Blues Matters 110

KRIS BARRAS

SAMANTHA FISH KILL OR BE KIND!

CHRIS YOULDEN BETH HART

JOHN KAY

LAUREN ANDERSON

DANNY BRYANT REMEMBERING SON HOUSE BISHOP’S FINAL BLESSING BLUES DOWN UNDER PIANOS FOR PEOPLE ...AND MUCH MORE!

Plus

REVIEWS SPECIAL THE BIG MUSIC GUIDE! 28 PAGES OF BLUES REVIEWS

OCTOBER/NOVEMBER 2019 ISSUE 110 £4.99

KINGSTONE ‘KINGFISH’ INGRAM

ROCKIN’ THE BLUES

NEW ALBUM ‘WAR IN MY MIND’ OUT SEPT 27TH

AVAILABLE ON : LIGHT BLUE 2LP, 2LP, LTD CD BOXSET, CD & DIGITAL

SKEGNESS RESORT, FRI 17 - MON 20 JANUARY 2020

SAVOY BROWN MARIAN DIAZ BILLY BRANCH NINE BELOW ZERO

ANIMALS AND FRIENDS RHINO’S REVENGE

THE FLYING BURRITO BROTHERS DR FEELGOOD

CLIMAX BLUES BAND THE BREW PAUL LAMB MIGUEL MONTALBAN (STATUS QUO)

THE SOUTHERN VULTURES AND THE KINGSNAKES AND CLEARWATER

MA BESSIE

AND HER BLUES TROUPE

“DARING AND BROODING” - GUARDIAN “VITAL AND LIFE-AFFIRMING” - EVENING STANDARD ‘HIGHLY ACCOMPLISHED” – MOJO UK TOUR FEBRUARY 2020 05 Brighton Dome 15 Gateshead The Sage 08 London Eventim Apollo 17 Manchester Bridgewater Hall 09 Birmingham Symphony Hall 20 Sheffield City Hall 12 Cardiff St David’s Hall 22 Plymouth Pavilions 14 Glasgow Royal Concert Hall 24 Southampton O2 Guildhall

CREEDENCE R E V I V A L

2019 INTRODUCING STAGE WINNERS : BURNT OUT WRECK SKAM C R O W B L A C K C H I C K E N INTRODUCING STAGE : WILL WILDE SUN HOUSE R E D F I S H HOLLOWSTAR MOJO PREACHERS T H E S T O N E D C R O W S JOAN OV ARC KILLIT ELIANA CARGNELUTTI SNAKE OIL BAND JAMES OLIVER BAND MATT PEARCE & THE MUTINY

BLUES MATTERS STAGE 3 NIGHTS ACCOMMODATION

FROM

£109pp

4 LIVE MUSIC VENUES

TICKETS AVAILABLE FROM BETHHART.COM

A DHP & DF CONCERTS PRESENTATION BY ARRANGEMENT WITH N & P TOURING

YOUTUBE.COM/BETHHARTMUSIC

OFFICIALBETHHART

BETHHART

OFFICIALBETHHART

Per person prices are based on four sharing a Silver Apartment on a self-catering basis and include all discounts and £s off. Prices are correct at time of send on 10.07.2019 but are subject to availability. From £15 per person deposit is only valid when using the auto-pay feature and applies to new bookings only when booking more than 84 days before break start date. Deposits are non-refundable and your final payment will be debited 12 weeks before you arrive. Act line-ups are correct at time of print but are subject to change. All offers are subject to promotional availability, may be withdrawn at any time and cannot be combined with any other offer or internet code except the 5% Premier Club loyalty discount. For full terms and conditions please visit butlins.com/terms. Calls to 03 numbers are charged at standard UK rates and may vary from mobiles. These calls are included in any inclusive package.

ROCKIN’ THE BLUES

NEW ALBUM ‘WAR IN MY MIND’ OUT SEPT 27TH

AVAILABLE ON : LIGHT BLUE 2LP, 2LP, LTD CD BOXSET, CD & DIGITAL

SKEGNESS RESORT, FRI 17 - MON 20 JANUARY 2020

SAVOY BROWN MARIAN DIAZ BILLY BRANCH NINE BELOW ZERO

ANIMALS AND FRIENDS RHINO’S REVENGE

THE FLYING BURRITO BROTHERS DR FEELGOOD

CLIMAX BLUES BAND THE BREW PAUL LAMB MIGUEL MONTALBAN (STATUS QUO)

THE SOUTHERN VULTURES AND THE KINGSNAKES AND CLEARWATER

MA BESSIE

AND HER BLUES TROUPE

“DARING AND BROODING” - GUARDIAN “VITAL AND LIFE-AFFIRMING” - EVENING STANDARD ‘HIGHLY ACCOMPLISHED” – MOJO UK TOUR FEBRUARY 2020 05 Brighton Dome 15 Gateshead The Sage 08 London Eventim Apollo 17 Manchester Bridgewater Hall 09 Birmingham Symphony Hall 20 Sheffield City Hall 12 Cardiff St David’s Hall 22 Plymouth Pavilions 14 Glasgow Royal Concert Hall 24 Southampton O2 Guildhall

CREEDENCE R E V I V A L

2019 INTRODUCING STAGE WINNERS : BURNT OUT WRECK SKAM C R O W B L A C K C H I C K E N INTRODUCING STAGE : WILL WILDE SUN HOUSE R E D F I S H HOLLOWSTAR MOJO PREACHERS T H E S T O N E D C R O W S JOAN OV ARC KILLIT ELIANA CARGNELUTTI SNAKE OIL BAND JAMES OLIVER BAND MATT PEARCE & THE MUTINY

BLUES MATTERS STAGE 3 NIGHTS ACCOMMODATION

FROM

£109pp

4 LIVE MUSIC VENUES

TICKETS AVAILABLE FROM BETHHART.COM

A DHP & DF CONCERTS PRESENTATION BY ARRANGEMENT WITH N & P TOURING

YOUTUBE.COM/BETHHARTMUSIC

OFFICIALBETHHART

BETHHART

OFFICIALBETHHART

Per person prices are based on four sharing a Silver Apartment on a self-catering basis and include all discounts and £s off. Prices are correct at time of send on 10.07.2019 but are subject to availability. From £15 per person deposit is only valid when using the auto-pay feature and applies to new bookings only when booking more than 84 days before break start date. Deposits are non-refundable and your final payment will be debited 12 weeks before you arrive. Act line-ups are correct at time of print but are subject to change. All offers are subject to promotional availability, may be withdrawn at any time and cannot be combined with any other offer or internet code except the 5% Premier Club loyalty discount. For full terms and conditions please visit butlins.com/terms. Calls to 03 numbers are charged at standard UK rates and may vary from mobiles. These calls are included in any inclusive package.

14th ANNUAL FESTIVAL WITH A HEAVENLY MIX OF BLUES, ROCK, SOUL AND GOSPEL

CONTENTS

Welcome

1NOV+EM2BER ST

nD

2019

KENNY WAYNE SHEPHERD BAND THE FABULOUS THUNDERBIRDS

SHEMEKIA COPELAND JOE LOUIS WALKER CURTIS SALGADO

As the clock moves forward, we come back around to a round number at one-hundred and ten - I thought that was worth spelling out as we've now hit a staggering total of 994 interviews with some of the finest blues artists from around the world.

In issue 109, I must apologise for the mix-ups we had some technical issues that have now been resolved.

ALAN AND PAUL JONES My good friend and long-time loyal team member, Pete CATCHING UP PRIOR TO THE MANFREDS GIG AT Sargeant has suffered another hospital stay of more serious THE PAVILLION THEATRE, PORTHCAWL RECENTLY nature, so we are keeping an eye on him to encourage him back to health so he can do what he loves and get back to playing again as well as his writing. Get well soon Pete, we miss you.

Further, I am always grateful to our dedicated team of contributors here, so it is hard to lose anyone as we have in the past, such as Martin ‘Noggin’ Norris and Bob Bonsey the way we did. Thankfully this time it's only to retirement as we give our thanks and send best wishes to two of our team members. Many of you know him as The Bishop, but his name is Dave Scott and he is finally retiring after 21 years of working with BM to spend more time enjoying his grandchildren, he has promised to submit the odd piece in the future and we look forward to that. We also say goodbye and send best wishes to Liz Aiken who has worked with us for 15 years, Liz has dedicated a lot of her time to the UK blues scene and now wishes to retire from these blues activities and concentrate on her own Bluesdoodles work. My sincere thanks and appreciation to these dedicated and loyal friends for their services to our world of BM and the blues.

On one of my rare outings I took in a great (sold-out) evening of The Manfreds and was fortunate to have a pre-show chat with Paul Jones. There will be an item on that forthcoming but if they appear near you, do take in the show.

Keep on keeping on folks and enjoy another packed issue.

My Uncle was a keep fit nut and seven years ago he started walking 5 miles a day…now we don’t know where the hell he is!

us

US

us

us

NICK MOSS BAND US

US/FR

FEAT. DENNIS GRUENLING

THORNETTA DAVIS US CHRIS CAIN BAND US TAD ROBINSON US/FI FEAT. ALEX SCHULTZ

MIKE SANCHEZ UK IAN SIEGAL UK TOBY LEE BLUES BAND UK IDMC GOSPEL SOUL CHOIR UK BLUES BEATLES BR

ALAN PEARCE Photo: © Mark Seliger

ARENA NORD

KENNY ”BLUES BOSS” WAYNE US FREDERIKSHAVN - DENMARK THE BENDER BRASS US CLOSE TO AALBORG AIRPORT - SHUTTLE BUS AVAILABLE WWW.BLUESHEAVEN.DK

Founder, Publisher, Editor-In-Chief, Fan

W W W.B LU E S MAT TE R S.C O M

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 5

14th ANNUAL FESTIVAL WITH A HEAVENLY MIX OF BLUES, ROCK, SOUL AND GOSPEL

CONTENTS

Welcome

1NOV+EM2BER ST

nD

2019

KENNY WAYNE SHEPHERD BAND THE FABULOUS THUNDERBIRDS

SHEMEKIA COPELAND JOE LOUIS WALKER CURTIS SALGADO

As the clock moves forward, we come back around to a round number at one-hundred and ten - I thought that was worth spelling out as we've now hit a staggering total of 994 interviews with some of the finest blues artists from around the world.

In issue 109, I must apologise for the mix-ups we had some technical issues that have now been resolved.

ALAN AND PAUL JONES My good friend and long-time loyal team member, Pete CATCHING UP PRIOR TO THE MANFREDS GIG AT Sargeant has suffered another hospital stay of more serious THE PAVILLION THEATRE, PORTHCAWL RECENTLY nature, so we are keeping an eye on him to encourage him back to health so he can do what he loves and get back to playing again as well as his writing. Get well soon Pete, we miss you.

Further, I am always grateful to our dedicated team of contributors here, so it is hard to lose anyone as we have in the past, such as Martin ‘Noggin’ Norris and Bob Bonsey the way we did. Thankfully this time it's only to retirement as we give our thanks and send best wishes to two of our team members. Many of you know him as The Bishop, but his name is Dave Scott and he is finally retiring after 21 years of working with BM to spend more time enjoying his grandchildren, he has promised to submit the odd piece in the future and we look forward to that. We also say goodbye and send best wishes to Liz Aiken who has worked with us for 15 years, Liz has dedicated a lot of her time to the UK blues scene and now wishes to retire from these blues activities and concentrate on her own Bluesdoodles work. My sincere thanks and appreciation to these dedicated and loyal friends for their services to our world of BM and the blues.

On one of my rare outings I took in a great (sold-out) evening of The Manfreds and was fortunate to have a pre-show chat with Paul Jones. There will be an item on that forthcoming but if they appear near you, do take in the show.

Keep on keeping on folks and enjoy another packed issue.

My Uncle was a keep fit nut and seven years ago he started walking 5 miles a day…now we don’t know where the hell he is!

us

US

us

us

NICK MOSS BAND US

US/FR

FEAT. DENNIS GRUENLING

THORNETTA DAVIS US CHRIS CAIN BAND US TAD ROBINSON US/FI FEAT. ALEX SCHULTZ

MIKE SANCHEZ UK IAN SIEGAL UK TOBY LEE BLUES BAND UK IDMC GOSPEL SOUL CHOIR UK BLUES BEATLES BR

ALAN PEARCE Photo: © Mark Seliger

ARENA NORD

KENNY ”BLUES BOSS” WAYNE US FREDERIKSHAVN - DENMARK THE BENDER BRASS US CLOSE TO AALBORG AIRPORT - SHUTTLE BUS AVAILABLE WWW.BLUESHEAVEN.DK

Founder, Publisher, Editor-In-Chief, Fan

W W W.B LU E S MAT TE R S.C O M

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 5

Welcome

THE BM TEAM

www.bluesmatters.com PO BOX 18, BRIDGEND, CF33 6YW. UK TELEPHONE: 00-44-(0)1656-745628 OPENING HOURS: MONDAY – FRIDAY 11AM – 4PM

FOUNDER/PUBLISHER/ EDITOR-IN-CHIEF

Alan Pearce: alan@bluesmatters.com

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

WEBSITE/SOCIAL MEDIA PR/MARKETING Mairi Maclennan: marketing-PR@bluesmatters.com

WEBSITE DESIGN

Ian Potter: webmanager@ bluesmatters.com

Iain Patience: editor@bluesmatters.com

PROOF READERS

CD REVIEWS (COLLECTION AND EDIT)

SUBSCRIPTIONS

Stephen Harrison: reviews@bluesmatters.com

DESIGN

design@bluesmatters.com

ADVERTISING

Benjamin McNair, Steve Banks, Jack Goodall Warner Subscription Management: subscriptions@warnersgroup.co.uk Telephone: (00-44-0)1778 392082

ORDERS (OTHER)

orders@bluesmatters.com

Alan: ads@bluesmatters.com Instagram: https://www.instagram.com/bluesmattersmagazine Facebook: https://www.facebook.com/bluesmattersmagazine Twitter: https://twitter.com/BluesMattersMag 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, Dianne Dodsworth, Dave Drury, Ben Elliott (USA), Barry Fisch (USA), Sybil Gage (USA), Jack Goodall, Stuart A. Hamilton, Trevor Hodgett, Rowland Jones, Jean Knappitt, 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.

SKEGNESS RESORT, FRI 17 - MON 20 JANUARY 2020 BLUES MATTERS! PROUDLY PRESENTS:

THE BLUES MATTERS!STAGE LIVE ON STAGE IN THE NEW VENUE ‘HOTSHOTS’

(SADLY JAKS HAS REACHED IT’S END SO WE RE RE-HOUSED AND THE ENTRY IS FROM THE SKYLINE, SO NO MORE CROSSING TO OUR VENUE IN THE COLD, WIND AND RAIN)

THESE ACTS READY AND EAGER TO PLAY FOR YOU:

CATFISH HOWLIN’ MOJO BONES GERRY QUIGLEY

THERE’LL BE THE ANNUAL ‘ROADHOUSE JAM’ ON SATURDAY AFTERNOON

JO CARLEY & THE OLD DRY SKULLS BACK BY POPULAR REQUEST (AND BECAUSE SHE WANTS TO):

DANA GILLESPIE

DAWSON SMITH & THE DISSENTERS ACOUSTIC SUNDAY AFTERNOON:

TREVOR ‘BABAJACK’ STEIGER ROWLAND JONES • WHEN RIVERS MEET FOLLOWED BY ELECTRIC SETS FROM:

© 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.

