album certainly features an eclectic heady mix of soul, funk, rock and blues with touches of Stax/Motown and R&B all wrapped up in a tough setting. Blues Arcadia style themselves as a dirty-soul act. Alan Boyle sings with great passion and interacts well with fiery guitar player Chris Harvey and this pair also wrote all of the material. The boastful I’m Your Man romps along with great brio and swagger and the pretty and dramatic Liars And Thieves is a slice of sweet soul. Pity The Fool is a laid-back, relaxed chunk of funk featuring fine Fender Rhodes piano from Parmis Rose and pleading vocals. The romping Bad Boogaloo does what it says on the tin by throwing in everything including the kitchen sink. The album closes with the blues drenched Good Thing which features jazzy guitar in the intro but builds to a frenzied, nightmarish climax before breaking down entirely. A dramatic ending to an album which shows great quality across a range of styles and one which I enjoyed greatly and can thoroughly recommend.

DAVE DRURY

BIG DADDY WILSON DEEP IN MY SOUL

Ruf

Long story short; poor African American boy from North Carolina joins US Army, gets

posted to Germany, marries local girl, and after several decades on that country’s blues scene, signs with Ruf. And, in the shape of Deep In My Soul, Big Daddy Wilson delivers an album of sweet gospel-inflected soulblues at some distance from the lean and hungry guitar slingers normally associated with that label. Recorded with American musicians in Tennessee – and in the case of some tracks, at no less sacred turf than FAME Studios in Muscle Shoals, Alabama - and with production legend Jim Gaines behind the desk, the result is so southern fried you could almost swear the guy was still living in a shotgun shack.

Opening track, I know is complemented by an immaculate horn arrangement that will bring tears to the eyes of many old school soul buffs, while the two-beat tremolo guitar and understated slide playing on Ain’t Got No Money offers a rockier edge. Mississippi Me is man-needs-woman balladry of a very high order, while Tripping On You sees BDW get his funk groove on. The CD closes with Couldn’t Keep It To Myself, a short but timely reminder for all you sinners out there to come to the Lord. I did have minor quibbles, most notably lyrics that get cliched sometimes. But that’s just me being a perfectionist old git; this album is top notch of its kind, and indeed, top notch, full stop.

DAVID OSLER

AWEK LET’S PARTY DOWN Absilone

For me Toulouse is currently associated with fine rugby, food or, in the past, the construction of the mighty Concorde. I am not well versed in French Blues and certainly not acquainted with what is going on within the area of Toulouse. However, this new double CD has opened up a wee

door into that world and what a fine world it is. This is a stonking album of straight-ahead no-frills Blues that will most certainly set your feet a tapping at the very least. According to the blub which accompanied the CD this is the band’s eleventh album and on CD1 you get the new stuff, fourteen cuts, whilst on CD2 you get live tracks culled from 25 years of live concerts. Doing a little research brings up many Blues awards both in Europe and in the US.

Countless tours have allowed this quartet to hone their skills garnering them many top-notch support slots and festival appearances. Why I, and I’m sure, many of you reading this haven’t heard of them I would guess comes down to the severe lack here in the UK of a full national Blues radio station but that is another story. 12 fine originals with a brace of covers is what you get for your hard-earned pounds on CD1. Played with passion these solid grooves are at once simple in style but delivered with sheer unescapable energetic enthusiasm which just lifts your spirits and so redolent of what our Blues is all about, hot, sweaty, authentic and joyous.

These four guys really rock as befitting an outfit unchanged in all these years. Put these brilliant CDs on, dance the night away and forget all the petty Brexit politic shenanigans currently afflicting these shores.

GRAEME SCOTT

FEATHERED MASON LIMBO BOY

Jungle Strut Label Singer/songwriter Feathered Mason’s latest recording, Limbo Boy a five-track EP. This longtime musician sees himself as being born a few-decades too late, is this what is being reflected in the title? His early influences are the rock and blues of the 50’s &

60’s and this can be seen in the shaping of his guitar playing. His music has taken him on a journey through bands, bluegrass, banjo playing community and now having delved deep into slideguitar his path is that of the folk/ acoustic scene.

The music on the album has a rawness of a journey that is not yet completed. There is a footstomping urgency in the opening Skeleton Song which has uplifting beats and cascading melodies that draw you into the sound he is creating. The five tracks flow with variation the tonal textures sometime missing on acoustic albums.

The lyrics are strong with a story to be told delivered by his fine vocals that never have to compete with the guitar. Sisterworld is a quieter more reflective number Americana colliding with the mix of sounds that has found their home in this genre. The blues are vibrating through the instrumentation making this a number you listen to and absorb. We then dip into a slide-fuelled delight on Get It Right with a feel of Nashville where Feathered Mason now calls home. Closing out with Loose Shoes and Claire Wellin’s exquisite violin and a sharpness to this spoken number that takes us back to the past. He is a storyteller that plays mean guitar and captures the texture and feel of every song. Will be finding more of his recordings as he has beguiled me.

LIZ AIKEN

SHANE DWIGHT NO ONE LOVES ME BETTER

Red Parlor Records

Riding the well trodden route of researching the influences of those musicians who influenced himself as a muso, Shane Dwight discovered the Blues of the greats such as Muddy, John Lee and Albert King amongst many

MANX MARRINER MAINLINE

HELL BOUND FOR HEAVEN

Stony Plain Records

Harry Manx and Steve Marriner have got together to produce one really great release. They have a close friendship and it blossomed when Steve first sat in on a concert in Ottawa in about 2002 when he was only sixteen, then they toured Canada, United States for next five years, so they have accumulated a lot of mileage and the rest is history. This release seems a natural progression to this relationship.

There is a real sense of togetherness and appreciation of styles here on this ten track journey through blues, gospel and roots music. Nothing is the opener written by Harry, a real toe tapping Chicago style song with Steve adding full on harmonica, blending with Harry’s gruff vocals and steady rolling guitar, just sublime but a taster of what is to come. Everybody Knows has a brilliant Hammond Organ underpin played by Clayton Doley. Some good harmonies also punctuated by a lazy beat by Moe Duella. Title track Hell Bound For Heaven is stunning, Steve sings it so well, with a catchy chorus and some Indian tones or at least Eastern influences on the instrumentals then harmonica mixes in and the effect is stunning.

The Gospel song, My Lord is uplifting and played well. Another tune by Harry, My Only One is next up; this has some finger picking banjo by him a real highlight. The cover of Charlie Patton’s Rattlesnake Blues hits the right tone. Another cover of a Pop Staples classic, Wish I Had Answered is a slow organ driven tune with great backing vocals, another Gospel tinged take. Gary Davis’s Death Have No Mercy In This Land is played by Harry and Steve and acoustically this version is spot on. This Little Light Of Mine is given a traditional slant and is just superb. The release closes with probably the best track, Rise And Fall In Love, it is co-written by both Harry and Steve. Some of the guitar work here is jaw dropping and dripping with emotion and fabulous musicianship just catches the moment. This is two musicians doing what they do well and the joy shared in playing really comes over. A heart-warming release full of emotion and wonderful musicianship.

COLIN CAMPBELL

PHOTO: SHIMON

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others. Having been diagnosed with Perthes bone disease at the age of nine, a disease that left him unable to walk for a year and which goes into remission but when it returns, he is forced to live with chronic pain.

It was during this period he learnt to play guitar, forming the Shane Dwight Blues Band at the age of 28, winning the Monterey Blues Festival in 2001, since when he has criss-crossed both America and the globe playing to his fans. Viewed as a critically acclaimed Blues maverick, his output is difficult to ignore. Writing songs that are extremely personal, he deals with the everlasting subjects of love, crime and redemption, all twisted into the personal psyche of the song-writer.

Whilst born in California, the album was recorded in Nashville, Tennessee, with an all star cast; the resulting sound is both powerful and slick as well as groove driven. There are no fillers, each song hitting the listener between the ears. Shane’s voice is a strong rasping instrument and truly fitting to the music here. He also plays a multitude of guitars. The music is heavily Blues influenced, the most obvious being the resonator driven The Trial Of A Poet, a deep swamp filled lament with powerful backing vocals from Bekka Bramlett, daughter of the acclaimed Delaney and Bonnie. Likewise there is an excellent display of slide guitar in the strutting Blues rambler of No One Loves Me Better.

Other stands out tracks are If You Ain’t The Devil, a song with plenty of edge and some delightful drum fills from Kenneth Blevins. Bullets And Gasoline, a dark but rocking mind trip about how life has gone wrong, and Sucker, a modern song about his love of the opposite sex, that has more in common with a hip hop outing than a twelve bar Blues.

MERV OSBORNE

STOMPIN’ DAVE’S BLUES3 MR.DAVID ALLEN

The Mayfair Studio

Living in the north of England, Stompin’ Dave Allen is best known to me for his goodnatured, lively country blues and old-timey music – the kind of thing he does as a solo act (down in the south-west). On this album, however, he has enlisted the support of bass player Earl Jackson and always in-demand drummer Sam Kelly for a trio set. There are still strong traces of his good-timin’ sound – try the hokum-ish My Heart Belongs To You or Stuck Behind A Big Fat Truck – but Sell Your Soul opens the set with Cream’s riff from their version of Robert Johnson’s Cross Road Blues, and Hoodoo Hole takes its inspiration from Billy Boy Arnold’s I Wish You Would, or maybe it could be from The Yardbirds’ version – certainly Dave takes it to places Billy Boy perhaps never envisaged. Whatever, yes, there are also elements of the power trio sound. All ten songs are originals though, even if Dave does wear his influences on his sleeve. Money Makes The World Go Round has Stompin’ Dave stamped right through it but it could have done with a little pruning (say around a minute or so), Hope That You Don’t Mind is a fine piece of Stones-ish Americana and the closing two numbers, the sometimes startling travelogue that is Ride This Train and Raging And A Moaning are both straight-forward rhythmic blues numbers. Certainly, this is a set that shows Dave is a multitalented artist, and it is well worth checking out.

NORMAN DARWEN

LUCA KIELLA FIGURE IT OUT

Independent

This is a five track EP with three of the songs written by Luca himself. Luca Kiella on piano,

Dave Forte on bass Rick King on drums and last but not least Aaron Weistrop on guitar. Ten O’ Clock Blues is a fine short instrumental track consisting of boogie woogie piano as the mainstay of operations. Short sharp and to the point. It immediately puts you in a good

frame of mind for the remaining tracks. Unnecessarily Mercenary is one of the songs not written by Kiella but it’s a great track. More upbeat than the opener even. It is Hammond organ and piano based throughout the entire

DOUG MACLEOD

THE AUTHORISED COMPACT BIOGRAPHY BY

VINCENT ABBATE

Who is Blues Vol 1 Publishing

Doug MacLeod, or Dubbs, as he’s affectionately known by a host of blues fans globally, reveals all in a delightfully accessible biography by Vincent Abbate, the first title produced by Abbate’s Who is Blues blogsite. MacLeod is one of those remarkably laid-back acoustic bluesmen who regularly, repeatedly picks up major international music awards with an apparent ease that simply belies the sheer effort and consistency of his own hard-working ethos.

Here, Abbate manages to pin the man down for some interesting, revealing insights into both his life and career, with his thoughts and behind the scene glimpses of a life in blues music wonderfully captured, explored and explained. MacLeod comes across throughout as thoroughly decent and thoughtful guy.

His memories of the hard times rub cheek-to-cheek with his self-belief and positivity, a trait that has enabled MacLeod to overcome many personal obstacles that could easily destroy many. Trauma, he’s seen and been there. Life in the sleezy end of the wrong-side of the tracks, he’s also experienced, living close to the threatening edge at times. And yet, Dubbs soars above the problems of the first half of his life to move on, delivering songs that reflect his, at times, troubled youth and past but always looking on the optimistic, bright side, MacLeod remains totally rooted in his belief in both himself and his music. A blessing to many, for sure.

If there’s maybe one central theme that describes the essence of this delightful, well-written biography, it must surely be the simple, unadorned honesty that shines throughout. MacLeod tells us about meeting some of the greats and their place in his life but he always tells it with an underlying honesty and an integrity that is often missing in the modern music world. This is a worthy offering about a modern old-style bluesman with a streak of humility at his core. Grab it and enjoy its revealing detail.

IAIN PATIENCE

Albums REVIEWS

song. That is quite refreshing as it gives a different vibe but still retaining a blues structure. Kiella was born in Italy but blues music made him relocate to Chicago which further promotes the everwidening spread of blues music. Strong vocal adaptation makes this a very good tune indeed. The title track Figure It Out has a lot of blues connotations whilst having a bit of a more mainstream lyrical approach.

This would probably get some airplay on radio which is not entirely bad as it would at least make the audience aware of a great blues talent. I Can’t Stop Loving You is a very different take on the Ray Charles number from decades ago. In fact, it is very different from the Elvis Presley version. When you do a classic such as this, I think It’s important to put your

own identity on a song. And boy does he do that well. Slightly reminiscent of early Billy Joel with a hint of jazz thrown in for good measure. Add to that a George Benson type guitar solo with a superb keyboard solo and what you have is a wonderful rendition of a classic. The final track So Many Questions is the longest track on the EP. Great lyrics with a strong voice and fine playing makes you realize this is a very talented singer-songwriter. I look forward to hearing more from this guy.

STEPHEN HARRISON

PHIL MANCA SIGNS

Tremolo Editions.

Sometimes a CD for review is disappointingly just not blues, sometimes it’s just straightforward rock and

sometimes it can be pleasantly surprising, as was definitely the case with this CD. European entries into the blues category can be let down by weak or heavenly accented vocals.

This certainly wasn’t evident here on this first solo release by the French guitarist Phil Manca, who is a self-confessed fan of Gary Moore, having, according to his website, “paid tribute to him for 2 years”. The opening track Brand New Game is a rocky number and is a powerful opener despite suffering from several mixed metaphors i.e. pool analogies (back to the eight ball) and “our love is like a ball and chain”. However, the lyrical shortcomings are certainly overshadowed by the excellent guitarwork. The title track Signs is a slow heavy blues number with some heavy bass drum

backing and searing guitarwork from Monsieur Manca. Colour Blind is a real show of versatility, with an acoustic guitar intro, which gradually builds into a rockier style.

Next up is a cover of the Beatles’ enigmatic Yer Blues, from their 1968 White Album. (Was this a spoof track by John and Paul? Was it a serious attempt at Blues? Who cares?)

It’s a great version, with a lovely guitar break, backed by some bluesy Hammond organ, giving it real depth.