PAG E 6 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

W W W.B LU E S MAT TE R S.C O M

ROADHOUSE • THE ACHIEVERS CHRIS BEVINGTON ORGANISATION MCS FOR THE WEEKEND: ROWLAND JONES, TONY NIGHTINGALE, + 2 TO BE NAMED THIS ANNUAL EVENT FEATURES FOUR STAGES IN ALL WITH CENTRE STAGE, REDS, THE INTRODUCING STAGE BRINGING A WIDE SELECTION OF GREAT AND VARIED ACTS FOR YOU TO ENJOY, SO COME ON TO LOVELY SKEGNESS FOR A HELL OF A WEEKEND!

Welcome

THE BM TEAM

www.bluesmatters.com PO BOX 18, BRIDGEND, CF33 6YW. UK TELEPHONE: 00-44-(0)1656-745628 OPENING HOURS: MONDAY – FRIDAY 11AM – 4PM

FOUNDER/PUBLISHER/ EDITOR-IN-CHIEF

Alan Pearce: alan@bluesmatters.com

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

WEBSITE/SOCIAL MEDIA PR/MARKETING Mairi Maclennan: marketing-PR@bluesmatters.com

WEBSITE DESIGN

Ian Potter: webmanager@ bluesmatters.com

Iain Patience: editor@bluesmatters.com

PROOF READERS

CD REVIEWS (COLLECTION AND EDIT)

SUBSCRIPTIONS

Stephen Harrison: reviews@bluesmatters.com

DESIGN

design@bluesmatters.com

ADVERTISING

Benjamin McNair, Steve Banks, Jack Goodall Warner Subscription Management: subscriptions@warnersgroup.co.uk Telephone: (00-44-0)1778 392082

ORDERS (OTHER)

orders@bluesmatters.com

Alan: ads@bluesmatters.com Instagram: https://www.instagram.com/bluesmattersmagazine Facebook: https://www.facebook.com/bluesmattersmagazine Twitter: https://twitter.com/BluesMattersMag 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, Dianne Dodsworth, Dave Drury, Ben Elliott (USA), Barry Fisch (USA), Sybil Gage (USA), Jack Goodall, Stuart A. Hamilton, Trevor Hodgett, Rowland Jones, Jean Knappitt, 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.

SKEGNESS RESORT, FRI 17 - MON 20 JANUARY 2020 BLUES MATTERS! PROUDLY PRESENTS:

THE BLUES MATTERS!STAGE LIVE ON STAGE IN THE NEW VENUE ‘HOTSHOTS’

(SADLY JAKS HAS REACHED IT’S END SO WE RE RE-HOUSED AND THE ENTRY IS FROM THE SKYLINE, SO NO MORE CROSSING TO OUR VENUE IN THE COLD, WIND AND RAIN)

THESE ACTS READY AND EAGER TO PLAY FOR YOU:

CATFISH HOWLIN’ MOJO BONES GERRY QUIGLEY

THERE’LL BE THE ANNUAL ‘ROADHOUSE JAM’ ON SATURDAY AFTERNOON

JO CARLEY & THE OLD DRY SKULLS BACK BY POPULAR REQUEST (AND BECAUSE SHE WANTS TO):

DANA GILLESPIE

DAWSON SMITH & THE DISSENTERS ACOUSTIC SUNDAY AFTERNOON:

TREVOR ‘BABAJACK’ STEIGER ROWLAND JONES • WHEN RIVERS MEET FOLLOWED BY ELECTRIC SETS FROM:

© 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.

PAG E 6 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

W W W.B LU E S MAT TE R S.C O M

ROADHOUSE • THE ACHIEVERS CHRIS BEVINGTON ORGANISATION MCS FOR THE WEEKEND: ROWLAND JONES, TONY NIGHTINGALE, + 2 TO BE NAMED THIS ANNUAL EVENT FEATURES FOUR STAGES IN ALL WITH CENTRE STAGE, REDS, THE INTRODUCING STAGE BRINGING A WIDE SELECTION OF GREAT AND VARIED ACTS FOR YOU TO ENJOY, SO COME ON TO LOVELY SKEGNESS FOR A HELL OF A WEEKEND!

Welcome

Welcome

CONTENTS

XXXXX

FEATURES

10 43

IN THIS ISSUE:

Blues Down Under; Phenomenal Blues Woman; Piano Blues; Son House Pt 1; The Bishop’s Final Blessing; John Kay Pt 1

BLUE BLOOD

Another bunch of new blues bands this time round:Cliff Beach; Iron Kyte; Schuld & Stamer; Sun House

INTERVIEWS

48 52 58 62 66 70

LAUREN ANDERSON

An American blues lady with moves afoot

BROR GUNNAR JANSSON A Swede with a European following, Jansson is based in France but thinks globally

BERT DEIVERT

From the USA, a man with a mission and a mandolin to hand

BETH HART

We catch up with the ever-popular Beth Hart on the eve of a new tour and album launch

BLACK STONE CHERRY From rockn’roll to blues, the band explains its blues outlook to BM!!

74 78 82 86 90 98

CHRISTONE INGRAM

Buddy Guy’s young guy on the block reveals all

DANNY BRYANT

Home-grown blues talent. Danny talks to us about life on the road and a new release in the wings

JAIMOE

A new name to many, a US musician with a story to tell

KRIS BARRAS

From creating ringside moves to music, Kris rolls with the punches

LEO LYONS

The former Ten Years After bassist leads where others follow

CHRIS YOULDEN

One of the venerable men of blues music, we hear from Mister Youlden about a career that is ever-green

PAG E 8 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

66 20

THE ACHIEVERS

Another UK sensation, Blues Matters puts the frontman under the spotlight

REVIEWS

105 124

BLACK STONE CHERRY

JOHN KAY BLUES ON THE BAY

CDS AND BOOKS

ALBUMS

Catch up with all the latest hot blues material on offer FESTIVALS AND CONCERTS

SHOWTIME

Our extensive round-up of live concerts and festivals. Featuring reports from Blues on the Bay, Ballyshannon, Radford Mill, Montreal, Santa Maria, and Celebrating Woodstock festivals, plus gigs galore from across the UK

W W W.B LU E S MAT TE R S.C O M

122 W W W.B LU E S MAT TE R S.C O M

94

SAMANTHA FISH

With a new album dropping, we manage to pin down the US blues lady for some revealing replies B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 9

Welcome

Welcome

CONTENTS

XXXXX

FEATURES

10 43

IN THIS ISSUE:

Blues Down Under; Phenomenal Blues Woman; Piano Blues; Son House Pt 1; The Bishop’s Final Blessing; John Kay Pt 1

BLUE BLOOD

Another bunch of new blues bands this time round:Cliff Beach; Iron Kyte; Schuld & Stamer; Sun House

INTERVIEWS

48 52 58 62 66 70

LAUREN ANDERSON

An American blues lady with moves afoot

BROR GUNNAR JANSSON A Swede with a European following, Jansson is based in France but thinks globally

BERT DEIVERT

From the USA, a man with a mission and a mandolin to hand

BETH HART

We catch up with the ever-popular Beth Hart on the eve of a new tour and album launch

BLACK STONE CHERRY From rockn’roll to blues, the band explains its blues outlook to BM!!

74 78 82 86 90 98

CHRISTONE INGRAM

Buddy Guy’s young guy on the block reveals all

DANNY BRYANT

Home-grown blues talent. Danny talks to us about life on the road and a new release in the wings

JAIMOE

A new name to many, a US musician with a story to tell

KRIS BARRAS

From creating ringside moves to music, Kris rolls with the punches

LEO LYONS

The former Ten Years After bassist leads where others follow

CHRIS YOULDEN

One of the venerable men of blues music, we hear from Mister Youlden about a career that is ever-green

PAG E 8 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

66 20

THE ACHIEVERS

Another UK sensation, Blues Matters puts the frontman under the spotlight

REVIEWS

105 124

BLACK STONE CHERRY

JOHN KAY BLUES ON THE BAY

CDS AND BOOKS

ALBUMS

Catch up with all the latest hot blues material on offer FESTIVALS AND CONCERTS

SHOWTIME

Our extensive round-up of live concerts and festivals. Featuring reports from Blues on the Bay, Ballyshannon, Radford Mill, Montreal, Santa Maria, and Celebrating Woodstock festivals, plus gigs galore from across the UK

W W W.B LU E S MAT TE R S.C O M

122 W W W.B LU E S MAT TE R S.C O M

94

SAMANTHA FISH

With a new album dropping, we manage to pin down the US blues lady for some revealing replies B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 9

Feature

WOMEN IN BLUES

WOMEN IN BLUES

Diamond Teeth Mary PHENOMENAL BLUES WOMAN VE R BALS: DAN I WI LDE

“DIAMOND TEETH” MARY MCCLAIN (BORN MARY SMITH IN HUNTINGTON, WEST VIRGINIA, 1902) WAS ONE OF THE ORIGINAL CLASSIC BLUES SINGERS

I

love Mary's raspy and powerfully projected chest voice (a style adopted by many of the original blues singers, as they had to sing over the band with no microphone!) and she always put 110% personality and emotion into her performances.

Mary was the half-sister of Bessie Smith (Bessie’s mother Laura married Mary’s father), and although she was not as well-known as her famous sister, Mary had a long career, sharing the bill with many blues and jazz greats including Billie Holiday, Sarah Vaughan, Howlin’ Wolf, Charlie Parker, Nat King Cole and Ray Charles.

At the age of 13, Mary disguised herself as a boy, wearing her brother’s clothes, and ran away to join the circus as an acrobat and singer. It was a means of escaping the beatings she received from her stepmother at home, and once she had boarded that train,

she never looked back. Mary’s performing career began when the likes of Billie Holliday and Robert Johnson were still in nappies. Throughout the 1920’s and 30’s she established herself as a talented blues shouter who could wow a crowd. She began performing in various minstrel shows including the prestigious Rabbit Foot Minstrels, who launched the careers of many leading African-American musicians including Ma Rainey, Bessie Smith, Big Joe Williams and Louis Jordan. Life on the road gave Mary freedom and the opportunity to make a living doing what she loved best, however as African-American performers they were often

treated terribly.

During this time, Mary, who was then known as ‘Walking Mary’, toured alongside her halfsister Bessie Smith. Mary was there in Clarksdale, Mississippi, that tragic day in 1937 when Bessie died from a car crash.

She later recalled, "Bessie was lying in a hospital waiting room, her arm hanging by a thread and bleeding in a pan while the white doctors stood by and watched, doing nothing. They let her die."

Mary strongly believed that had Bessie Smith not been an African American, the white and prejudiced doctors would have done something more to try to save her.

During WW2, Mary toured internationally,

“SHE HAD THE DIAMONDS SET INTO HER FRONT TEETH, CREATING A GLEAMING AND MEMORABLE SMILE”

PAG E 10 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

W W W.B LU E S MAT TE R S.C O M

performing United Service Organisation shows for the troops. Shortly after the war, Mary had the diamonds removed from a bracelet that she had stolen from her stepmother the day she had fled home. She had the diamonds set into her front teeth, creating a gleaming and memorable smile, and earned herself the nickname, "Diamond Teeth Mary". Mary explained in an interview, "All the singers were doing stuff like that, with gold in the 1940s. I did diamonds, just to have something to make me stick out." Sadly, she later had the diamonds removed to help pay her dying mother's medical bills. In these times of hardship, she replaced the diamonds with tin foil. Much later in her life, her Tampa Bay friends helped her have new diamonds fitted!

The blues singer Johnny Copeland spoke fondly of Mary as he recalled, "Mary is why I became a musician. I remember peeking under the tent when the medicine show came through town. She was the big star and I was the little boy who said I want to be on that stage too."

Mary had a big personality and lots of stories to tell of her long career. She once recollected to her audience in Memphis that a young Elvis Presley "would bring Howlin' Wolf and me liquor from the liquor cabinet.” Both John lee Hooker and Big Mama Thornton credited Mary as being the one who gave them a start in the music business.

Journalist Peter Gallagher once W W W.B LU E S MAT TE R S.C O M

Feature

MARY MCCLAIN, AKA DIAMOND TOOTH MARY

asked John Lee Hooker why then he wouldn’t let Mary open for him at his show in Las Fontanas - and the Boogie Man replied “I’m not gonna follow Mother Mary. She’d take the house down!”

When Big Mama Thornton (who first recorded Hound Dog and wrote Janis Joplin’s Ball and Chain) was playing a concert in The Village, New York City, she spotted Mary in the audience and she began to cry. Then Big Mama announced through the

microphone “Ladeez and gentlemens, this is Walkin’ Mary Smith. She’s my mother.

She took me off the back of a garbage truck in Montgomery Alabama. I was dressed like a boy and she put ribbons in my hair!”

In 1960, Mary relocated to

Florida, where she married her second husband, Clifford McClain. She stopped singing the blues and began to sing gospel music, quickly becoming a big hit at local CONTINUES OVER...

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 11

Feature

WOMEN IN BLUES

WOMEN IN BLUES

Diamond Teeth Mary PHENOMENAL BLUES WOMAN VE R BALS: DAN I WI LDE

“DIAMOND TEETH” MARY MCCLAIN (BORN MARY SMITH IN HUNTINGTON, WEST VIRGINIA, 1902) WAS ONE OF THE ORIGINAL CLASSIC BLUES SINGERS

I

love Mary's raspy and powerfully projected chest voice (a style adopted by many of the original blues singers, as they had to sing over the band with no microphone!) and she always put 110% personality and emotion into her performances.

Mary was the half-sister of Bessie Smith (Bessie’s mother Laura married Mary’s father), and although she was not as well-known as her famous sister, Mary had a long career, sharing the bill with many blues and jazz greats including Billie Holiday, Sarah Vaughan, Howlin’ Wolf, Charlie Parker, Nat King Cole and Ray Charles.

At the age of 13, Mary disguised herself as a boy, wearing her brother’s clothes, and ran away to join the circus as an acrobat and singer. It was a means of escaping the beatings she received from her stepmother at home, and once she had boarded that train,

she never looked back. Mary’s performing career began when the likes of Billie Holliday and Robert Johnson were still in nappies. Throughout the 1920’s and 30’s she established herself as a talented blues shouter who could wow a crowd. She began performing in various minstrel shows including the prestigious Rabbit Foot Minstrels, who launched the careers of many leading African-American musicians including Ma Rainey, Bessie Smith, Big Joe Williams and Louis Jordan. Life on the road gave Mary freedom and the opportunity to make a living doing what she loved best, however as African-American performers they were often

treated terribly.

During this time, Mary, who was then known as ‘Walking Mary’, toured alongside her halfsister Bessie Smith. Mary was there in Clarksdale, Mississippi, that tragic day in 1937 when Bessie died from a car crash.

She later recalled, "Bessie was lying in a hospital waiting room, her arm hanging by a thread and bleeding in a pan while the white doctors stood by and watched, doing nothing. They let her die."

Mary strongly believed that had Bessie Smith not been an African American, the white and prejudiced doctors would have done something more to try to save her.