There then follows a great and very upbeat version of John Mayall’s Little Girl, released in 1966 on the legendary Beano cover album. I was relieved to discover that I Love To Love You wasn’t a cover of Tina Charles’s 1976 disco hit (apologies for even mentioning it here!), but a cover of the Johnny Guitar Watson song. This is followed by another JGW song, Hot Little Mama, where Phil really shows his appreciation for Gary Moore and does the song justice in the style of the maestro himself. The 10 track CD closes with a great version of AC/DC’s Down Payment Blues from their 1978 album Powerage. It’s a very bluesy track and confirms that this album definitely belongs in the blues category. A great debut blues rock album! Merci beaucoup!

STEVE BANKS

TIM GARTLAND SATISFIED

Taste Good Music

Tim Gartland has been blowing his harp for a long time now but didn’t get around to a solo recording career until 2011. He’s not hanging around though, as this is his fourth album in eight years. He’s certainly put together a remarkable band to bring the all original material to life with the assorted members having done time with the likes of Delbert McClinton, Susan Tedeschi, Joe

DANA GILLESPIE

Cocker and many more. Odd to relate the harmonica isn’t always front and centre and focuses more on his baritone vocals (which are often augmented by harmonies from Wendy Moten) and you’re just as likely to hear the keyboards and guitars pushing the song along. It works though and when it all comes together on a house rocking track like the opening Drinking For Two then it just sounds great. But he’s also adept at a slow blues with Blues For Free probably the album highlight. It’s almost matched by the driving rock’n’roll of Can’t Paint A Prettier Picture with some fabulous barrelhouse piano from Tom West. It’s a record that takes a broad approach to the blues with some soul, funk and country rhythms making their presence felt. He writes memorable melodies, choruses that stick in the brain and has a way with his lyrics. It seems that wherever he lays his hat Tim Gartland seems right at home on what is a very enjoyable release.

STUART A HAMILTON

JULIAN JAMES SILVER SPADE

Independent

Julian James is another exciting upcoming performer coming from the burgeoning Australian Blues scene, he was originally the lead singer in the Blues band Catfish Voodoo who played straight forward 1950’s style Chicago Blues but for this solo album, his second release, he has paid homage to the earlier American Blues artists like Son House, Leadbelly and Mississippi John Hurt and represents them really authentically with this album full of classy acoustic Blues. He has written six of the eleven tracks which sit comfortably with the Leadbelly and Muddy Waters covers, Stand out tracks include the title track and Sleep Now which is beautifully song with Julian’s

DANA GILLESPIE

WHAT MEMORIES WE MAKE – THE COMPLETE MAINMAN RECORDINGS 1971-74

Cherry Red Records

Oh boy, this is some double CD set! Presented in card triple opening with a superb sixteen-page booklet by David Wells covering the history of these tracks with ample images to boot some of which have never been used before. There is a five-track promo album from 1971 of which four (originals) of these did not see previous release, and then (!!) there are two complete albums; Weren’t Born A Man and Ain’t Gonna Play No Second Fiddle PLUS numerous out-takes and demos this really is a cracker of a release by Cherry Red. There are alternate versions and what are termed ‘Libido Singles’ making a total of 36 tracks within the double set. The first album is not a blues album but is an important part of the legend in the development that is Dana Gillespie as she discovers her ambition and hones her craft under the auspicies of none other than Mr. David Bowie and his ‘playful’ Mainman label. Across the spectrum here we have no less than three versions of Andy Warhol and each one a thrill. The first album is so different to the second but is a lovely piece of work. Opening with the demo tracks, Mother Don’t be Frightened issmooth with neat piano and is followed by the first version of Bowie’s Andy Warhol song, oh yes! Never Knew is plaintive, voice and piano in the main, lovely keys. Striding bass intro to All Cut Up On You continues through this break up song with fine vocal.

This is an absorbing album be sure of that.The title track of the second album begins to show that Dana’s insistence on p laying Blues was taken note of and allowed to take shape(s) as the song launches and ploughs a furrow that is easily followed with the tone being set of taking no prisoners and a woman doing things her way. The feel is honky piano, jangling guitars, solid backdrop and a song that waves banners! The following Really Love The Man starts more melodic and mournful before the lifted and chopsy chorus. Gillespie shows her song-writing talent contributing seven of the ten tracks. The album allows Dana to show where she is going through a good time rock’n’roll album. As Dana relates that Mainman was one long party time and there are hints toward what The Faces did later in sound.

ALAN PEARCE

laconic guitar picking being an additional bonus, there are some contributions on a couple of tracks by two of his fellow band members in Catfish Voodoo who play Harmonica & Washboard here, very low key but they do add to the authentic Country Blues sound, particularly on the final Muddy Waters song Can’t Be Satisfied, which takes you back to the Cotton Fields era of the deep south.

There are no production credits on the album sleeve thus I presume the album was self produced, if so Julian James should take a bow as he has created a wonderful ambience, the vocals and guitar playing are crystal clear and sharp. Julian

demonstrates throughout this album that he is an accomplished performer who has a real conviction for traditional 1930’s acoustic Blues, he has not tried to put any “modern twist” on the music just played it as it was done all those years ago, besides his vocals and guitar picking he also demonstrates plenty of skill on the harmonica. An excellent Blues album that will stay long in my memory.

ADRIAN BLACKLEE

NIALL KELLY PROMENADE

Glovebox Records

Derry-born roots & bluesman Niall Kerry now tastes life from on stage , moving to London

in 2002, Niall’s career started as jam host at ‘Ain’t nothing’s but blues’ in Soho, over seven years from booking the blues to starring in his own right, Niall has transferred to the stage himself, and self released two studio albums of his own song writing, Hand In Fire (2012) and Not Sleeping (2015). For this album, Niall surrounded himself with the finest musicians from London’s blues & roots scene and kept takes to a minimum, catching the perfect live in the studio performance on new release Promenade, the balance that runs throughout Promenade between gospel ballads, mid-

tempo Americana and R & B, captures the versatility of his song writing, and emulates the energy of these Soho jams.

Opening the album with Burned By A Little Love an energetic up-tempo foot tapping R & B featuring some fine harmonica bursts from Tom Brundage , Caitlin Kelly adds backing vocals and violin for the Celtic southern country feel on Stranger In Love, a rhythmic drumming beat from Dan Hale and effortless piano from Alberto Manuzzi drive title track Promenade, with the strings adding a depth for Niall’s vocals, the saxophone from Martin Winning and trumpet from Martin Holland create an expansive texture to the beguiling country tale of Polly May, with excellent piano playing throughout and wistful horns.

Niall delivers haunting and pleading vocals on the beautifully atmospheric Got It Made, up next is The letter a mid-tempo piece of country Americana, following this with my highlight, Sparrow a moving ballad, with heartbreaking vocals, wonderfully mournful clarinet, brushed drums and haunting strings, marvellous, Turn It Up A Little Loud is more up-tempo southern country driven by the drums, I like the quirky percussion at the beginning, finishing the album with the touching gospel ballad Quarter Mile, a delightful end to an interesting album with some excellent musicianship throughout the album, this was an album that grew on me with each listen.