During WW2, Mary toured internationally,

“SHE HAD THE DIAMONDS SET INTO HER FRONT TEETH, CREATING A GLEAMING AND MEMORABLE SMILE”

PAG E 10 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

W W W.B LU E S MAT TE R S.C O M

performing United Service Organisation shows for the troops. Shortly after the war, Mary had the diamonds removed from a bracelet that she had stolen from her stepmother the day she had fled home. She had the diamonds set into her front teeth, creating a gleaming and memorable smile, and earned herself the nickname, "Diamond Teeth Mary". Mary explained in an interview, "All the singers were doing stuff like that, with gold in the 1940s. I did diamonds, just to have something to make me stick out." Sadly, she later had the diamonds removed to help pay her dying mother's medical bills. In these times of hardship, she replaced the diamonds with tin foil. Much later in her life, her Tampa Bay friends helped her have new diamonds fitted!

The blues singer Johnny Copeland spoke fondly of Mary as he recalled, "Mary is why I became a musician. I remember peeking under the tent when the medicine show came through town. She was the big star and I was the little boy who said I want to be on that stage too."

Mary had a big personality and lots of stories to tell of her long career. She once recollected to her audience in Memphis that a young Elvis Presley "would bring Howlin' Wolf and me liquor from the liquor cabinet.” Both John lee Hooker and Big Mama Thornton credited Mary as being the one who gave them a start in the music business.

Journalist Peter Gallagher once W W W.B LU E S MAT TE R S.C O M

Feature

MARY MCCLAIN, AKA DIAMOND TOOTH MARY

asked John Lee Hooker why then he wouldn’t let Mary open for him at his show in Las Fontanas - and the Boogie Man replied “I’m not gonna follow Mother Mary. She’d take the house down!”

When Big Mama Thornton (who first recorded Hound Dog and wrote Janis Joplin’s Ball and Chain) was playing a concert in The Village, New York City, she spotted Mary in the audience and she began to cry. Then Big Mama announced through the

microphone “Ladeez and gentlemens, this is Walkin’ Mary Smith. She’s my mother.

She took me off the back of a garbage truck in Montgomery Alabama. I was dressed like a boy and she put ribbons in my hair!”

In 1960, Mary relocated to

Florida, where she married her second husband, Clifford McClain. She stopped singing the blues and began to sing gospel music, quickly becoming a big hit at local CONTINUES OVER...

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 11

Feature

WOMEN IN BLUES

church events despite claiming she had not sung Gospel before 1964. As her popularity as a Tampa Gospel singer grew, her name as a blues singer fell into obscurity.

In the late 1970s, Mary was re-discovered by folklorists who invited her to perform at the Florida Folk Festival. Her performance showed such talent, she earned herself an invitation to perform at The White House for President Ronald Reagan in 1980, where her charisma won the crowd in a performance that received standing ovations.

Having turned 80 years of age, Mary found herself performing at the likes of Carnegie Hall, the W.C. Handy Awards, the Long Beach and Chicago Blues Festivals, the Apollo Theatre and the Cotton Club. She toured Europe three times and was featured on the Today show. She played hundreds of shows across Florida and always tried to make it to church every Sunday, where she would beg for forgiveness for the blasphemous sin of ‘singing the devils music’.

Wow! What a woman. She had travelled such a long way from her humble beginnings gigging in front of all-black audiences on the Chitlin’ Circuit. At last people of all colours and nationalities were taking notice of her talent, as well as her larger-than-life personality and influential contributions to The Blues.

In 1993, Diamond Teeth Mary signed her first record deal with Big Boss Records and released her debut album If I Can't Sell It, I'm Gonna Sit on It She was 91 years old! Marlboro used her music in a national ad, and she was awarded Florida’s

highest folk music award. One can’t help but question why Diamond Teeth Mary took so long to make a record. She avoided the recording studio for seven decades, preferring the thrill and interaction of live performances.

Some who knew her suggested

is was her temperament; she was an independent and strongwilled individual who liked to do things on her own terms. South Florida anthropologist Maria Vesperi believed that Mary “was sought after” but she “didn't want the city life that went with being a recording star at that time, to have to live in an urban area. She liked being on the road."

Mary went back on the road in the USA and Europe to promote her debut record

PAG E 12 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

and she continued to perform at blues festivals until shortly before her death in April 2000, at the age of 97.

A friend, who handled Mary’s affairs at the end of her life recalled talking to her in her final moments. He had told her “Mary, you can rest now; you don’t have to do any more shows.’ She seemed to relax knowing that. She said ‘I’m going home now. My mother’s waiting.’ And she was gone.

Just like that.” Mary had sung on stage for 84 years, outliving all three of her husbands. As per her dying wish, Diamond Teeth Mary’s ashes were scattered on the railroad tracks in West Virginia where she had hopped a train all those years ago to escape her abusive childhood and begin chasing her dreams.

MARY MCCLAIN 1982 FLORIDA FOLK FESTIVAL PHOTO: WIKIPEDIA

W W W.B LU E S MAT TE R S.C O M

Feature

WOMEN IN BLUES

church events despite claiming she had not sung Gospel before 1964. As her popularity as a Tampa Gospel singer grew, her name as a blues singer fell into obscurity.

In the late 1970s, Mary was re-discovered by folklorists who invited her to perform at the Florida Folk Festival. Her performance showed such talent, she earned herself an invitation to perform at The White House for President Ronald Reagan in 1980, where her charisma won the crowd in a performance that received standing ovations.

Having turned 80 years of age, Mary found herself performing at the likes of Carnegie Hall, the W.C. Handy Awards, the Long Beach and Chicago Blues Festivals, the Apollo Theatre and the Cotton Club. She toured Europe three times and was featured on the Today show. She played hundreds of shows across Florida and always tried to make it to church every Sunday, where she would beg for forgiveness for the blasphemous sin of ‘singing the devils music’.

Wow! What a woman. She had travelled such a long way from her humble beginnings gigging in front of all-black audiences on the Chitlin’ Circuit. At last people of all colours and nationalities were taking notice of her talent, as well as her larger-than-life personality and influential contributions to The Blues.

In 1993, Diamond Teeth Mary signed her first record deal with Big Boss Records and released her debut album If I Can't Sell It, I'm Gonna Sit on It She was 91 years old! Marlboro used her music in a national ad, and she was awarded Florida’s

highest folk music award. One can’t help but question why Diamond Teeth Mary took so long to make a record. She avoided the recording studio for seven decades, preferring the thrill and interaction of live performances.

Some who knew her suggested

is was her temperament; she was an independent and strongwilled individual who liked to do things on her own terms. South Florida anthropologist Maria Vesperi believed that Mary “was sought after” but she “didn't want the city life that went with being a recording star at that time, to have to live in an urban area. She liked being on the road."

Mary went back on the road in the USA and Europe to promote her debut record

PAG E 12 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

and she continued to perform at blues festivals until shortly before her death in April 2000, at the age of 97.

A friend, who handled Mary’s affairs at the end of her life recalled talking to her in her final moments. He had told her “Mary, you can rest now; you don’t have to do any more shows.’ She seemed to relax knowing that. She said ‘I’m going home now. My mother’s waiting.’ And she was gone.

Just like that.” Mary had sung on stage for 84 years, outliving all three of her husbands. As per her dying wish, Diamond Teeth Mary’s ashes were scattered on the railroad tracks in West Virginia where she had hopped a train all those years ago to escape her abusive childhood and begin chasing her dreams.

MARY MCCLAIN 1982 FLORIDA FOLK FESTIVAL PHOTO: WIKIPEDIA

W W W.B LU E S MAT TE R S.C O M

Feature

AUSTRALIAN BLUES

AUSTRALIAN BLUES

Wizards of Aus BLUES DOWN UNDER – PART 3 V E R B A L S : M AT T Y T W A L L

WHAT ARE THE BLUES TO US DOWN IN AUSTRALIA? OK, ONTO THE SECOND PART OF MATTY'S EXCLUSIVE AUSTRALIAN STORY FOR BLUES MATTERS!

DUTCH TILDERS PHOTO: RICHARD HODGES

L

ast issue we spoke to some of the originators and descendants of real home-grown US blues – the real deal. We asked them what they thought about blues going international and what did it mean to them?

What did it sound like? Well in this issue, you get to hear from 3 leaders in Australian blues, across a few generations, what their thoughts are on these types of philosophical questions, questions we all wonder about from time to time.

We’re here to set the record straight on a few things and hope you learn a thing or two along the way.

Let me introduce you to Dave Hole, Fiona Boyes and Lloyd Speigel. Dave Hole, as you might know, became a star in the International blues scene in the 90s and is still writing and recording. Fiona Boyes is the first female and first international entrant to win the International Blues Challenge, she has also been nominated for a Blues Music Award. Lloyd Speigel is a touring troubadour who spends much of his time in Europe and North America when he is not in his home town of Melbourne winning numerous blues awards W W W.B LU E S MAT TE R S.C O M

and topping the blues charts.

So, let’s get to it!

Australia is a long way from the source of the blues, and a long way from the international rebirth of blues in the 60s too.

Where were you when you first discovered the blues?

Dave: As a teenager growing up in Australia in the 60’s we were exposed early on to the British blues revival. The first Stones album, which I loved, served as my introduction to names such as Muddy Waters, Howling Wolf and Jimmy Reed.

I set about getting a hold of records from all of these blues masters, which took a bit of doing from Perth as they each had to be ordered and then took two months to arrive.

Lloyd: My father played blues records at home since before I can remember and took me to the station hotel on Grenville Street to watch Dutch Tilders from a very young age. That was the norm. I guess I never really discovered it. It was the music that I heard throughout my childhood. I just assumed all the other kids were listening to it as well. By the time I knew that wasn’t the case, I was entrenched in it.

Fiona: I really discovered blues at college, where there was a great on-campus Folk & Blues Club. Luckily, the club president was deep into blues, so the first stuff I heard was a documentary and field recordings, early

Country blues and, of course, classic Chicago blues. From players like Charlie Patton, Blind Willie McTell, Rev Gary Davis to Howling Wolf and Muddy…when I heard this music, it blew my mind!

Since we are so isolated here, does Australia really have its own blues sound, or is it something that is developing over time? Or just part of the wider international blues movement?

Dave: I don’t hear a distinctly Australian style of blues, although we have some excellent bluesmen, all with an identifiable sound of their own. I don’t believe we will ever develop a uniquely Australian style because in this digital age we are more exposed than ever to overseas influences. I think this is a world-wide trend. Even within the US I believe regional styles have been eroded. You are just as likely to hear Texas blues for example in Chicago as you are in Austin.

Fiona: Paradoxically, I wonder if our isolation in Australia may give us some sort of strange freedom. American players often come out of a particular geographical area, with its own particular musical heritage. In my case, being a fan for a long time before becoming a player, I devoured many widely differing regional styles of blues. The Australian blues scene has a

“The first Stones album, which I loved, served as my introduction to names such as Muddy Waters, Howling Wolf and Jimmy Reed” W W W.B LU E S MAT TE R S.C O M

Feature

LLOYD SP IEGEL PHOTO: W ARREN MC COLL

JONES

pretty healthy range of styles and it’s great to see a lot of younger players coming up. Maybe the ‘freshness’ that some US commentators find in Aussie players comes out of that ‘fan’ enthusiasm, and not being able to take anything for granted.

Now, obviously going and playing blues in the US would be the ultimate for any aspiring blues artist down-under, but failing that, what can we do to make the Australian (and International) blues scenes world-class?

Dave: Playing blues in America is somewhat special because it’s the home of the blues but also because there are just a lot more people there who love the blues, so the audiences can be bigger and better informed.

One big disadvantage for a blues player in Australia is that we are the most pop-oriented country in the Western World.

Pop music is so dominant here that even most blues festivals feature mainly pop acts, to the extent that the average CONTINUES OVER...

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 15

Feature

AUSTRALIAN BLUES

AUSTRALIAN BLUES

Wizards of Aus BLUES DOWN UNDER – PART 3 V E R B A L S : M AT T Y T W A L L

WHAT ARE THE BLUES TO US DOWN IN AUSTRALIA? OK, ONTO THE SECOND PART OF MATTY'S EXCLUSIVE AUSTRALIAN STORY FOR BLUES MATTERS!

DUTCH TILDERS PHOTO: RICHARD HODGES

L

ast issue we spoke to some of the originators and descendants of real home-grown US blues – the real deal. We asked them what they thought about blues going international and what did it mean to them?

What did it sound like? Well in this issue, you get to hear from 3 leaders in Australian blues, across a few generations, what their thoughts are on these types of philosophical questions, questions we all wonder about from time to time.

We’re here to set the record straight on a few things and hope you learn a thing or two along the way.

Let me introduce you to Dave Hole, Fiona Boyes and Lloyd Speigel. Dave Hole, as you might know, became a star in the International blues scene in the 90s and is still writing and recording. Fiona Boyes is the first female and first international entrant to win the International Blues Challenge, she has also been nominated for a Blues Music Award. Lloyd Speigel is a touring troubadour who spends much of his time in Europe and North America when he is not in his home town of Melbourne winning numerous blues awards W W W.B LU E S MAT TE R S.C O M

and topping the blues charts.

So, let’s get to it!

Australia is a long way from the source of the blues, and a long way from the international rebirth of blues in the 60s too.

Where were you when you first discovered the blues?

Dave: As a teenager growing up in Australia in the 60’s we were exposed early on to the British blues revival. The first Stones album, which I loved, served as my introduction to names such as Muddy Waters, Howling Wolf and Jimmy Reed.

I set about getting a hold of records from all of these blues masters, which took a bit of doing from Perth as they each had to be ordered and then took two months to arrive.

Lloyd: My father played blues records at home since before I can remember and took me to the station hotel on Grenville Street to watch Dutch Tilders from a very young age. That was the norm. I guess I never really discovered it. It was the music that I heard throughout my childhood. I just assumed all the other kids were listening to it as well. By the time I knew that wasn’t the case, I was entrenched in it.

Fiona: I really discovered blues at college, where there was a great on-campus Folk & Blues Club. Luckily, the club president was deep into blues, so the first stuff I heard was a documentary and field recordings, early

Country blues and, of course, classic Chicago blues. From players like Charlie Patton, Blind Willie McTell, Rev Gary Davis to Howling Wolf and Muddy…when I heard this music, it blew my mind!

Since we are so isolated here, does Australia really have its own blues sound, or is it something that is developing over time? Or just part of the wider international blues movement?

Dave: I don’t hear a distinctly Australian style of blues, although we have some excellent bluesmen, all with an identifiable sound of their own. I don’t believe we will ever develop a uniquely Australian style because in this digital age we are more exposed than ever to overseas influences. I think this is a world-wide trend. Even within the US I believe regional styles have been eroded. You are just as likely to hear Texas blues for example in Chicago as you are in Austin.

Fiona: Paradoxically, I wonder if our isolation in Australia may give us some sort of strange freedom. American players often come out of a particular geographical area, with its own particular musical heritage. In my case, being a fan for a long time before becoming a player, I devoured many widely differing regional styles of blues. The Australian blues scene has a

“The first Stones album, which I loved, served as my introduction to names such as Muddy Waters, Howling Wolf and Jimmy Reed” W W W.B LU E S MAT TE R S.C O M

Feature

LLOYD SP IEGEL PHOTO: W ARREN MC COLL

JONES

pretty healthy range of styles and it’s great to see a lot of younger players coming up. Maybe the ‘freshness’ that some US commentators find in Aussie players comes out of that ‘fan’ enthusiasm, and not being able to take anything for granted.

Now, obviously going and playing blues in the US would be the ultimate for any aspiring blues artist down-under, but failing that, what can we do to make the Australian (and International) blues scenes world-class?

Dave: Playing blues in America is somewhat special because it’s the home of the blues but also because there are just a lot more people there who love the blues, so the audiences can be bigger and better informed.

One big disadvantage for a blues player in Australia is that we are the most pop-oriented country in the Western World.

Pop music is so dominant here that even most blues festivals feature mainly pop acts, to the extent that the average CONTINUES OVER...

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 15

AUSTRALIAN BLUES

“Listen to the recordings of the old school legends, explore the genre, learn how to play with others” punters don’t even know what blues is. Of course, there are exceptions and we have some very devoted Australian blues radio presenters, but I have to say we face an uphill battle in raising the profile of real blues music in this country. Roots and Roots-Pop music is faring better here right now. I think we need some kind of a program to introduce teenagers to blues.

In my experience they generally do like it when they hear it, but they are just not being exposed to it. Internationally the blues is struggling a bit at the moment as it’s not ‘flavour of the month’.

There are so many competing genres, but the blues has always been cyclical in popularity and I believe it will have its day again.

At some point the honest, simple, raw expression that is the blues will again appeal to a wider audience, after all it is at the core of most of other forms that we’re hearing all day long.

Lloyd: I’ve found that blues reaches different countries in different ways. When I’ve toured the states of course I found myself with a sense of homecoming and belonging you can’t get anywhere else but there, but blues fans in the Netherlands or Japan or Canada have their own unique connection to it and that shows the tremendous staying power and reach of blues music. As far as making it world class, I think it is just that in many ways, but I often think about the evolution of the blues versus its traditions.

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/

PAG E 16 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

Dana Gillespie advert.indd 1

W W W.B LU E S MAT TE R S.C O M

13/03/2019 07:47

W W W.B LU E S MAT TE R S.C O M

There’s an element that want everything played like it used to be and for all the artists to dress like they used to dress. There’s another element that wants to advance and stretch the blues to new audiences and change with the times. Neither are wrong, it’s just a view, but to remain world class, I believe we need to stay relevant as artists while paying respect to the history of the blues. It’s a fine line to walk. With so many variations and many different sub-genres for blues these days, how do you know when you are listening to real blues music? What are the essential ingredients do you think?

Dave: It’s always difficult to describe music in words rather than by example but blues does have a few defining characteristics. Most notably there are only a few chord patterns, the most notable of these being the well-known 12 bar pattern. Another thing is that no matter what the tempo is it always has a shuffle or swing feel to it. Even when you hear blues players tackling a rock song, they will try to swing it. It doesn't have the straight ahead feel of a heavy rock band.

Having said all this, the best way to illustrate to someone what the blues is would be to play a few examples of some of the masters, Robert Johnson, Lightning Hopkins, B.B. King, etc.

Fiona: When you are writing and playing in a traditional

Feature

genre, there needs to be some ‘signposts’ to indicate you are actually playing within the musical style. Having said that, one of the things that I am passionate about is proclaiming the breadth of blues as a genre.

It is much wider and more sophisticated than a lot of the general public might think. A large ensemble West Coast jump band, with horn section, is not necessarily ‘less blues’ than one guy wailing on a diddley-bow. If you can trace the music back to some sort of traditional framework, and the essential ingredients of respect for musical roots and heartfelt intent are there, it is most probably the blues.

Dave, with your success in the USA starting in the 90s, do you feel the Australian blues scene changed as a result?

Dave: I was very fortunate to have a lucky break in 1991 that enabled me to have some success in America and Europe and I believe it did encourage other Australian blues artists in the belief that touring internationally and having success overseas was a possibility for them. I’m sure they thought “if Dave can do it, so can I” and so now we have a lot of Aussie blues men and women touring internationally and receiving recognition.

Of course, this might have eventually happened anyway, but I like to think that my success did spur things on a bit.

For all those kids out there that pick up an instrument and start loving the sound of blues, what would you say to them?

Dave: I do have an encouraging number of kids asking me for PTE M B E R 2019 | PAG E 17

AUSTRALIAN BLUES

“Listen to the recordings of the old school legends, explore the genre, learn how to play with others” punters don’t even know what blues is. Of course, there are exceptions and we have some very devoted Australian blues radio presenters, but I have to say we face an uphill battle in raising the profile of real blues music in this country. Roots and Roots-Pop music is faring better here right now. I think we need some kind of a program to introduce teenagers to blues.

In my experience they generally do like it when they hear it, but they are just not being exposed to it. Internationally the blues is struggling a bit at the moment as it’s not ‘flavour of the month’.

There are so many competing genres, but the blues has always been cyclical in popularity and I believe it will have its day again.

At some point the honest, simple, raw expression that is the blues will again appeal to a wider audience, after all it is at the core of most of other forms that we’re hearing all day long.

Lloyd: I’ve found that blues reaches different countries in different ways. When I’ve toured the states of course I found myself with a sense of homecoming and belonging you can’t get anywhere else but there, but blues fans in the Netherlands or Japan or Canada have their own unique connection to it and that shows the tremendous staying power and reach of blues music. As far as making it world class, I think it is just that in many ways, but I often think about the evolution of the blues versus its traditions.

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/

PAG E 16 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

Dana Gillespie advert.indd 1

W W W.B LU E S MAT TE R S.C O M

13/03/2019 07:47

W W W.B LU E S MAT TE R S.C O M

There’s an element that want everything played like it used to be and for all the artists to dress like they used to dress. There’s another element that wants to advance and stretch the blues to new audiences and change with the times. Neither are wrong, it’s just a view, but to remain world class, I believe we need to stay relevant as artists while paying respect to the history of the blues. It’s a fine line to walk. With so many variations and many different sub-genres for blues these days, how do you know when you are listening to real blues music? What are the essential ingredients do you think?

Dave: It’s always difficult to describe music in words rather than by example but blues does have a few defining characteristics. Most notably there are only a few chord patterns, the most notable of these being the well-known 12 bar pattern. Another thing is that no matter what the tempo is it always has a shuffle or swing feel to it. Even when you hear blues players tackling a rock song, they will try to swing it. It doesn't have the straight ahead feel of a heavy rock band.

Having said all this, the best way to illustrate to someone what the blues is would be to play a few examples of some of the masters, Robert Johnson, Lightning Hopkins, B.B. King, etc.

Fiona: When you are writing and playing in a traditional

Feature

genre, there needs to be some ‘signposts’ to indicate you are actually playing within the musical style. Having said that, one of the things that I am passionate about is proclaiming the breadth of blues as a genre.

It is much wider and more sophisticated than a lot of the general public might think. A large ensemble West Coast jump band, with horn section, is not necessarily ‘less blues’ than one guy wailing on a diddley-bow. If you can trace the music back to some sort of traditional framework, and the essential ingredients of respect for musical roots and heartfelt intent are there, it is most probably the blues.

Dave, with your success in the USA starting in the 90s, do you feel the Australian blues scene changed as a result?

Dave: I was very fortunate to have a lucky break in 1991 that enabled me to have some success in America and Europe and I believe it did encourage other Australian blues artists in the belief that touring internationally and having success overseas was a possibility for them. I’m sure they thought “if Dave can do it, so can I” and so now we have a lot of Aussie blues men and women touring internationally and receiving recognition.

Of course, this might have eventually happened anyway, but I like to think that my success did spur things on a bit.

For all those kids out there that pick up an instrument and start loving the sound of blues, what would you say to them?

Dave: I do have an encouraging number of kids asking me for PTE M B E R 2019 | PAG E 17

AUSTRALIAN BLUES

tips on blues guitar playing and I always say that if you really love it you have to stay the course.

Don’t give up. Keep listening and above all keep practising.

I’ve had the opportunity to meet some of my own blues heroes over the years and I haven’t met one of them that wasn’t totally obsessed with it. In order to absorb it and become proficient at expressing yourself through your instrument you have to at some point put in hours and hours of practise, until it becomes second nature. If you don’t really love it you won’t do this but if you do it isn’t work at all, it’s a sheer joy!

Lloyd: As far as playing in instrument is concerned, I always say “stop trying to LEARN it!” When you play an instrument, you’re not attempting to learn, you’re really creating a habit. It’s like breathing or walking. You need to bypass the thinking and make it natural. So, play in front of the tv and let it sink into the back of your mind. Playing all day with total concentration will get you good, but you may never find that unique thing every artist has. On playing the blues...whether you end up playing blues music or not, it’s an essential part of playing music so make sure it’s your grounding. If you really want to play the blues, find your own thing. Recognise that what we love about our favourite blues artists is that you know who it is 10 seconds in.

FIONA BOYES PHOTO: BRANDY KAZAKIAN-ROWE

Fiona: You can’t play something unless you have a sense of what it is…I like the idea that the blues is an historic thread, with respect for elders and for the traditions of the music. Listen to the recordings of the old school legends, explore the genre, learn how to play with others and, also very importantly, watch and listen to musicians playing live. I remember loving Big Bill Broonzy on vinyl, but then I went to a Dutch Tilders gig in a small club and heard him playing like Big Bill. Dutch, who is considered to be the ‘Godfather’

“THE BLUES IS A MUSIC THAT YOU CAN FEEL, IT IS SOMETHING THAT COMES FROM DEEP INSIDE OF A PERSON” W W W.B LU E S MAT TE R S.C O M

Feature

of the Melbourne blues scene, was at the height of his powers as a finger picker at the time… and, wow, there’s nothing like seeing a real musician actually playing that stuff!

So, there you have it – a unique perspective on our scene, the sound of the blues and what it means to us in Australia. We love the blues as much as you do. It is a universal style, of communication the seems to touch everyone that hears it. Let’s keep that going.

Hope to talk to you again soon, I’ve got a killer blues project arriving that you will probably be hearing more about and the amazing, brilliant, starstudded guests I will have on the album. EXCITED!!

Until next time – stay bluesy! (…and keep that swagger in your step)

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 19

AUSTRALIAN BLUES

tips on blues guitar playing and I always say that if you really love it you have to stay the course.

Don’t give up. Keep listening and above all keep practising.

I’ve had the opportunity to meet some of my own blues heroes over the years and I haven’t met one of them that wasn’t totally obsessed with it. In order to absorb it and become proficient at expressing yourself through your instrument you have to at some point put in hours and hours of practise, until it becomes second nature. If you don’t really love it you won’t do this but if you do it isn’t work at all, it’s a sheer joy!

Lloyd: As far as playing in instrument is concerned, I always say “stop trying to LEARN it!” When you play an instrument, you’re not attempting to learn, you’re really creating a habit. It’s like breathing or walking. You need to bypass the thinking and make it natural. So, play in front of the tv and let it sink into the back of your mind. Playing all day with total concentration will get you good, but you may never find that unique thing every artist has. On playing the blues...whether you end up playing blues music or not, it’s an essential part of playing music so make sure it’s your grounding. If you really want to play the blues, find your own thing. Recognise that what we love about our favourite blues artists is that you know who it is 10 seconds in.

FIONA BOYES PHOTO: BRANDY KAZAKIAN-ROWE

Fiona: You can’t play something unless you have a sense of what it is…I like the idea that the blues is an historic thread, with respect for elders and for the traditions of the music. Listen to the recordings of the old school legends, explore the genre, learn how to play with others and, also very importantly, watch and listen to musicians playing live. I remember loving Big Bill Broonzy on vinyl, but then I went to a Dutch Tilders gig in a small club and heard him playing like Big Bill. Dutch, who is considered to be the ‘Godfather’

“THE BLUES IS A MUSIC THAT YOU CAN FEEL, IT IS SOMETHING THAT COMES FROM DEEP INSIDE OF A PERSON” W W W.B LU E S MAT TE R S.C O M

Feature

of the Melbourne blues scene, was at the height of his powers as a finger picker at the time… and, wow, there’s nothing like seeing a real musician actually playing that stuff!

So, there you have it – a unique perspective on our scene, the sound of the blues and what it means to us in Australia. We love the blues as much as you do. It is a universal style, of communication the seems to touch everyone that hears it. Let’s keep that going.

Hope to talk to you again soon, I’ve got a killer blues project arriving that you will probably be hearing more about and the amazing, brilliant, starstudded guests I will have on the album. EXCITED!!

Until next time – stay bluesy! (…and keep that swagger in your step)

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 19

Feature

JOHN KAY

JOHN KAY

John Kay HE WAS BORN TO BE WILD VE R BALS: DAR R E LL SAG E

V I S U A L S : T O M G . O ’ N E I L A N D J U T TA M A U E - K AY

STEPPENWOLF’S VOCALIST AND PRIMARY SONG WRITER, JOHN HAS BEEN GUIDING THE BAND THROUGH SIX DECADES OF MUSIC. BM! CATCHES UP WITH THE GREAT MAN AND HEARS HIS STORY

S

teppenwolf’s, Joachim Fritz Krauledat was born in 1944 in what became East Germany. His father was killed on the Russian front and after the war ended his mother was left with a young son who had vision problems.

In desperation to save his sight with a proper diet and with machine gun fire in the distance she and her four-year-old escaped into pre-wall West Germany and were given a new start in life.

Good morning John. How are you today?

Well, I just got off the elliptical machine to resituate that semi dormant organ between my ears so I’m in a good mood.

At this age you’re kind of appreciative of any day you’re still vertical. You quit moving and they throw dirt on you.

We’re gentleman of a similar age, so I can appreciate that any day above ground is a damn

fine day. Your Rock & Roll Hall of Fame career has had me mentally time travelling on Steppenwolf music this week.

And there is ample.

Yes, looking back over one’s shoulder, it’s been a pretty good and interesting life with a lot of special memories. One thing it never was, was boring.

I say this often, sometimes one has more luck than sense or talent. When I was a kid in West Germany, once we’d gotten out of communist East Germany, and hearing rock & roll, I became obsessed with finding what was so limited on the radio and then I came across American Armed Forces Radio and Little Richard. When we eventually came to Toronto, I was just about 14 and there was rock and roll everywhere. I was like a kid in a candy store.

You could fiddle around with the AM radio dial and have all sorts of songs to listen to. Then I discovered country music and became totally agnostic.

PAG E 2 0 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

I didn’t care what the label of the music was, I was strictly interested in whether it got to me on some level. Once I was in high school in Toronto, I found a couple guys who were into music as well. One was in a local band, he said to go to this place that was a ballroom and that on the weekends would have these dances for teens and early 20’s. The music that was played every Saturday was black R&B, Etta James, James Brown, Ray Charles, you know, for all these white kids. And then fiddling around with the radio Sunday morning I came across a Buffalo radio station that broadcasted a service from an African American church and that’s when I heard their music, gospel choirs and soul singers and I had an ah ha moment that Ray Charles and James Brown were really connected to this gospel stuff.

In ’63 my mother and stepdad moved to Buffalo.

My mother had remarried in W W W.B LU E S MAT TE R S.C O M

West Germany. So now we were green card-carrying legal immigrants and as such with me being 19 years old I got a letter from the draft board. I went for the medical examination and thought I would short cut the whole thing by saying, sir I’m legally blind. He cut me off in mid-sentence by saying, "son, we’ll get to that". He gives me the complete head to toe examination and then says, read the chart on the wall. I said, sir, I can barely see the chart.