SHIRL

ARLEN ROTH TELEMASTERS

Aqinnah

This set is a follow up to Roth’s acclaimed Slide Guitar Summit album of a few years back where he teamed up with some great slide guitarists including the

THE B.B. KING BLUES BAND THE

SOUL OF THE KING

An assemblage of The B.B. King Blues Band members and guests celebrating the great man and his music. The Hoax celebrated Riley King a few years back on a terrific album and it’s pleasing that this set in the wake of his passing shares the fiery spirit of that record. The guests could hardly be more appealing here. They ‘get’ King and don’t let natural respect spoil the fireworks. Irene Irene starts the programme with a fat horn blast and slick guitar from our friend Kenney Wayne Shepherd, steady bass and confident Russell Jackson vocal. You couldn’t get more authentic than this! It’s relaxed but exhilarating, and what was B.B. himself? Sweet Little Angel has singing, harp and guitar from Kenny Neal, no less. An almost sleazy tempo gives Neal space to work.

For me, it’s a little too close to the original on that live B.B. album. Always the danger with tribute records. Neal’s guitar tone is splendid and his playing fluid and soulful. There Must Be A Better World Somewhere brings Diunna Greenleaf to the mike and a languid sax adds a late evening vibe to the performance. Beautiful warm keys just add to the mellow feel. Are Mary Griffin and Taj Mahal going to be outshone on this collection? Of course not and Paying The Cost To Be The Boss has all the bounce and spirit that B.B. brought to the song. The band rocks on with the horn blasts fitting in just so. The only shame is that Taj didn’t grab a harp! Eric Demmer turns in a fine sax break. Low Down is from the band’s pens and Kirk Joseph’s tuba mines that syncopated Noo Awlins sound with pattering second-line drumming and skittering trumpet from Lamar Boulet. Jackson sings this with conspiratorial intent.

She’s The One is a dreamy r&b ballad with a Demmer lead vocal and soft Hammond. A predictable chord progression doesn’t spoil the easy appeal. Demmer’s sax often evokes Ronnie Laws. Taking Care Of Business has Russell Jackson on lead vocal. The pace is funky indeed, guitar by Wilbert Crosby and overall a Crusaders vibe rules. Becoming The Blues is old-timey blues taken slow with Neal on back porch acoustic harp. The tempo picks up a couple of minutes in. Hey There Pretty Woman is a horn-spattered moody piece, by far my favoured track if maybe more Freddie than B.B! James Bolden takes the vocal and sure has his own style on this cut and the next one. Here Today, Gone Tomorrow rides walking bass on an upbeat blues. Regal Blues features singing and guitar from Joe Louis Walker and is a typical B.B. snappy leads and all. Walker sounds comfortable. Bolden sings Pocket Full Of Money with an almost Sinatra insouciance but his own phrasing. He really does shine on this collection. The Thrill Is Gone is led by Michael Lee on vocal and guitar and closes this programme. It’s a light-funk edition and quite good. “After being with B.B. for thirty-five years, this band lives and breathes his music. It has become part of them“ says one of the producers, Terry Harvey. He’s not wrong!

PETE SARGEANT

late Johnny Winters, Sonny Landreth, Rick Vito and a whole bunch more. This time out, he has teamed up with a whole mess of Telecaster players and the album covers a huge variety of genres in paying tribute to Albert Collins, Mike Bloomfield, Roy Buchanan, Muddy Waters et al and he is joined by the likes of Joe Bonamassa, Jack Pearson (Allman Brothers Band) Albert Lee, Steve Cropper, Bill Kirchen

and a host of others.

The quality of the playing is outrageous. Roth himself is no slouch and it looks as though he had no problem attracting the best and brightest to duel/ duet with him. The weakness of this kind of album is the variety of styles as listeners may well not be attracted by Blues and Country and rock and even pop but the sheer talent on display transcends that kind of concern.

There are so many joys hidden here including the Simon & Garfunkle classic Mrs. Robinson featuring Albert Lee with the two trading licks. His duet with Joe Bonamassa on Joe’s Blues is a slow Blues delight – a tribute to Albert Collins – with Jack Pearson bringing his skills to the table as well.

A personal favourite is his

PAUL WELLER

LIVE AT ROYAL FESTIVAL HALL

Parlophone Records / DVD/Vinyl

Paul Weller may not be a name we immediately associate with blues music, but for many years – probably from his days fronting UK mod-rock pioneers The Jam - he has had a deeply held, personal interest in the music itself. Here we have a simply sumptious offering, featuring Weller and his current band alongside a full orchestra. A suprising pairing that delivers at every turn. Weller’s vocals are better than ever and his rhythmic mastery and harmonic saavy ensure this is a release worthy of widespread attention. The DVD itself includes some enjoyable ‘fly-on-the-wall’ moments, behind the scenes with the man voicing his thoughts and faltering anxieties about uthe whole undertaking at times. It then moves on to capture the very essence of his current performance and ranges across years of work, with his last album, True Meanings, being firmly to the fore.

I’ve been increasingly impressed by each recent release this guy delivers. His last few albums, Kind of Revolution and True Meanings have both been absolutely excellent and this latest offering again lifts him into another musical dimension. If eanything, this album which includes the DVD of the action and comes with a CD download code and a deliciously rich triple vinyl album, could well prove to be the album Weller has always been aiming to produce, a rich tapestry of interwoven sounds and lush orchestration that proves the guy remains very much at the top of the modern music tree.

IAIN PATIENCE

cover of Link Wray’s Rumble with Will Ray that shows the dark side of the Tele as well as hearing Roth playing alone on Ghost Riders In The Sky (Cindy Cashdollar on Lap Steel) that is true to the original but keeps the darkness the Tele can bring, making the song that bit ‘heavier’.

Of the numbers written for the album I found it difficult to avoid putting Bunky on repeat – a duel with Roth and Brad Paisley that is incredibly infectious, a real joy. All told, a terrific album and so much good playing.

ANDY SNIPPER

TAYLOR SCOTT BAND ALL WE HAVE Independent

The Taylor Scott Band are based in Denver, Colorado and this album showcases their mix of rock, funk, soul and blues with 11 original songs and one cover. Scott has previously toured the world with trance-blues legend Otis Taylor and recorded alongside Warren Haynes (Govt. Mule). Opener Somebody Told Me features a funky bass groove and Scott singing with elation and playing a fiery guitar solo. Curiosity is an early highlight

which speeds along like a runaway train propelled by the drums of Lem Williams and an urgent horn section.

Clearance Bin is a mellow affair with Scott crooning sweetly and playing a sparkling guitar solo. Salted Watermelon has a breezy country feel but the mood changes for the tense Hair Of Indigo featuring Henry Garza (Los Lonely Boys) with a suitably edgy guitar solo. Sax man Steve Berlin of Los Lobos does a good job on production throughout the album. An acoustic guitar riff introduces the loping Wishing Well which features bluesy harmonica from guest Nic Clark and harmony vocals from Sarah Morris Wirz. Surrounded is a gentle folky paean with heartfelt vocals but a keyboard flourish brings in the rocking Where This Is Going which features a wailing guitar solo from Scott. The Walk is a wistful ballad bewailing lost love and the album closes with a powerful cover of SleaterKinney’s yearning love song Good Things. A fine album with a diverse collection of songs which should enhance Taylor Scott’s reputation.

DAVE DRURY

J D SIMO OFF AT 11 Crows Feet

The first solo album from the singer/ guitarist/ frontman of the Nashville blues-rock band that bore his surname and if you enjoy your blues with a psychedelic approach, then this is most definitely for you. JD has made an album to satisfy the band’s fans and also those who recall this kind of music from the late 60s and early 70s (and many of those in between too).