He said, well, you will be 4-F. What does that mean, I asked?

Well in your case, women and children first. The point being, it kept me out of Vietnam.

Feature

LEADER IF THE PACK, MR JOHN KAY

Yeah well, you didn’t miss dying. It was like, ‘Fire all of your guns at once and explode into space.’ and Steppenwolf’s, Born To Be Wild, became an anthem to many troops in Vietnam and well after.

The first time Steppenwolf played in Honolulu there were all these long-haired Hawaiian kids and we noticed from the stage that among them was a group, at most a dozen, who had no hair. We were still a baby band at that time and approachable. So, we talked to a couple of those guys and they said, we just got back from Nam. And what they were telling us was, oh yeah, we got your music. We take it with us in the bush. We go to the PX and buy these cassettes of Creedence, Hendrix and Steppenwolf. A lot of them had these little battery-operated single speaker radios with a cassette player function. They had music from home, so they CONTINUES OVER...

W W W.B LU E S MAT TE R S.C O M

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 21

Feature

JOHN KAY

JOHN KAY

John Kay HE WAS BORN TO BE WILD VE R BALS: DAR R E LL SAG E

V I S U A L S : T O M G . O ’ N E I L A N D J U T TA M A U E - K AY

STEPPENWOLF’S VOCALIST AND PRIMARY SONG WRITER, JOHN HAS BEEN GUIDING THE BAND THROUGH SIX DECADES OF MUSIC. BM! CATCHES UP WITH THE GREAT MAN AND HEARS HIS STORY

S

teppenwolf’s, Joachim Fritz Krauledat was born in 1944 in what became East Germany. His father was killed on the Russian front and after the war ended his mother was left with a young son who had vision problems.

In desperation to save his sight with a proper diet and with machine gun fire in the distance she and her four-year-old escaped into pre-wall West Germany and were given a new start in life.

Good morning John. How are you today?

Well, I just got off the elliptical machine to resituate that semi dormant organ between my ears so I’m in a good mood.

At this age you’re kind of appreciative of any day you’re still vertical. You quit moving and they throw dirt on you.

We’re gentleman of a similar age, so I can appreciate that any day above ground is a damn

fine day. Your Rock & Roll Hall of Fame career has had me mentally time travelling on Steppenwolf music this week.

And there is ample.

Yes, looking back over one’s shoulder, it’s been a pretty good and interesting life with a lot of special memories. One thing it never was, was boring.

I say this often, sometimes one has more luck than sense or talent. When I was a kid in West Germany, once we’d gotten out of communist East Germany, and hearing rock & roll, I became obsessed with finding what was so limited on the radio and then I came across American Armed Forces Radio and Little Richard. When we eventually came to Toronto, I was just about 14 and there was rock and roll everywhere. I was like a kid in a candy store.

You could fiddle around with the AM radio dial and have all sorts of songs to listen to. Then I discovered country music and became totally agnostic.

PAG E 2 0 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

I didn’t care what the label of the music was, I was strictly interested in whether it got to me on some level. Once I was in high school in Toronto, I found a couple guys who were into music as well. One was in a local band, he said to go to this place that was a ballroom and that on the weekends would have these dances for teens and early 20’s. The music that was played every Saturday was black R&B, Etta James, James Brown, Ray Charles, you know, for all these white kids. And then fiddling around with the radio Sunday morning I came across a Buffalo radio station that broadcasted a service from an African American church and that’s when I heard their music, gospel choirs and soul singers and I had an ah ha moment that Ray Charles and James Brown were really connected to this gospel stuff.

In ’63 my mother and stepdad moved to Buffalo.

My mother had remarried in W W W.B LU E S MAT TE R S.C O M

West Germany. So now we were green card-carrying legal immigrants and as such with me being 19 years old I got a letter from the draft board. I went for the medical examination and thought I would short cut the whole thing by saying, sir I’m legally blind. He cut me off in mid-sentence by saying, "son, we’ll get to that". He gives me the complete head to toe examination and then says, read the chart on the wall. I said, sir, I can barely see the chart.

He said, well, you will be 4-F. What does that mean, I asked?

Well in your case, women and children first. The point being, it kept me out of Vietnam.

Feature

LEADER IF THE PACK, MR JOHN KAY

Yeah well, you didn’t miss dying. It was like, ‘Fire all of your guns at once and explode into space.’ and Steppenwolf’s, Born To Be Wild, became an anthem to many troops in Vietnam and well after.

The first time Steppenwolf played in Honolulu there were all these long-haired Hawaiian kids and we noticed from the stage that among them was a group, at most a dozen, who had no hair. We were still a baby band at that time and approachable. So, we talked to a couple of those guys and they said, we just got back from Nam. And what they were telling us was, oh yeah, we got your music. We take it with us in the bush. We go to the PX and buy these cassettes of Creedence, Hendrix and Steppenwolf. A lot of them had these little battery-operated single speaker radios with a cassette player function. They had music from home, so they CONTINUES OVER...

W W W.B LU E S MAT TE R S.C O M

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 21

Feature

JOHN KAY

JOHN KAY

in 1990 after the wall had come down, I saw from the stage that there was a group and I knew immediately that they were Ossies from the East. I said to our tour manager, if they have albums, after the show have them come by and they said the same sort of thing. During communism the government would jam the West German radio stations, so we had to smuggle the albums in, and they were prized possessions.

So, they brought some of these to be autographed. It was another indication of how potent music can be when people are in desperate need of it.

I was shocked to learn that your music has been in 85 movies and 125 TV programs.

STEPPENWOLF

already knew about our music.

And that was the first time we realised that man, this is the first rock & roll war.

The irony of you first being exposed to rock and roll and Little Richard on Armed Forces Radio Network, is that their Vietnam stations, like in Saigon would not play Steppenwolf or Creedence or Hendrix, etcetera?

I am not surprised because whether it was us or Creedence’s, Fortunate Son or whether it was Country Joe and the Fish, and Fixin’ To Die and all that stuff would not suit to boosting moral amongst the troops. This is the first time I’ve had someone mention that to me and I learned something.

But it doesn’t surprise me that Armed Forces Radio would not play something controversial.

I’ve always believed that music by you and others in the 60’s and into the 70’s was a major player in helping bring an end to our involvement in Vietnam.

It’s interesting how that works because many years later, the first time we played in Brazil and a year or so later in Greece we had almost identical experiences and mainly audiences of predominately males, and most of them had not been born when we had our big hits in the late 60’s. They didn’t speak English, but they sang along phonetically with us.

I spoke to journalists afterwards who were my age more or less

PAG E 2 2 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

and I had done interviews with newspapers - advanced PR for our tour and I said, I’m missing something here. And both of them described the same situation. Both countries were under military dictatorship in the late 60’s when our stuff came out and they said, your music was not welcome because you guys had an anti-authoritative vibe in your attitude and your music. So we young people at the time listened to stuff behind closed doors and in many ways, you and others like you are the bands that had a point of view and a strong voice against authoritarianism and here’s the kicker, we raised our young to know about you and how important you were. When we played for the first time in Berlin W W W.B LU E S MAT TE R S.C O M

The thing is that while those numbers are correct, in the majority of cases the music is usually being talked over and becomes background music. And this is where Easy Rider was a complete departure. Somebody called our management office and said, we’re making this film and I’m thinking, oh God, Peter was in this awful thing, something called Hells Angel Unchained or some shit. So, we went to the private screening. I don’t know if Dylan was there, but Hendrix was, and Robertson from The Band was, and we were blown away. There was no film like it ever out of Hollywood and we had no idea what that movie would do for us.

You have the Easy Rider anniversary gig coming up in late September. Tell us what that is all about please?

Peter Fonda got in contact with me and asked if I would be interested in participating, and I will. The fiftieth anniversary of Easy Rider coming out will be celebrated by the screening of the movie at Radio City Music Hall in New York City in September. Live Nation, the big promoters are the ones putting this on. What’s different about this is that they got T Bone Burnette to put together a house band and Roger McGuinn and I, in the case of Born To Be Wild and The Pusher, so at the point where our songs are part of the soundtrack, we will perform with T Bone’s band, live versions of those songs.

Somebody pointed out something that had never occurred to me in an article pertaining to this upcoming event. Easy Rider had these long sequences of them on the highway just riding their bikes.

And the music, like Born To Be Wild would play the entire duration of the song without any dialog except seeing Peter and Dennis (Hopper) on their choppers riding down some

“THEY SAID, WE JUST GOT BACK FROM NAM. AND WHAT THEY WERE TELLING US WAS, OH YEAH, WE GOT YOUR MUSIC" W W W.B LU E S MAT TE R S.C O M

Feature

desolate highways. And they said that many of the songs are treated in the sense that the music is the focus audio wise, not dialog when they are doing something where there is really no point to dialog. So that was quite a new development in Easy Rider.

What year did you first head out on the highway, so to speak?

This buddy of mine in Toronto had a cool Triumph TR 3 with the top down and was going on a road trip to California. Do you want to go? Well of course.

So, he picks me up in Buffalo, we pick up Route 66 from St. Louis onward and we’re driving through there and on the AM station comes, Chuck Berry’s newest and probably one of his last big hits, Nadine. It’s like, hey man, this is Chuck’s hometown. After moving to California from Buffalo and getting immersed in the folk music revival in the early 60’s, learning from the blues masters and from the singer songwriters with something to CONTINUES OVER...

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 2 3

Feature

JOHN KAY

JOHN KAY

in 1990 after the wall had come down, I saw from the stage that there was a group and I knew immediately that they were Ossies from the East. I said to our tour manager, if they have albums, after the show have them come by and they said the same sort of thing. During communism the government would jam the West German radio stations, so we had to smuggle the albums in, and they were prized possessions.

So, they brought some of these to be autographed. It was another indication of how potent music can be when people are in desperate need of it.

I was shocked to learn that your music has been in 85 movies and 125 TV programs.

STEPPENWOLF

already knew about our music.

And that was the first time we realised that man, this is the first rock & roll war.

The irony of you first being exposed to rock and roll and Little Richard on Armed Forces Radio Network, is that their Vietnam stations, like in Saigon would not play Steppenwolf or Creedence or Hendrix, etcetera?

I am not surprised because whether it was us or Creedence’s, Fortunate Son or whether it was Country Joe and the Fish, and Fixin’ To Die and all that stuff would not suit to boosting moral amongst the troops. This is the first time I’ve had someone mention that to me and I learned something.

But it doesn’t surprise me that Armed Forces Radio would not play something controversial.

I’ve always believed that music by you and others in the 60’s and into the 70’s was a major player in helping bring an end to our involvement in Vietnam.

It’s interesting how that works because many years later, the first time we played in Brazil and a year or so later in Greece we had almost identical experiences and mainly audiences of predominately males, and most of them had not been born when we had our big hits in the late 60’s. They didn’t speak English, but they sang along phonetically with us.

I spoke to journalists afterwards who were my age more or less

PAG E 2 2 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

and I had done interviews with newspapers - advanced PR for our tour and I said, I’m missing something here. And both of them described the same situation. Both countries were under military dictatorship in the late 60’s when our stuff came out and they said, your music was not welcome because you guys had an anti-authoritative vibe in your attitude and your music. So we young people at the time listened to stuff behind closed doors and in many ways, you and others like you are the bands that had a point of view and a strong voice against authoritarianism and here’s the kicker, we raised our young to know about you and how important you were. When we played for the first time in Berlin W W W.B LU E S MAT TE R S.C O M

The thing is that while those numbers are correct, in the majority of cases the music is usually being talked over and becomes background music. And this is where Easy Rider was a complete departure. Somebody called our management office and said, we’re making this film and I’m thinking, oh God, Peter was in this awful thing, something called Hells Angel Unchained or some shit. So, we went to the private screening. I don’t know if Dylan was there, but Hendrix was, and Robertson from The Band was, and we were blown away. There was no film like it ever out of Hollywood and we had no idea what that movie would do for us.

You have the Easy Rider anniversary gig coming up in late September. Tell us what that is all about please?

Peter Fonda got in contact with me and asked if I would be interested in participating, and I will. The fiftieth anniversary of Easy Rider coming out will be celebrated by the screening of the movie at Radio City Music Hall in New York City in September. Live Nation, the big promoters are the ones putting this on. What’s different about this is that they got T Bone Burnette to put together a house band and Roger McGuinn and I, in the case of Born To Be Wild and The Pusher, so at the point where our songs are part of the soundtrack, we will perform with T Bone’s band, live versions of those songs.

Somebody pointed out something that had never occurred to me in an article pertaining to this upcoming event. Easy Rider had these long sequences of them on the highway just riding their bikes.

And the music, like Born To Be Wild would play the entire duration of the song without any dialog except seeing Peter and Dennis (Hopper) on their choppers riding down some

“THEY SAID, WE JUST GOT BACK FROM NAM. AND WHAT THEY WERE TELLING US WAS, OH YEAH, WE GOT YOUR MUSIC" W W W.B LU E S MAT TE R S.C O M

Feature

desolate highways. And they said that many of the songs are treated in the sense that the music is the focus audio wise, not dialog when they are doing something where there is really no point to dialog. So that was quite a new development in Easy Rider.

What year did you first head out on the highway, so to speak?

This buddy of mine in Toronto had a cool Triumph TR 3 with the top down and was going on a road trip to California. Do you want to go? Well of course.

So, he picks me up in Buffalo, we pick up Route 66 from St. Louis onward and we’re driving through there and on the AM station comes, Chuck Berry’s newest and probably one of his last big hits, Nadine. It’s like, hey man, this is Chuck’s hometown. After moving to California from Buffalo and getting immersed in the folk music revival in the early 60’s, learning from the blues masters and from the singer songwriters with something to CONTINUES OVER...

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 2 3

STEPPENWOLF

say then going to the Newport Folk Festival in ’64 and ‘65, so it was from the late summer of ’64 until the spring of ’65 when I first lived in California.

I hung out at the Troubadour and learned the Pusher from Hoyt Axton. So, moving forward, Steppenwolf is already on to its second or third album. My wife, Jutta and I are at the Troubadour bar and I realise that next to me and at arm’s length is Hoyt Axton. And he says, you’re the Steppenwolf guy, right? Yeah, I said. I used to see you here when I was a kid hanging out and Doug Weston would pay me a buck an hour to do the box office.

He says, well I want to tell you something. You guys are always going to be pretty special to me because here I was renting a house in Laurel Canyon, several months behind in my rent with bills piling up and PAG E 2 4 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

W W W.B LU E S MAT TE R S. C O M

W W W.B LU E S MAT TE R S.C O M

I go down to the mail box and amongst all the unpaid bills was this letter from Dunhill Records Music Publishing Company with a cheque for fifty two thousand dollars.

Whoa, that was a lot of money then, still is. Since then you have been through a lot of variations of Steppenwolf, different band members and such, you’ve even had fake Steppenwolf bands ruining your band’s good name.

Let me tell you about that because that was a very pivotal time in the late 70’s. We had signed a recording contract that obligated us to record two albums a year and so we were always under the gun in terms of time. Little did we know, and I wish our management at the time had the balls to do what later bands like The Eagles had done which was, never mind what the contract says. All the

record company can do if they don’t want to kill the goose that laid the golden egg is extend the validity of the recording agreement by the months or time that you delayed delivering the next album. Nobody told us that.