For a good example, take a listen to the way the guitar suddenly heads off into the stratosphere on You Need Love (an original, by the way) or the quieter Temptation, which for some reason brought to mind

vintage Black Sabbath. There are the little touches too, I love the way he hints at the rhythm in the early stages of Mind Trouble, and then there is a short backwards instrumental break! He also has three excellent covers of straight blues.

He opens the album with Little Walter’s Boom Boom Out Go The Lights, there is also Slim Harpo’s Got Love If You Want It (with wah-wah guitar), and JD channels his inner BB King on the nearly nine minutes of Sweet Little Angel – here he shows he knows not only BB’s guitar style but his vocals too. The closer is Accept, a wide-ranging piece that draws inspiration from both Jimi Hendrix and John McLaughlin among others.

It is a fine, nearly seventeen minutes long opus that could easily have been a rock classic album closer circa 1968 or ’69. Kudos too to Adam Abrashoff and Luke Easterling on drums and bass respectively for providing exactly what is needed. Psychedelic blues. Blues-rock, heavy blues, rock blues – of any of those terms interested you, you probably need this album.

NORMAN DARWEN

NICK SCHNEBELEN CRAZY ALL BY MYSELF

Vizz Tone Records

On your first time of listening to this, you just know that it is going to be gutsy with a real rocking rhythm. This is thirteen tracks of pure Rocking Blues from the U.S of A. Schnebelen has a vocal presence that leaves you in no doubt as to his roots, notwithstanding the frankly superb guitar playing and support from, a variety of firstclass musicians of the genre.

It is obvious that music in all its forms is in Nick’s soul and vindicated by the fact, even back several generations, having musical links back to the 1920’s

with his great Grandfather and every subsequent generation since. With that sort of background if you hadn’t got music in your being then you could rest assured, they’d let you know and equally they’d be critical if it warranted it. No such criticism is warranted on this album this is pure rock/ blues with the occasional hint of rockabilly.

Vocally, there is a hint of Afro-American in Schnebelen, but he’s a Kansas boy with a sublime blues voice. I particularly liked (no adored as liked is not enough) track 11 “Out Of Bad Luck”, though in truth there isn’t a bad one on this album. Half way through March of this year this album reached No four in the top 50 Blues/Rock Album Charts and is justifiably recognised in that. The best commendation I can give it is that if you like your blues with hints of soul, rock, funk and a pinch of rockabilly then this is your ideal meal.

TOM WALKER

THE SEAMUS MCGARVEY BAND SEAMUS O’BOOGIE

Johnny Rock Records

When a 72-year old amateur musician and his family-based group from Northern Ireland recorded a debut album of greatest blues songs live in a basement studio over two days the outcomes were always likely to be unpredictable, or at best, interesting. The fact that Seamus O’ Boogie has turned out to be one of the least pretentious and most honest blues-roots albums released in a long time is testament to the band’s lifelong love of music and performing. It helps that Seamus and his musician sons Pat and John are joined by two of Edinburgh’s finest talents, young blues guitarist Jed Potts and freelance drummer, Calum McIntyre.

The opening track Rambling On My Mind oozes authenticity and sincerity, with piercing vocals from Seamus, sympathetic harp interludes and sumptuous slide guitar. Similarly, Sonny Boy Williamson’s Don’t Start Me Talkin’ showcases John’s immaculate harmonica phrasing and timing, evoking memories of the blues legend.

The inclusion of a banjo in ‘Sea Of Heartbreak’ and other tracks makes the overall sound of the band unique and engaging, especially in the hands of consummate entertainer Pat. There are few better versions of Johnny Otis’ Willie And The Hand Jive with Calum’s infectious R&B Bo Diddley beat. A poignant interlude is the duet by Seamus and his late brother John J singing an Irish ballad The Rose Of Mooncoin in 1983, recorded on cassette at a Belfast family gathering but now mastered to studio standard. Look On Yonder Wall popularized by Elmore James gets the trademark slide master class from Jed.

Sprightly septuagenarian Seamus boogies briskly on Break Up with its bopping piano accompaniment. Doc Watson’s Deep River Blues is similarly given virtuosic treatment whilst the rich vocal standards are maintained on the soulful Hotel Happiness. The spirits of Sonny Terry and Brownie McGhee are raised through Walk On featuring John’s country style harp and his dad’s mellifluous vocals’. This album is a celebration of the lifelong love of blues, boogie, roots and rhythm shared by Seamus with his close family and friends.

Thanks to mastering engineer Mark Lord, this fascinating, refreshing and intimate musical journey has been lovingly crafted into a permanent legacy to be enjoyed more widely.

THE BISHOP

JULIAN SAS STAND YOUR GROUND Cavalier Recordings

Julian Sas has now been performing for over twenty five years and during this period he has been prolific with album releases but for this reviewer it is the first time I have heard his music and my immediate thought was to check his back catalogue as this album is classy rhythmic high energy soulful Blues, this album has been described by the artist as a “back to basics uncompromising, earthy and without frills”, which is about spot on.

The albums eight tracks are centred around the eight minute plus track Anything which is a tour de force and includes a superb intro with a flowing guitar solo not too dissimilar to Gary Moore’s on Parisian Walkways, laid back but with plenty of bite, the pace hots up further on the title track Stand Your Ground which is more of an out and out rocker, again it is the guitar work that takes it to the next level. All the self written songs are of a good length which allows plenty of space for Julian and his band to flex their muscles although having said that I was very impressed with Julian’s vocals, he generates real emotion and can mix harder edge songs with more soulful numbers, his band also do a great job covering Drums, Bass and Hammond Organ, in particular Roland Bakker, who is given free rein to open the final song These 18 Wheels with a crunching Hammond solo. While this is my first exposure to Julian Sas it will not be the last, he demonstrates here that he is a tremendous skilful Blues artist and the album encapsulates this perfectly, which will push him towards the top of the European Blues artist league, a sure fire winner.

ADRIAN BLACKLEE

THE BM! ROUND-UP OF LIVE BLUES

TERRI’THOUARS BLUES FESTIVAL

THOUARS, FRANCE

APRIL 2 - 7, 2019

I always enjoy this gig, a week-long event that, in truth generally boils down to an intense weekend with some great acts playing in the local town-centre theatre. In reality, this event, now in its sixteenth year, generally marks the opening of the French blues music festival season, a season that tends to offer festivals of various shapes and sizes spread across the country on a

near-weekly basis.

This year, my sixth consecutive year at the festival, the usual eclectic range of blues interests were well represented with sets ranging from jazz-hued tinges by Ann Diaz Trio, from Argentina, a newcomer to me, and a young lady with a powerful vocal delivery and a grounding in old-school traditional blues, where she covered tracks by the likes of Blind Willie Johnson and others from the pre-war era. Her set was held on the outskirts of the town in a venue that worked well acoustically but was difficult to get to without private transport. Despite that travel difficulty, she managed to pull in a significant,

appreciative crowd for her strong set.

Back on the main stage in town, Swiss bluesman, Richard Koechli, produced a delightful set that clearly went down well with a packed hall. Working through a set-list that leaned heavily on his latest album, Parcours, Koechli switched from resonator to electric to acoustic guitar with harp thrown in, and seemed to be completely at ease and simply loving every moment on-stage. Another player who clearly draws on the pre-war traditional southern blues style for inspiration and appeal, he is a guy worth checking out, with a genuinely powerful delivery that is likely to please most blues-lovers.

JOHNNY NICHOLAS AT TERRI 'THOUARS

PHOTO: JAN VENNING

Followed on-stage by popular US picker, Nathan James, Koechli helped set the scene and the pace for the rest of the weekend. Nathan James is generally a popular player with his own particular musical spin based around his home-made guitars featuring an integral washboard. Obviously inspired by the cigar-box guitar craze, James’s unique take allows him to thump along rhythmically with a jaunty, percussive feel always near to hand. Happy to pick or turn to slide, James set was particularly popular and clearly a festival favourite.

From the USA, blues-cum-soulman, Ike Cosse also delivered a powerhouse performance partly based on his current release, Don’t Give Up On Love. Cosse was absolutely in his element, rattling along with a heartful of self-written numbers that reflected his deeper, self-revealing lyrics and musical range. Cosse was backed by a few of France’s major sidemen in bassist, Fred Jouglas, and guitarist, Sam T’Chang, a truly mind-blowing fretwork talent who could comfortably grace the stage with almost anyone of note and add more than a

touch of brilliance to the set. In many ways, this could have only helped Cosse and resulted in a rush to grab his CDs at the merchandising tables following his set.

Other acts included the always excellent French bluesman Youssef Remadna backed by a band that knew exactly what was needed to keep a set on-track and a crowd in the palm of the hand.

Bringing the festival to a close, Texas-based bluesman Johnny Nicholas turned in the set of the festival, producing a fitting climax to a hugely enjoyable weekend and festival. Nicholas is a guy who has played with and knew almost everyone of note in the US blues world. This is a guy who shared an apartment with Hubert Sumlin, knew Howlin’ Wolf well, recorded with Robert Johnson’s road-buddy Johnny Shines, Big Walter and Boogie Woogie Red, amongst countless others. Nicholas was truly superb, a stunning set that ripped and roared across Chicago blues, back down to the Texan end before turning to funky,

NOLA rhythms and out and out near-rockn’roll and traditional southern roots blues and slide work. His take on Blind Willie Johnson’s trademark Nobody’s Fault But Mine was genuinely perfectly pitched and the huge crowd roared their approval as he delivered encore after encore before finally closing to a rapturous, packed hall in the early hours of the Sunday morning. I doubt we could have had a better bluesman to close the festival and reckon nobody who was there would disagree with the sentiment.

IAIN PATIENCE

THE YORK BLUES FESTIVAL

THE CRESCENT, YORK

SAT 6TH APRIL

Question: What could be better than organising your own blues festival and playing alongside a brilliant line-up of other bands? Answer: Doing it for a good cause and raising over £2,500 for Charlies Angels Centre, a foundation supporting bereaved parents. This was the case for Paul Winn and Ben Darwin, blues enthusiasts, frontman/ Harmonica and bass player respectively for York-based band, DC Blues. Paul is also an award nominated international blues broadcaster. A lot of effort had gone into organising the event and Paul was obviously, but unnecessarily, concerned as the date approached and all the finer organisational points had to be dealt with. Holding an event for the first time is a big learning process and stressful for all involved, but all the efforts of both Messrs Winn and Darwin paid off in great style when the day arrived.

First up was Mike Darwin, who played

TOM COX, DC BLUES BAND AT YORK

MIKE DARWIN AT YORK BLUES FESTIVAL

FESTIVALS

some very gentle, if not understated, acoustic blues numbers. He apologised for the lack of a band, but made very good use of some backing tracks. Next up was the TC Blues Band, led by Tom Cocks on harmonica and vocals, ably assisted by Eb Slim, Beefy la Slap & Nat King Roll. They opened with a great instrumental track, which did a great job of reminding the audience what they were there for; some great blues! It was followed by super versions of Ramblin’ On My Mind and a slow blues number, which TC affectionately dedicated to his dad, Terry. There followed some more harmonica led blues and some fantastic Chuck Berry-esque guitarwork in, You Don’t Have To Go and a song called Hot Dawg, which contained some classic blues innuendos along with some not quite so subtle imagery.

The closing number was a Bo Diddley style jungle rhythm, which really rocked the place. The Soulcasters, a York-based blues rock trio did an outstanding job of lowering the collective age of those present, whilst at the same time producing some fantastic guitar-led blues/rock in the classic trio format. The next band on stage was the Newcastle group Groove-a-matics, who opened with a magnificent version of Good Time Charlie.

The band, consisting of Johnny Whitehill on guitar, Gordon Hall on keyboards, Barry Race on drums, Captain Johnny Morgan on bass and Mick Cantwell on vocals, sax and harmonica, produced some really fine swinging R&B blues. The multi-talented vocalist has a very powerful voice, not unreminiscent of Tom Jones doing a blues number. They paid a wonderful tribute to Howlin’ Wolf with their version of How Many More Years? The track Who’s Been Sleepin’? penned by the very talented Mr Whitehill was another superb number and the finale, Lousy Misdemeanour, was a fantastic heavy driving number with more than just a nod to Canned Heat’s, Back On The Road Again.

The Festival not only had quality, but also lots of variety as was displayed by the next to appear on stage, the idiosyncratic Dogfinger who describes himself as Lo-fi stomping swamp blues. He did a set of 7 songs played on a 4-string cigar box guitar and provided heavy percussion with the ever-present thump of the stomp box.

The Steve Fulsham Band from Hull were a three-piece outfit heavily influenced by Free, as was evident in the heavy riff driven bass lines, playing a good mix of their own compositions and some blues rock classics. The guitar work on the band’s version of The Allman Bros’ Whipping Post was a pleasure to listen to. Fleetwood Mac fans were also well catered for with a wonderful recreation of If You’ll be My Baby, followed by a spectacular version of I Loved Another Woman, which worked itself into a frenetic crescendo; a fine way to finish another great set.

Middlesbrough has been the home to some legendary Blues artists and the Emma Wilson Band is a strong contender to join them. Emma is heavily influenced by Ann Peebles and her opening number, I’m Going To Tear Your Playhouse Down was a fine example of the soulful side of the blues. Chain Of Fools followed and then came Every Day I Have The Blues. Slipped, Tripped and Fell in Love was also a popular number with the audience, as was the duet with the talented guitarist Al Harrington. The last number, Mojo was a real crowd pleaser and would prove to be a very hard number to follow.

The gauntlet had definitely been thrown down, but fortunately York’s very own DC Blues Band was there to pick it up. Not content with having organised the day and looking after the guests so well, Paul Winn, on harmonica and vocals along with Ben Darwin on bass were about to treat the audience to yet another stunning performance. Supported by Lloyd Massingham on lead guitar, Paul Thompson on drums and Ian Cole on keyboards, the band ripped into Tore Down. Just Your Fool was a great piece of Chicago style blues with some superb harmonica from Mr Winn. Poor Man’s Son was a lament about a lack of cash and I’m Your Dawg was the next track to be given the full force of the band’s energetic playing.

Bitter Man was a natural title for a beer drinking Yorkshire band. A very heavy version of Don Nix’s/Freddie King’s Going Down saw a guest appearance from Rich Tull “Tully” (the bands original guitarist) and two talented telecaster technicians battled it out to the end in a swirl of fantastic fretwork. The

PAUL WINN, DC BLUES BAND AT YORK

band played a brilliant 15 number set, which included a very upbeat number of Mystery Train (which according to one band member was once sung by a fat man in a jumpsuit) a fantastic version of Bo Diddley’s Who Do You Love and a crowd participation number entitled Nervous Fella. The final number was a memorable version of ZZ Top’s La Grange. The audience had just experienced a heavy rocking blues set, which would be very difficult to follow.