So, that meant we were under tremendous pressure and I, as the primary songwriter even more so. And so, there was burn out. I ran out of ideas and I didn’t even have time for my own family. In 1976, well after my solo album, Forgotten Songs And Unsung Heroes was cut I told the guys, I need time away, we’re going to retire the band.

LATER THOSE IMPOSTER BANDS RESULTED IN A SURPRISING AND LENGTHY TURN OF EVENTS FOR JOHN KAY. IN OUR NEXT ISSUE HE DESCRIBES THE FINAL YEARS TOURING AS JOHN KAY & STEPPENWOLF, ONE LAST RETIREMENT AND THE FAMILY’S MAUE KAY FOUNDATION. (RIP PETER FONDA)

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 2 5

STEPPENWOLF

say then going to the Newport Folk Festival in ’64 and ‘65, so it was from the late summer of ’64 until the spring of ’65 when I first lived in California.

I hung out at the Troubadour and learned the Pusher from Hoyt Axton. So, moving forward, Steppenwolf is already on to its second or third album. My wife, Jutta and I are at the Troubadour bar and I realise that next to me and at arm’s length is Hoyt Axton. And he says, you’re the Steppenwolf guy, right? Yeah, I said. I used to see you here when I was a kid hanging out and Doug Weston would pay me a buck an hour to do the box office.

He says, well I want to tell you something. You guys are always going to be pretty special to me because here I was renting a house in Laurel Canyon, several months behind in my rent with bills piling up and PAG E 2 4 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

W W W.B LU E S MAT TE R S. C O M

W W W.B LU E S MAT TE R S.C O M

I go down to the mail box and amongst all the unpaid bills was this letter from Dunhill Records Music Publishing Company with a cheque for fifty two thousand dollars.

Whoa, that was a lot of money then, still is. Since then you have been through a lot of variations of Steppenwolf, different band members and such, you’ve even had fake Steppenwolf bands ruining your band’s good name.

Let me tell you about that because that was a very pivotal time in the late 70’s. We had signed a recording contract that obligated us to record two albums a year and so we were always under the gun in terms of time. Little did we know, and I wish our management at the time had the balls to do what later bands like The Eagles had done which was, never mind what the contract says. All the

record company can do if they don’t want to kill the goose that laid the golden egg is extend the validity of the recording agreement by the months or time that you delayed delivering the next album. Nobody told us that.

So, that meant we were under tremendous pressure and I, as the primary songwriter even more so. And so, there was burn out. I ran out of ideas and I didn’t even have time for my own family. In 1976, well after my solo album, Forgotten Songs And Unsung Heroes was cut I told the guys, I need time away, we’re going to retire the band.

LATER THOSE IMPOSTER BANDS RESULTED IN A SURPRISING AND LENGTHY TURN OF EVENTS FOR JOHN KAY. IN OUR NEXT ISSUE HE DESCRIBES THE FINAL YEARS TOURING AS JOHN KAY & STEPPENWOLF, ONE LAST RETIREMENT AND THE FAMILY’S MAUE KAY FOUNDATION. (RIP PETER FONDA)

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 2 5

Feature

SON HOUSE

SON HOUSE

Yonder Comes The Blues THE SON HOUSE STORY PT 1 V E R B A L S : P A U L H A R R I S

EDDIE JAMES ‘SON’ HOUSE, JR. LIVED HIS LIFE AS A CONTRADICTION. HE FEARED THE WRATH OF GOD YET SANG “THE DEVIL’S MUSIC”

S

on feared the wrath of God yet sang “the Devil’s Music” He was a drunkard, capable of making a fool of himself while possessing wisdom and a strange dignity. He was a two-time murderer who often preached love for every creature on Earth, although, in fairness to Son, murder in the American south was less a matter of choice than survival. Even his birth is open to speculation as to whether he was born in 1886 or 1902. The question: how do these juxtaposed elements shape Son’s art? The answer: they don’t.

The journey of Eddie House begins in the small town of Lyon in Coahoma County, Mississippi. The second of three boys born to Maggie and Eddie House. Son’s father was a tuba player and along with his seven brothers used to play the house parties and Saturday night fishfries. Son remembers his father introducing some blues into his set like the classic ‘Four o’clock

Blues’ and ‘Lay Me Down A Pallet On The Floor’. In his early teens his parents separated and Maggie, with Son in tow, left Lyon.

Settling in New Orleans, Son began to learn about hard work. His first job was gathering grey moss out of trees, which in a 1965 interview with Julius Lester, he compared it to picking cotton. The life of blacks in the 1900’s is something very difficult for us to imagine today.

Son, like many in his position, found an escape through whiskey. He did manage to stay off the habit for a time in his early twenties, casting off his vices and joining the church, putting that powerful voice to good use as part of the congregation.

A couple of years later, Son, a good orator with a quick wit, became a Baptist preacher, able to deliver sermons with gusto and strength. Son was perfectly suited to drawing in the crowds when he was in the pulpit. However, it wasn’t solely God who had made him see

PAG E 2 6 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

the light. Son would sing in his semi-autobiographical song ‘Preachin’ the Blues’; “I wanna be a Baptist preacher just so I won’t have to work”.

While still in New Orleans, Son met and married Carrie Martin, a woman thirteen years his senior. Son’s family refused to attend the wedding, obviously more aware of Martin’s scheme than Son, who had moved with her to the Martin Family Farm in Centerville, Louisiana. Son was the victim of a plot to get her father a new farm hand. As soon as he was conscious of Martin’s trickery, Son left, with her father begging him to do a little more ploughing before he went. Time did nothing to lessen Son’s rage towards Martin.

While being interviewed for his 1974 Blue Goose album, House told Stephen Calt: “she wasn’t nothin’ but one of them New Orleans whores”.

It’s at this point that alcohol again entered Son’s life. The demon drink sank its claws in and never seemed to let go.

W W W.B LU E S MAT TE R S.C O M

Son, as a Baptist preacher was a sinner in the eyes of the church and matters were made worse with his constant womanising.

His congregation were alerted to these transgressions and Son was forced to become a travelling preacher. It was around this time, somewhere in the middle twenties, that Son was bitten by the blues. The Blues was firmly regarded as the Devil’s Music and to sing it, in the eyes of many, was to turn your back on God. During a concert at Oberlin College, recorded in 1965, Son relayed the story of his first encounter with Delta Bluesman Rube Lacy, whose guitar playing with a glass slide opened his eyes.

Son said, “He [Rube] was playing with a medicine bottle.

I said, ‘just look over yonder, ain’t that so scandalous, playing them old blues? I don’t like that’.

Next day I passed along, he had a sound so good. I’d done so much talking I didn’t want people to catch me trying to listen”. The attraction of hearing a glass slide run across the frets was so great. Son had faced his own personal crossroads and his new path was set. There is a slight misconception here that Son turned his back on religion entirely, but this is untrue.

Though Son was no longer acting solely as a mouthpiece for the almighty, he still preached during concerts. During a 1970 performance at the 100 Club in London, Son told the audience exactly how he intended to square things with the lord in case of reprisals over his sins, saying: “You have the preacher over here and the Blues over there. God and the Devil, they don’t get along so good together. It’s one or the other.

W W W.B LU E S MAT TE R S.C O M

So, what I’m gonna do is get it all over with and get on my knees afterwards. Pray to him and explain to him. He be knowing, anyhow cause you can’t fool him nohow.” Taking up the guitar, usually a national steel, Son didn’t look back, not yet anyway.

Becoming a proficient guitarist over the years that followed, Son would meet and form a friendship with the enigmatic Delta legend, Willie Brown. It’s worth noting that only three songs recorded by Willie Brown exist today. ‘Future Blues’ and ‘B&O Blues’, both released on the Paramount label in 1930 and ‘Make Me A Pallet On The Floor’ from 1941. Though Willie did make several other recordings during his Paramount session, no copies have ever been found. He and Son

Feature

began to travel near and far, on occasion with Charley Patton.

The three men all became close, but after Patton’s death, House and Brown formed a bond more akin to brothers.

In 1928, Son would spend a brief period in the notorious Parchman Farm. It all started when Son, along with his uncle and a friend by the name of Sam Allen, were attending a rowdy Saturday night house party.

Leroy Lee, a man unknown to House, got into an argument and drew a gun. He began shooting, hitting Son’s uncle in the leg. Son took out his own .32 automatic and shot Lee in defense of Allen, who fled the scene. This type of event was not alien to Mississippi at the CONTINUES OVER...

B LU E S MAT TE R S! | J U N E-J U LY 2019 | PAG E 27

Feature

SON HOUSE

SON HOUSE

Yonder Comes The Blues THE SON HOUSE STORY PT 1 V E R B A L S : P A U L H A R R I S

EDDIE JAMES ‘SON’ HOUSE, JR. LIVED HIS LIFE AS A CONTRADICTION. HE FEARED THE WRATH OF GOD YET SANG “THE DEVIL’S MUSIC”

S

on feared the wrath of God yet sang “the Devil’s Music” He was a drunkard, capable of making a fool of himself while possessing wisdom and a strange dignity. He was a two-time murderer who often preached love for every creature on Earth, although, in fairness to Son, murder in the American south was less a matter of choice than survival. Even his birth is open to speculation as to whether he was born in 1886 or 1902. The question: how do these juxtaposed elements shape Son’s art? The answer: they don’t.

The journey of Eddie House begins in the small town of Lyon in Coahoma County, Mississippi. The second of three boys born to Maggie and Eddie House. Son’s father was a tuba player and along with his seven brothers used to play the house parties and Saturday night fishfries. Son remembers his father introducing some blues into his set like the classic ‘Four o’clock

Blues’ and ‘Lay Me Down A Pallet On The Floor’. In his early teens his parents separated and Maggie, with Son in tow, left Lyon.

Settling in New Orleans, Son began to learn about hard work. His first job was gathering grey moss out of trees, which in a 1965 interview with Julius Lester, he compared it to picking cotton. The life of blacks in the 1900’s is something very difficult for us to imagine today.

Son, like many in his position, found an escape through whiskey. He did manage to stay off the habit for a time in his early twenties, casting off his vices and joining the church, putting that powerful voice to good use as part of the congregation.

A couple of years later, Son, a good orator with a quick wit, became a Baptist preacher, able to deliver sermons with gusto and strength. Son was perfectly suited to drawing in the crowds when he was in the pulpit. However, it wasn’t solely God who had made him see

PAG E 2 6 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

the light. Son would sing in his semi-autobiographical song ‘Preachin’ the Blues’; “I wanna be a Baptist preacher just so I won’t have to work”.

While still in New Orleans, Son met and married Carrie Martin, a woman thirteen years his senior. Son’s family refused to attend the wedding, obviously more aware of Martin’s scheme than Son, who had moved with her to the Martin Family Farm in Centerville, Louisiana. Son was the victim of a plot to get her father a new farm hand. As soon as he was conscious of Martin’s trickery, Son left, with her father begging him to do a little more ploughing before he went. Time did nothing to lessen Son’s rage towards Martin.

While being interviewed for his 1974 Blue Goose album, House told Stephen Calt: “she wasn’t nothin’ but one of them New Orleans whores”.

It’s at this point that alcohol again entered Son’s life. The demon drink sank its claws in and never seemed to let go.

W W W.B LU E S MAT TE R S.C O M

Son, as a Baptist preacher was a sinner in the eyes of the church and matters were made worse with his constant womanising.

His congregation were alerted to these transgressions and Son was forced to become a travelling preacher. It was around this time, somewhere in the middle twenties, that Son was bitten by the blues. The Blues was firmly regarded as the Devil’s Music and to sing it, in the eyes of many, was to turn your back on God. During a concert at Oberlin College, recorded in 1965, Son relayed the story of his first encounter with Delta Bluesman Rube Lacy, whose guitar playing with a glass slide opened his eyes.

Son said, “He [Rube] was playing with a medicine bottle.

I said, ‘just look over yonder, ain’t that so scandalous, playing them old blues? I don’t like that’.

Next day I passed along, he had a sound so good. I’d done so much talking I didn’t want people to catch me trying to listen”. The attraction of hearing a glass slide run across the frets was so great. Son had faced his own personal crossroads and his new path was set. There is a slight misconception here that Son turned his back on religion entirely, but this is untrue.

Though Son was no longer acting solely as a mouthpiece for the almighty, he still preached during concerts. During a 1970 performance at the 100 Club in London, Son told the audience exactly how he intended to square things with the lord in case of reprisals over his sins, saying: “You have the preacher over here and the Blues over there. God and the Devil, they don’t get along so good together. It’s one or the other.

W W W.B LU E S MAT TE R S.C O M

So, what I’m gonna do is get it all over with and get on my knees afterwards. Pray to him and explain to him. He be knowing, anyhow cause you can’t fool him nohow.” Taking up the guitar, usually a national steel, Son didn’t look back, not yet anyway.

Becoming a proficient guitarist over the years that followed, Son would meet and form a friendship with the enigmatic Delta legend, Willie Brown. It’s worth noting that only three songs recorded by Willie Brown exist today. ‘Future Blues’ and ‘B&O Blues’, both released on the Paramount label in 1930 and ‘Make Me A Pallet On The Floor’ from 1941. Though Willie did make several other recordings during his Paramount session, no copies have ever been found. He and Son

Feature

began to travel near and far, on occasion with Charley Patton.

The three men all became close, but after Patton’s death, House and Brown formed a bond more akin to brothers.

In 1928, Son would spend a brief period in the notorious Parchman Farm. It all started when Son, along with his uncle and a friend by the name of Sam Allen, were attending a rowdy Saturday night house party.

Leroy Lee, a man unknown to House, got into an argument and drew a gun. He began shooting, hitting Son’s uncle in the leg. Son took out his own .32 automatic and shot Lee in defense of Allen, who fled the scene. This type of event was not alien to Mississippi at the CONTINUES OVER...

B LU E S MAT TE R S! | J U N E-J U LY 2019 | PAG E 27

SON HOUSE

British Tinnitus Association

Freephone helpline 0800 018 0527 www.tinnitus.org.uk

British Tinnitus Association Registered charity no: 1011145 Company limited by guarantee no: 2709302 Registered in England

PAG E 2 8 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

W W W.B LU E S MAT TE R S. C O M

time. The state was pretty much still like the Wild West, lawless, chaotic and violent.

On May 28, 1930, history was captured on shellac, when Son, along with fellow delta legends Charley Patton, Willie Brown, and Louise Johnson, made the journey to Grafton, Wisconsin, to record for Paramount Records. The recordings Son made during this session are the definitive Delta blues. Nine songs that forever link the listener with a time long ago and a place much changed. ‘My Black Mama – Part I’ is powerful and introduces us quickly to the fundamentals of Son House.

My Black Mama – Part II would go on to be reworked as Son’s signature tune, ‘Death Letter’ after his rediscovery. ‘Preachin’ The Blues’ is Son’s masterpiece.

A song of intense struggle between the church and the Blues. It features one of the greatest blues lyrics ever written, “I met the blues this morning, walking just like a man”. Two of Son’s sides, ‘Mississippi County Farm Blues’ and ‘Clarksdale Moan’ would remain lost until 2005, when at last a copy was found. They have since been made available on several blues samplers and the highly recommended ‘Clarksdale Moan 1930-1942’ a two-disc set collecting all Son’s vintage recordings. The highlight of Son’s Paramount session has to be his original version of ‘Walking Blues’. Incredibly it was never intended for commercial release and it’s a miracle that it managed to survive. Not only is Son in spectacularly fine voice, but it also features Willie Brown on second guitar. ‘Walking Blues’ was made available for W W W.B LU E S MAT TE R S.C O M

the first time in 1988 on a collection of rare Mississippi Blues put out by Document Records.

Son’s Paramount sessions did little to nothing commercially. The next ten years would be a decade spent touring the South with Willie Brown, travelling from Juke Joint to Juke Joint.

In August 1941, folklorist Alan Lomax, on behalf of the Library of Congress, was on one of his recording tours of the south when he happened upon Muddy Waters. Lomax recorded Muddy’s earliest sessions on Stovall’s Plantation before he was pointed in the direction of Son House. Lomax tracked Son down and recordings were arranged to take place at Clack Grocery Store in Tunica, Mississippi. Son was joined on these sessions by Willie Brown on second guitar, Leroy Williams on harp and Fiddlin’ Joe Martin on mandolin. The Library of Congress recordings gave us a sublime expanded version of ‘Walking Blues’, along with other classic cuts like ‘Government Fleet Blues’, ‘Shetland Pony Blues’ and ‘Delta Blues’. The group dynamic, with Son being joined by a larger collection of musicians, was a rarity for him and it only adds to the value of these recordings. Though the material he was able to preserve was remarkable, Lomax, the man, didn’t make much of an impression on Son who described him as “that old booger Lomax”, explaining that

Feature

as payment for the 1941 recordings “he [Lomax] didn’t give us but one Coca-Cola. Willie grabbed it up first and I didn’t get nothing”. On July 17, 1942, Lomax recorded a second session with Son, who would not make another record until his rediscovery over twenty years later.

Son would marry his fifth wife, Evie, and relocate to Rochester, New York. The death of his dear friend, Willie Brown, heightened Son’s fear that playing the blues lead to death and potential damnation.

During a 1965 TV-special Son would speak of his reasons for retiring, saying: “Charley Patton, Willie Brown, Robert Johnson died just one after the other, and we played together. So that was them, three gone on back to their mother’s doth from whence they came and that scared me.

Lemon Jefferson, he done gone too, and that scared me, and I said, ‘well maybe, oh lord, I’m next’ and I got scared and quit playing for sixteen years”. During this long hiatus, Son would become a porter for the New York Central Railroad.

SON HOUSE CONTINUES IN THE NEXT ISSUE...

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 2 9

SON HOUSE

British Tinnitus Association

Freephone helpline 0800 018 0527 www.tinnitus.org.uk

British Tinnitus Association Registered charity no: 1011145 Company limited by guarantee no: 2709302 Registered in England

PAG E 2 8 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

W W W.B LU E S MAT TE R S. C O M

time. The state was pretty much still like the Wild West, lawless, chaotic and violent.

On May 28, 1930, history was captured on shellac, when Son, along with fellow delta legends Charley Patton, Willie Brown, and Louise Johnson, made the journey to Grafton, Wisconsin, to record for Paramount Records. The recordings Son made during this session are the definitive Delta blues. Nine songs that forever link the listener with a time long ago and a place much changed. ‘My Black Mama – Part I’ is powerful and introduces us quickly to the fundamentals of Son House.

My Black Mama – Part II would go on to be reworked as Son’s signature tune, ‘Death Letter’ after his rediscovery. ‘Preachin’ The Blues’ is Son’s masterpiece.

A song of intense struggle between the church and the Blues. It features one of the greatest blues lyrics ever written, “I met the blues this morning, walking just like a man”. Two of Son’s sides, ‘Mississippi County Farm Blues’ and ‘Clarksdale Moan’ would remain lost until 2005, when at last a copy was found. They have since been made available on several blues samplers and the highly recommended ‘Clarksdale Moan 1930-1942’ a two-disc set collecting all Son’s vintage recordings. The highlight of Son’s Paramount session has to be his original version of ‘Walking Blues’. Incredibly it was never intended for commercial release and it’s a miracle that it managed to survive. Not only is Son in spectacularly fine voice, but it also features Willie Brown on second guitar. ‘Walking Blues’ was made available for W W W.B LU E S MAT TE R S.C O M

the first time in 1988 on a collection of rare Mississippi Blues put out by Document Records.

Son’s Paramount sessions did little to nothing commercially. The next ten years would be a decade spent touring the South with Willie Brown, travelling from Juke Joint to Juke Joint.

In August 1941, folklorist Alan Lomax, on behalf of the Library of Congress, was on one of his recording tours of the south when he happened upon Muddy Waters. Lomax recorded Muddy’s earliest sessions on Stovall’s Plantation before he was pointed in the direction of Son House. Lomax tracked Son down and recordings were arranged to take place at Clack Grocery Store in Tunica, Mississippi. Son was joined on these sessions by Willie Brown on second guitar, Leroy Williams on harp and Fiddlin’ Joe Martin on mandolin. The Library of Congress recordings gave us a sublime expanded version of ‘Walking Blues’, along with other classic cuts like ‘Government Fleet Blues’, ‘Shetland Pony Blues’ and ‘Delta Blues’. The group dynamic, with Son being joined by a larger collection of musicians, was a rarity for him and it only adds to the value of these recordings. Though the material he was able to preserve was remarkable, Lomax, the man, didn’t make much of an impression on Son who described him as “that old booger Lomax”, explaining that

Feature

as payment for the 1941 recordings “he [Lomax] didn’t give us but one Coca-Cola. Willie grabbed it up first and I didn’t get nothing”. On July 17, 1942, Lomax recorded a second session with Son, who would not make another record until his rediscovery over twenty years later.

Son would marry his fifth wife, Evie, and relocate to Rochester, New York. The death of his dear friend, Willie Brown, heightened Son’s fear that playing the blues lead to death and potential damnation.

During a 1965 TV-special Son would speak of his reasons for retiring, saying: “Charley Patton, Willie Brown, Robert Johnson died just one after the other, and we played together. So that was them, three gone on back to their mother’s doth from whence they came and that scared me.

Lemon Jefferson, he done gone too, and that scared me, and I said, ‘well maybe, oh lord, I’m next’ and I got scared and quit playing for sixteen years”. During this long hiatus, Son would become a porter for the New York Central Railroad.

SON HOUSE CONTINUES IN THE NEXT ISSUE...

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 2 9

Feature

PIANO BLUES

PIANO BLUES

The Spirit that is the Blues BLUES FOR THE PEOPLE VERBALS: TIM ARNOLD

THERE’S A SPIRIT THAT COURSES THROUGH HIS VEINS WITH A CERTAIN RHYTHM THAT COMES FROM THE BLUES, THE ST. LOUIS BLUES. THE COMPELLING RHYTHM THAT IS THE BLUES. A SPIRIT WARMED BY HIS SOUL, A TESTED SOUL, THIS IS A GUY WHO HAS RIDDEN HIS KEYBOARD CHOPS TO THE DEPTHS, AND BACK AGAIN.

D

own. Out. Resilient.

Determined. And ultimately, triumphant.

Tom Townsend is a genuine spirit of St. Louis.

Tom and his wife, Jeanne, founded Pianos for People in 2012, in inner city St. Louis, a few mere blocks from the Mississippi. Two years later they added studio space in a Baptist Church in Ferguson, a site of numerous hate crimes, alleged police abuse and low-income residents, and a stone’s throw from where an unarmed black teenager was shot and killed by a white police officer a few short months later - sparking extended riots and annual demonstrations.

Since then Pianos for People has provided free lessons for hundreds of inner-city kids; serviced, refurbished and donated some 260 pianos to people, non-profits, underfunded schools and families; hosted free summer music camps for hundreds during out-of-school hours; and put on dozens of free community events

(serving some 7,000 people in the process).

He found a new meaning for his life. He’d left the advertising business after an incredibly successful career: a creative director and then co-founding partner of Rodgers Townsend, an advertising agency they sold to DDB some 10 years earlier.

A genuine spirit of St. Louis.

In fact, he and his partner, Tim Rodgers, were presented the Spirit of St. Louis Award for donating well over one million dollars’ worth of pro bono hours to St. Louis organisations.

These kids of his have been given a new lease of life through music. Most of them attend inner-city public schools which have emptied their curricula of Arts, and Music - pressed by budget constraints and an illinformed priority for SAT scores.

But these moves to deny student’s access to music (and arts) defy logic, good sense and education’s responsibilities.

From “Common CORE’s Orphaned Subjects: Music/Fine

PAG E 3 0 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

Arts,” (The Quad, 2019 https:// thebestschools.org/magazine/ common-core-orphanedsubjects/): “Numerous studies find that regular participation in fine arts classes raises SAT scores by an average of 91 points!

And improves coordination between hemispheres of the brain. One study showed that “keyboard and vocal lessons in fact contribute to measured intelligence in six to sevenyear-olds. Studies also indicate that low-income students with arts courses are more likely to have ‘attended and done well in college, obtained meaningful employment, volunteered in their communities and voted’.”

Music, for Tom, is simpler than that. It emanates from a deep-rooted spirit of the blues, and jazz, which he’s been playing most of his adult life, a healing spirit, a spirit that if you let it in will cure what ails ya.

He and his wife knew all this, instinctively, and launched Pianos for People - just two W W W.B LU E S MAT TE R S.C O M

agonising years after they lost their oldest son, Alex, in an automobile accident.

It was their way to cope with the loss, to search for some sense of understanding. To heal.

And importantly, to address a critical void in at-needs kids’ educational experience.

It’s been healing Tom. And it’s stoked the fires of life’s possibilities in hundreds of kids and younger and older adults who otherwise have few options.

“A piano is more than just a piano,” says Tom. “It can be an agent of positive change in a person’s life, opening doors to intellectual and emotional growth.”

Like it says on their website (www.pianosforpeople.org): “Pianos donated through our program have had a positive impact on literally thousands of people via our recipient families, community groups, churches and underfunded schools.”

And then, six years into it, just last September, Tom got shot, in the jaw by a car jacker.

He’s sitting in his car outside a downtown St. Louis apartment he’d recently rented for a studio, where he spent evenings painting. A single round from a handgun blew half his jaw off and exited through his neck.

He tells me his head went to a strange place. An out-of-body experience. He remembers slumping forward. Then some higher power enables him to force himself back up against the seat. He shouts for help, the shouts garbled by bloody eruptions. A gathering crowd is unresponsive. He bangs on the apartment’s main door and the doorman finally agrees to call his wife.

The cops come. An W W W.B LU E S MAT TE R S.C O M

ambulance arrives. And off he goes to the hospital, where he’ll be on a ventilator in an induced coma for the next 12 days. The doctors are not sure he will survive.

Emerging from the coma, he defies hospital rules which prohibit email access if there’s a “dangerous suspect” on the loose and connects with a musician friend from Wales, Piers Partridge. “He’s telling me as long as you’re stuck there (in the hospital), let’s write a song together.”

So, they do. It’s Called “Love Always Wins,” with some bluesy keys, and guitar backing up the heart-felt vocal…

When you feel outnumbered With no place to run…

When the rain keeps chasing Away the sun…

When your day breaks, before it begins…

Remember, that love

Feature

always wins.

“I profoundly felt that I had just emerged from a struggle between darkness and light, between death and life, to find that life through the love of these people around me,” Tom tells me.

The hospital reconstructed his jaw from his leg bone.

“And the doctors kept saying,” as Tom tells it, “you need to make sure that you are chilling at home as much as possible.

Just don’t do stuff.”

So, he chills at his piano, re-discovering himself through the keys, searching for the kind of healing that can come from music, and especially the blues. Soon he’s inviting fellow musicians over to share in the process, which leads to the “Healing Sessions” video series, featuring various artists, playing along with Tom’s piano, and CONTINUES OVER...

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 31

Feature

PIANO BLUES

PIANO BLUES

The Spirit that is the Blues BLUES FOR THE PEOPLE VERBALS: TIM ARNOLD

THERE’S A SPIRIT THAT COURSES THROUGH HIS VEINS WITH A CERTAIN RHYTHM THAT COMES FROM THE BLUES, THE ST. LOUIS BLUES. THE COMPELLING RHYTHM THAT IS THE BLUES. A SPIRIT WARMED BY HIS SOUL, A TESTED SOUL, THIS IS A GUY WHO HAS RIDDEN HIS KEYBOARD CHOPS TO THE DEPTHS, AND BACK AGAIN.

D

own. Out. Resilient.

Determined. And ultimately, triumphant.

Tom Townsend is a genuine spirit of St. Louis.

Tom and his wife, Jeanne, founded Pianos for People in 2012, in inner city St. Louis, a few mere blocks from the Mississippi. Two years later they added studio space in a Baptist Church in Ferguson, a site of numerous hate crimes, alleged police abuse and low-income residents, and a stone’s throw from where an unarmed black teenager was shot and killed by a white police officer a few short months later - sparking extended riots and annual demonstrations.

Since then Pianos for People has provided free lessons for hundreds of inner-city kids; serviced, refurbished and donated some 260 pianos to people, non-profits, underfunded schools and families; hosted free summer music camps for hundreds during out-of-school hours; and put on dozens of free community events

(serving some 7,000 people in the process).

He found a new meaning for his life. He’d left the advertising business after an incredibly successful career: a creative director and then co-founding partner of Rodgers Townsend, an advertising agency they sold to DDB some 10 years earlier.

A genuine spirit of St. Louis.

In fact, he and his partner, Tim Rodgers, were presented the Spirit of St. Louis Award for donating well over one million dollars’ worth of pro bono hours to St. Louis organisations.

These kids of his have been given a new lease of life through music. Most of them attend inner-city public schools which have emptied their curricula of Arts, and Music - pressed by budget constraints and an illinformed priority for SAT scores.

But these moves to deny student’s access to music (and arts) defy logic, good sense and education’s responsibilities.

From “Common CORE’s Orphaned Subjects: Music/Fine

PAG E 3 0 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

Arts,” (The Quad, 2019 https:// thebestschools.org/magazine/ common-core-orphanedsubjects/): “Numerous studies find that regular participation in fine arts classes raises SAT scores by an average of 91 points!

And improves coordination between hemispheres of the brain. One study showed that “keyboard and vocal lessons in fact contribute to measured intelligence in six to sevenyear-olds. Studies also indicate that low-income students with arts courses are more likely to have ‘attended and done well in college, obtained meaningful employment, volunteered in their communities and voted’.”

Music, for Tom, is simpler than that. It emanates from a deep-rooted spirit of the blues, and jazz, which he’s been playing most of his adult life, a healing spirit, a spirit that if you let it in will cure what ails ya.

He and his wife knew all this, instinctively, and launched Pianos for People - just two W W W.B LU E S MAT TE R S.C O M

agonising years after they lost their oldest son, Alex, in an automobile accident.

It was their way to cope with the loss, to search for some sense of understanding. To heal.

And importantly, to address a critical void in at-needs kids’ educational experience.

It’s been healing Tom. And it’s stoked the fires of life’s possibilities in hundreds of kids and younger and older adults who otherwise have few options.

“A piano is more than just a piano,” says Tom. “It can be an agent of positive change in a person’s life, opening doors to intellectual and emotional growth.”

Like it says on their website (www.pianosforpeople.org): “Pianos donated through our program have had a positive impact on literally thousands of people via our recipient families, community groups, churches and underfunded schools.”