Fortunately, The Achievers, the final act of the day, were definitely up to the task and took the music off into a completely different area of the blues. Part of their appeal is that they are so difficult to quantify, but if their own description of “dance hall gospel” helps you, then good. If not, I suggest you pop along and see them at the earliest opportunity. The pared down drum kit of Aron Attwood gave the band a certain “street” feel whilst the accomplished harmonica playing of Rufus Fry added a kind of Cajun vibe. (It was only later that I noticed the absence of an accordion!)

A beautiful blue sparkly Firebird guitar was played to perfection by Robert Holmes and the bass work was done by Jack Thomas. The very personable frontman, Steve Ferbrache played rhythm guitar and sang, but also did a great job of turning the gig into a personal thing by being open, honest and very amusing. They finished the day’s feast of fantastic blues music with a track called Nasty Boogie Woogie which left everybody feeling uplifted and happy! Which is a great way to end!

The tickets this year were ridiculously good value at a mere £12.50 and it was, of course, a sell-out. It’s a great venue in the lovely city of York and it’s only five minutes on foot away from the station. A resounding success for York’s 1st Blues Festival; here’s looking forward to the second!

STEVE BANKS

The Achievers, the final act of the day, were definitely up to the task and took the music off into a completely different area of the blues

KING PLEASURE AND THE BISCUIT BOYS LICHFIELD

GUILDHALL

21ST APRIL 2019

You always know what you are going to get from a King Pleasure and the Biscuit Boys concert. Slick presentation skills, feel-good jump jive, blues, boogie-woogie and soul songs, and a sizable audience, so it was fitting that this very popular act were the ones to close Lichfield Arts Spring 2019 season.

Led by the lively King Pleasure himself on vocals and baritone saxophone, the rest of the Biscuit Boys are, guitarist Bullmoose K Shirley, characterful bassist Shark Von Schtoop, keyboard player Matt Foundling, and drummer Gary Barber, with a guest saxophonist adding depth to many of the songs, and playing punchy unison lines.

The band swung hard, but could also deliver softer ballads, but it was the more upbeat songs such as Crazy About You Baby, or the rock and roll classic Shake Rattle and Roll that showed their skills to the best effect.

The instrumental Baby Elephant Walk by Henry Mancini was a fine showcase for the musicianship of the band, whilst Oh Marie was another feel-good song that moved through different tempos.

The second half featured many spotlights for the boogie woogie keyboard playing of Matt Foundling, and the bass, with such songs as Ray Charles’ Roll With Me Baby and Waiting, Hoping, being favourites with the audience. Back At The Chicken Shack raised the tempo, as did the encores of She’s A Trip, Back To California and Louis Prima’s I Wanna be Like You, from the Jungle Book.

BEN MACNAIR

THE FRED THELONIOUS BAKER TRIO CATHEDRAL HOTEL, LICHFIELD

17TH APRIL 2019

This newly formed trio comprises the brilliant Derbyshire born bass player, composer and guitarist Fred ’T’ Baker plus the outstanding Nick Twyman drums/percussion, and Michael O’Brien on bass, and they treated

an attentive audience to a showcase of complicated instrumentals that ranged from atonal noise bombs, to solo classical guitar pastiches.

The concert started with the solo acoustic pieces of Hymn for Hope, and Prelude to Life, which showed both Fred Baker’s guitar talent and his restless spirit. He was joined by the rest of the trio for Phil Miller’s complex Eastern Region which took in elements of swing jazz with rock overtones, whilst the set closer Above and Below used a guitar synthesiser to summon up all days of noises for this complex piece that went through most time signatures and keys, keeping both the audience and band on their toes.

The second half was even more bombastic with volume and feedback being used to musical effect. It started with Phil Miller’s upbeat and joyous Upside, which gave Nick Twyman a lot of work to do whilst Truly Yours was a delicate ballad that showed

KING PLEASURE AND THEBISCUIT BOYS

CONCERTS

the sensitivity of the three players off to good effect. Delta Borderline started with a slow brooding blues figure before become something completely unpredictable whilst the encore of Green and Purple was not a stately, graceful recital, but one that was full of blood, bombast, and noises that other ensembles would not dream of using, but here it was all done to good effect, showing the talent of these three musicians and their ability to meld new sounds around older tunes.

BEN MCNAIR

TEDESCHI TRUCKS BAND LONDON PALLADIUM

APRIL 27TH AND 28TH 2019

This was a gig long anticipated by many. Two nights of absolutely top-dollar rock-blues music with a band that was on top form, closing a European tour with a two-night residency at the somewhat unexpected venue of London’s venerable Palladium. An indication of the sheer quality of

this band must surely be the fact that with around 40 different tracks played over the two nights, not once was there a repetition over the two gigs and sets. Each set had its own, highly individual set-list covering tracks from the band’s current release, Signs, and drawing on a back-catalogue that most will already know. Led by the husband and wife team, Derek Trucks and Susan Tedeschi, Tedeschi took on the main vocal role with her driving, soulful voice easily roaring through the overall sound of a full twelve-piece band. Both she and Trucks worked hard with class fretwork and Trucks stinging slidework was always to the fore.

Backed by twin drummers, keys, trombone, sax and trumpet, the band also benefitted from a three-piece vocal backing crew. The result was a band that clearly delivered a truly blistering set and reflected the studio quality of the band’s recent output. Speaking to Susan Tedeschi before the tour kicked-off, she confirmed she was looking forward to this gig. It was clear the thought was reciprocated, mirrored by the packed,

full-house crowd. With a full two hour set, the band had a brief break at the midway point in the proceedings, a time when the frequently heard fan quote was probably, ‘..this is a bucket-list band and gig.’ This was a thought that it would be hard to counter and if there’s anyone out there with a bucket-list, I recommend adding Tedeschi trucks Band to it immediately. The band is due back in London early next year. One to catch, for sure.

IAIN PATIENCE

HOLY MOLY & THE CRACKERS MACARTS, GALASHIELS

21 APRIL 2019

When the Border Reivers from northern England invaded Scotland centuries ago, towns like Galashiels bore the brunt of the ensuing ferocity. History repeated itself tonight with the boisterous, theatrical entrance of six troubadours from Newcastle into the converted church venue. They burst onto the stage, launching into All I

TEDESCHI TRUCKS

PHOTO: ADAM KENNEDY

Got Is You at full blast, ‘squeezebox’ Rosie swirling feverishly in synchronisation with the guitarists whilst front man Conrad Bird initiated audience participation in hand clapping, foot stomping and hollering, Tommy Evans’ pounding drums filling any space left in this relentless wall of sound. A calming presence, Ruth Patterson delivered her trademark powerful distinctive vocals and virtuosic violin interludes with control and authority. Welcome to the world of Holy Moly & The Crackers, the tempo, showmanship and energy continuing with the rockabilly, Kiss Me Before You Go, the chemistry between vocalists Ruth and Conrad evident in their call and response dialogue, the temptress and the foil.

Hard rocking Sister with its subtle rhythm changes preceded the equally compelling and infectious Sugar, the latter showcasing Conrad’s blues-saturated gritty voice. Gravel Rag, inspired by early American blues and ragtime piano, was an excuse for more dancing and hard partying. Cocaine Blues was chilling in parts with its cocaine

heroine and ‘her cocaine-stained nose’ but still retained a jaunty ambiance courtesy of Conrad’s audacious jazz infused trumpet contribution.

Ruth’s sensational version of the old gospel song, Ain’t No Grave highlighted her incredible vocal range whilst the reggae nuances set it apart from other interpretations. Jamie Shield’s strong, mesmeric bass line introduced the title track of the band’s superb new album, Take A Bite with its captivating jazz and Eastern inflections. Through With Talking was another song rooted in the blues and featuring a blistering guitar solo from Nick Tyler. Conrad told the intriguing story of Naked In Budapest in conversational style highlighting the dangers of over imbibing local liquor. Rosie Bristow’s instrumental River Neva brought a Russian dimension with its jigs and Cossack dancing phantasmagorias, her melodious accordion contributions simply breathtaking. Cold Comfort Lane has become something of a national anthem and a barnstorming one

at that with over a million hits on a leading music streaming site. Upside Down with its circus theme and infectious riffs kept the fans rocking through until the climactic finale Devil & The Danube, musicians and fans reaching exhaustion point. To quote Willie Dixon, “The blues are the roots and the other music are the fruits.” For HM&TC the fruits range from reggae to rap, rockabilly to ragtime with dollops of gypsy folk rhythms and tales. This exceptional and innovative group of young musicians delivers on all fronts, experimenting with a variety of genres whilst creating their unique sound, lyrics and vibe which generate the ultimate feel good factor. THE

BISHOP

ERJA LYYTINEN

TUESDAY BLUES, THE 100 CLUB, LONDON

26TH MARCH 2019

The 100 Club, Oxford Street, have been presenting, live music since 1942, the photos

TEDESCHI TRUCKS

PHOTO: ADAM KENNEDY

CONCERTS

of the biggest names of blues and rock, that have performed there adorn the walls, if you like your music venues with atmosphere, this is the place to come. Every Tuesday is blues night and tonight has a very strong line-up – Cheri Lyn, Blues Engine and Erja Lyytinen. First on stage is Cheri Lyn, from a nine–year-old child prodigy to a successful cover band singer Cheri decided in 2016 to form her own band, blessed with a huge vocal range, and a pleasing stage presence. ''Secret Love'' has been recognised by many in the music business as one of the best, debuted CDs they have heard.

On stage we go into her first single Everyone Loves A Secret, to the forthcoming single, Sisters With Me, to Caught In The Blues; Cheri has the vocal ability to go from towering vocals to soft and gentle in a split second, an example of this was a tribute to Janis Joplin, Take A Little Piece of My Heart. The set ends with Helen Heard taking the stage with Cheri to sing Toxic Gold. A very good first set and you just get the feeling that its only a matter of time before we see more from her.

Second on stage was Blues Engine a very accomplished blues band, the lead singer Dawn Vickers has a supercool presence delivering each number with emotion and clarity, I will be looking forward to seeing them again. Erja Lyytinen has been a big star in her native Finland for some time, she has quite rightly been called, Queen of the slide guitar by many music magazines and is rated one of the top 10 blues guitarists in the world.

She is building up a worldwide fan base and is performing 100’s of shows every year. She starts the set with Dust My Broom and Grip of the Blues before performing her new single Without You, Erja writes and performs music that captures what blues is all about, all your deepest feelings and emotions. One track off her new album Miracle is dedicated to her twin boys, with emotions only a mother would know. Other tracks from her new album, tare he slightly funky Snake in the Grass, Cherry Overdrive and Hard As A Stone, a wonderful set, performed with the passion and intensity that only a top performer could deliver.

DAVID STEVENS

JC & ANGELINA GRIMSHAW WITH THE ‘ACOUSTIC’ PRETTY THINGS

LE SOUNDS, BRUSSELS

16TH FEBRUARI 2019

Although The Pretty Things gave their farewell gig at the O2 in London last December, they

were now billed as “the acoustic Pretty Things with JC and Angelina Grimshaw” at Brussels jazz and R&B club, Le Sounds. Some reincarnation? Well, not really. The electric five-piece Pretty Things format is really over. As it happens, Pretty Things co-founder Dick Taylor and the Grimshaws are neighbours and they have great fun playing together at their local. When the threesome planned a celebration of the first Isle of Wight festival in 2018, Dick invited his lifelong Pretty Thing mate and vocalist Phil May.

It is this quartet, or rather this double duo, that hit the stage in Brussels. For the third time only! We were right in trusting the good taste of Jonathan Todd and his Brussels Rhythm and Blues Club, as JC Grimshaw and sister Angelina turned out to be great vocalists and instrumentalists, a real rootsy treasure trove. The duo treated us to classic blues tunes such as Trouble in Mind and Statesboro Blues, with Dick Taylor playing a real mean guitar with inventive solos and carefully inserted interventions –for the most part on… electric (!) guitar. All Pretties fans were, of course, delighted to see Phil May stride to the mike and deliver the usual raw tunes from their earliest period – Big Boss Man and Honey, I Need You. The trio continued by opening their scope to Dylan, Doc Watson and The Stones, proving they can tackle anything from folk to ballad to semi-country to hard R&B. Regretfully, there was no second set with Phil May. He had only been discharged from hospital for pneumonia a few days earlier, making a full set impossible.

The audience perfectly understood and answered Mays repeated apologies with applause. The trio showed they were up to the challenge, as the Grimshaws took over May’s role as if this was regular procedure. I’ve always thought the Pretties’ acoustic bluesy interval to be the better part of their concerts as a hard-electric quintet, but this emergency version was up to standard to say the least. The trio finished the gig with another rootsy mix, with Dick Taylor proving what a great player he is, inventing jazzy, bluesy and psychedelic parts on the spot. Something tells me the Grimshaws will be back in Belgoshire.

Yes, a splendid time was had by all.

EDDY BONTE

SARI SCHORR

THE ROBIN 2, BILSTON

10TH APRIL 2019

It was a couple of years ago that I first heard about and got to see Sari live. At the time she was the support act for Walter Trout at the same venue. Immediately, I was struck

with the awesome power and delivery of her performance. Fast forward to April 10th 2019 and she’s back helping to promote her second studio album, Never Say Never. Alongside her are Ash Wilson (Guitar), Matt Beable (Bass), Roy Martin (Drums) and Bob Fridzema (Hammond). Kicking off the set with Demolition Man It’s easy to understand why people are raving about her music. Such a soulful, bluesy voice with a hint of rock - this was a great way to open the set. Not only is she amongst the finest female blues artists around but she has a band of musicians at the top of their game. Continuing through the evening we were treated to Ready For Love (Bad Company), that Paul Rodgers would have been in awe of.

Besides her amazing voice and stage presence she also has a fine song-writing skill. The audience have warmed to her over these last couple of years to the extent that she can virtually sell out gig’s country wide. That is quite something, given the fact that she is relatively new on the blues scene. Carrying on we were treated to Valentina from the second album alongside the title track and, for me the best song on the entire album, The King of Rock And Roll, the story of the greatest bluesman of all time, Robert Johnson. At the end of the show, Sari finishes the gig with what is now her signature tune, Black Betty.

For those of a certain age who can remember the Ram Jam version this is on a different planet. Done in the style of Leadbelly himself, it’s such a powerful exhilarating performance it leaves you with goose bumps. I can not urge you strongly enough to check out a live performance from Sari Schorr. The girl From Queens is the new queen of the blues.

STEPHEN HARRISON