And then, six years into it, just last September, Tom got shot, in the jaw by a car jacker.

He’s sitting in his car outside a downtown St. Louis apartment he’d recently rented for a studio, where he spent evenings painting. A single round from a handgun blew half his jaw off and exited through his neck.

He tells me his head went to a strange place. An out-of-body experience. He remembers slumping forward. Then some higher power enables him to force himself back up against the seat. He shouts for help, the shouts garbled by bloody eruptions. A gathering crowd is unresponsive. He bangs on the apartment’s main door and the doorman finally agrees to call his wife.

The cops come. An W W W.B LU E S MAT TE R S.C O M

ambulance arrives. And off he goes to the hospital, where he’ll be on a ventilator in an induced coma for the next 12 days. The doctors are not sure he will survive.

Emerging from the coma, he defies hospital rules which prohibit email access if there’s a “dangerous suspect” on the loose and connects with a musician friend from Wales, Piers Partridge. “He’s telling me as long as you’re stuck there (in the hospital), let’s write a song together.”

So, they do. It’s Called “Love Always Wins,” with some bluesy keys, and guitar backing up the heart-felt vocal…

When you feel outnumbered With no place to run…

When the rain keeps chasing Away the sun…

When your day breaks, before it begins…

Remember, that love

Feature

always wins.

“I profoundly felt that I had just emerged from a struggle between darkness and light, between death and life, to find that life through the love of these people around me,” Tom tells me.

The hospital reconstructed his jaw from his leg bone.

“And the doctors kept saying,” as Tom tells it, “you need to make sure that you are chilling at home as much as possible.

Just don’t do stuff.”

So, he chills at his piano, re-discovering himself through the keys, searching for the kind of healing that can come from music, and especially the blues. Soon he’s inviting fellow musicians over to share in the process, which leads to the “Healing Sessions” video series, featuring various artists, playing along with Tom’s piano, and CONTINUES OVER...

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 31

PIANO BLUES

Feature

Ajay Srivastav

Karmic Blues A spiritual blend of delta blues and indian folk

The No. 1 album* available on CD and from digital download stores now!

Spiral Earth

Blues and Soul Magazine

“A masterclass in soulful and reverential fusion” Folk and Honey

“Quite simply sublime, one of the best releases of 2019” Rock Radio UK

“A bold experiment, and one of the most unusual and inventive albums I’ve heard for many years” Tap the Feed

*Amazon Blues Album charts

www.ajayhq.com

talking about life, the blues, and the healing power of music.

This series of videos is available on Vimeo (https://vimeo.com/ showcase/5829272) Like Grammy winner Bobby Rush says in the first “Healing Session” piece…

“I been up, and I been down.

But every time I been down, I find healing in music to bring me back up.”

So has Tom. And he’s taken that devotion to blues, and jazz, and made it the very heart of his good works for his students. There are hundreds of examples of youngsters buried in the depths of a tough upbringing, low-income families, disinterested in school, who learned their way through Pianos for People training and counseling, and discovered their inner selves and buried ambitions and are now facing life with brand new possibilities.

Here’s one of them …

Nicholas Murphy grew up in the Projects in downtown St. Louis, near Soulard, the historic neighborhood where St. Louis blues was born, and to this day site of many legitimate blues and juke joints. He was one of 13 people living in their 3-room apartment. A teacher recommended he take up music to enhance his already impressive academic skills and young interest in physics - so Nicholas turns to piano and starts teaching himself on a keyboard at the St. Louis Pubic Library!

Then he plays at a piano slam at Pianos for People and demonstrated an obvious natural talent worth cultivating. So, they do. Then they apply on his behalf to A&E’s Art Education Fund, which will cover the cost of further private lessons.

“When I play the piano… it reinforces what I’m learning at school about physics theories like consonance and dissonance,” he says. Then he performs at Pianos for People’s “An Evening of 100 Fingers” this past October and brings the audience to tears – of joy.

Think Otis Spann or Roosevelt Sykes were thinkin’ consonance/dissonance when they took their tunes from feel good to woe-is-me blues, and back again? Doubt it. But that kind of learning, along with incredible natural talent, are taking Nicholas places he could only dream of a few years ago.

Nicholas is one of many, many stories about the impact music, and blues, can have on us, as demonstrated by Pianos for People. Like Iron Jaw, blues harp player seen here jammin with Tom on a “Healing Session” video, says, “Music is how I survive. Can’t do without it. Got to have it. Life’s challenges can bring you down. But music…it’s a healer.” During a session with

“WE’RE SUPPOSED TO BE HERE, WITH EACH OTHER, IN THIS PLACE, TO HELP US GET DOWN THE ROAD” PAG E 3 2 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

W W W.B LU E S MAT TE R S.C O M

W W W.B LU E S MAT TE R S.C O M

Anita Jackson – that evokes Bessie Smith – she tells Tom, “We’re supposed to be here, with each other, in this place, to help us get down the road, to go through the journey… hold each other’s hands…”

The blues reaches a lot of people, some who don’t even realize it, or what it is. It just feels good, takes you places.

Good places. Cures what ails ya. It’s a source for discovery, for enriching life’s possibilities.

For learning.These “Healing Session” videos are the very essence of the blues - and Pianos for People.

Tom Townsend has known this truth for a long time. A truth he learned the hard way. And he continues to provide its learning, and healing powers, to publicschool students in inner-city St. Louis that are fortunate to be part of Pianos for People.

Like Bobby Rush says, ““If you don’t like the blues, you probably don’t like yo mama.”

Nope. Ain’t nothin’ like the blues.

IF YOU’RE INTERESTED, YOU CAN CONTRIBUTE TO PIANOS FOR PEOPLE’S GREAT CAUSE HERE – CLICK “SUPPORT” ON THEIR WEBSITE: WWW.PIANOSFORPEOPLE.ORG

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 3 3

PIANO BLUES

Feature

Ajay Srivastav

Karmic Blues A spiritual blend of delta blues and indian folk

The No. 1 album* available on CD and from digital download stores now!

Spiral Earth

Blues and Soul Magazine

“A masterclass in soulful and reverential fusion” Folk and Honey

“Quite simply sublime, one of the best releases of 2019” Rock Radio UK

“A bold experiment, and one of the most unusual and inventive albums I’ve heard for many years” Tap the Feed

*Amazon Blues Album charts

www.ajayhq.com

talking about life, the blues, and the healing power of music.

This series of videos is available on Vimeo (https://vimeo.com/ showcase/5829272) Like Grammy winner Bobby Rush says in the first “Healing Session” piece…

“I been up, and I been down.

But every time I been down, I find healing in music to bring me back up.”

So has Tom. And he’s taken that devotion to blues, and jazz, and made it the very heart of his good works for his students. There are hundreds of examples of youngsters buried in the depths of a tough upbringing, low-income families, disinterested in school, who learned their way through Pianos for People training and counseling, and discovered their inner selves and buried ambitions and are now facing life with brand new possibilities.

Here’s one of them …

Nicholas Murphy grew up in the Projects in downtown St. Louis, near Soulard, the historic neighborhood where St. Louis blues was born, and to this day site of many legitimate blues and juke joints. He was one of 13 people living in their 3-room apartment. A teacher recommended he take up music to enhance his already impressive academic skills and young interest in physics - so Nicholas turns to piano and starts teaching himself on a keyboard at the St. Louis Pubic Library!

Then he plays at a piano slam at Pianos for People and demonstrated an obvious natural talent worth cultivating. So, they do. Then they apply on his behalf to A&E’s Art Education Fund, which will cover the cost of further private lessons.

“When I play the piano… it reinforces what I’m learning at school about physics theories like consonance and dissonance,” he says. Then he performs at Pianos for People’s “An Evening of 100 Fingers” this past October and brings the audience to tears – of joy.

Think Otis Spann or Roosevelt Sykes were thinkin’ consonance/dissonance when they took their tunes from feel good to woe-is-me blues, and back again? Doubt it. But that kind of learning, along with incredible natural talent, are taking Nicholas places he could only dream of a few years ago.

Nicholas is one of many, many stories about the impact music, and blues, can have on us, as demonstrated by Pianos for People. Like Iron Jaw, blues harp player seen here jammin with Tom on a “Healing Session” video, says, “Music is how I survive. Can’t do without it. Got to have it. Life’s challenges can bring you down. But music…it’s a healer.” During a session with

“WE’RE SUPPOSED TO BE HERE, WITH EACH OTHER, IN THIS PLACE, TO HELP US GET DOWN THE ROAD” PAG E 3 2 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

W W W.B LU E S MAT TE R S.C O M

W W W.B LU E S MAT TE R S.C O M

Anita Jackson – that evokes Bessie Smith – she tells Tom, “We’re supposed to be here, with each other, in this place, to help us get down the road, to go through the journey… hold each other’s hands…”

The blues reaches a lot of people, some who don’t even realize it, or what it is. It just feels good, takes you places.

Good places. Cures what ails ya. It’s a source for discovery, for enriching life’s possibilities.

For learning.These “Healing Session” videos are the very essence of the blues - and Pianos for People.

Tom Townsend has known this truth for a long time. A truth he learned the hard way. And he continues to provide its learning, and healing powers, to publicschool students in inner-city St. Louis that are fortunate to be part of Pianos for People.

Like Bobby Rush says, ““If you don’t like the blues, you probably don’t like yo mama.”

Nope. Ain’t nothin’ like the blues.

IF YOU’RE INTERESTED, YOU CAN CONTRIBUTE TO PIANOS FOR PEOPLE’S GREAT CAUSE HERE – CLICK “SUPPORT” ON THEIR WEBSITE: WWW.PIANOSFORPEOPLE.ORG

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 3 3

Feature

BLUES MATTERS AT JAKS

BLUES MATTERS AT JAKS

Saying goodbye to an old friend

THE BLUES MATTERS! STAGE AT JAKS VERBALS: ROWLAND JONES

IN HONESTY THIS ARTICLE WAS MISPLACED IN OUR FILES BUT IT SEEMS APPROPRIATE TO REVEAL IT NOW WE KNOW THAT THE LONG RUNNING REPRIEVE FOR JAKS BAR IS FINALLY OVER AND IT IS TO BE DEMOLISHED

THE ACHIEVERS HIT THE JAKS STAGE THIS YEAR

PAG E 3 4 | B LU E S MAT TE R S! O CTO B E R-N OVE M B E R 2019

F

irst up was Gerry Jablonski and the Electric Band who hit the stage running and never looked back. ‘Hard To Make A Living’ featured some guitar pyrotechnics from Jablonski in response to which harmonica player, Peter Narojczyk, not wishing to be outdone, leaped into the audience, a great piece of rock showmanship done with style and humour. ‘Two-time lover’ saw Jablonski in a more soulful mood with drummer Lewis Fraser and bass player Grigor Leslie supporting with an insistent rhythmic pulse. Then another change of direction with ‘Anybody’ which began with Fraser taking charge of the vocals sung over Jablonski’s harmonic laden guitar. ‘Skinny Blue-eyed Boy’ featured some fine harmony and interplay between harmonica and guitar.

Gerry Jablonski and The Electric Band delivered 100% with some great soloing on guitar and harmonica over a pounding rhythm section with W W W.B LU E S MAT TE R S.C O M

some eye-watering fills from Fraser which set the bar pretty damned high for the evening.

Jamie Thyer and the Worried Man is a classic rock blues trio. In at the top with thumping blues and then straight into ‘I’m Crazy About Women.’ The audience was already on its feet when they launched into their take on ‘I Just Want To Make Love To You’ with an interesting doubletime bridge. A drum intro took them into ‘Boom Boom Boom Boom’ their own treatment of Hooker’s classic owing enough to the original with an added feel that made it theirs. The band delighted the audience with the first half of the set but the dancing went ‘astral’ when they moved it up a notch with some Chicago blues and some rock ‘n’ roll finishing triumphantly with a thundering version of Peter Gunn. Great stuff!

The evening ended with Teed-up, Steve Roux on guitar and vocals, Ray Drury on keys, Steve Browning on bass and Bernie Fox on drums. This band has some serious track record and their performance reflected their experience and expertise, a classy sound with tasteful contributions from all the members. The choice of material was also a great mix, old favourite Arthur Crudup’s ‘That’s Alright, Mama’ with an infectious rimshot from the wonderfully understated Bernie Fox, a sympathetic treatment of Ann Peebles ’Feel Like

Breaking Up Somebody’s Home’ and a lot of tasty original material ranging from the shuffle ‘One Kind Word’ to the moody ‘No Other Way’. A fantastic set and a great end to the first night.

Sunday afternoon began softly with Lucy Zirins, a perfect choice to ease the audience back into the music after what I suspect had been two late nights of partying for many of them! Her somewhat quirky style charmed the audience, her self-deprecating line ‘my friends say I have the voice of an angel and the mouth of a fishwife’, worked a treat!

Zirins undersells the material ‘Mercy’ was introduced as ‘asking for forgiveness for all the small things, like forgetting to put the bins out! ‘Falling To Pieces’, encapsulating a dark period of her life in London, Zirins summed up as ‘paying a grand to live in a shed!’

However, the humour in her presentation does not detract from the quality of songwriting and performance. ‘Close To The Wire’ described by Lucy as ‘being naughty’ began with delicate fingerpicking moving into a very rhythmic bridge.

Lucy Zirins, without doubt is a name to look out for, providing an entertaining and gentle introduction to another day of music on the Jak’s stage.

Zoe Schwartz and Rob Koral began deep in the Blues, Rob’s walking bassline on guitar providing a cool platform for Zoe’s fine voice. They continued

“A very experienced and skilled band with a set containing a great variety of material”

Feature

in that vein with classics from the likes of Billie Holiday, Nina Simone and Etta James. Their own material included a hymn to a long-gone venue in the unlikely sounding location of Chislehurst entitled ‘Way Down In The Caves’ though apparently Bowie, Hendrix and the Stones played there! Altogether a very classy set which served as an appetizer for the full band show later that evening.

George Shovlin with George Lamb, stalwarts of the British Blue scene, launched into a heavy acoustic riff which evolved into Muddy Waters ‘Hello Little Girl’. Their one-hour set flew by with Shovlin totally in control as a singer and a raconteur with fine support from George Lamb on guitar, with a mix old favourites as well as their own material, a solid duo playing sound Blues.

The evening session began with Zoe Schwartz this time with Rob Koral on guitar and joined by Rob Whittaker on Hammond and Paul Robinson on drums, known collectively as Blue Commotion. A very experienced and skilled band with a set containing a great variety of material which allowed Zoe and every member of the band to give of their best.

‘Way Down In The Caves’ reprised from the earlier set, took on a new dynamic with drummer Robinson driving at breakneck speed. Rob Whitaker’s Hammond solo on ‘I Put A Spell On You’ was suitably classic, whilst on the same tune Rob was having a lot of fun with his newly acquired Les Paul. On ‘You’ve Changed’ Rob entertained us with some CONTINUES OVER...

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 3 5

Feature

BLUES MATTERS AT JAKS

BLUES MATTERS AT JAKS

Saying goodbye to an old friend

THE BLUES MATTERS! STAGE AT JAKS VERBALS: ROWLAND JONES

IN HONESTY THIS ARTICLE WAS MISPLACED IN OUR FILES BUT IT SEEMS APPROPRIATE TO REVEAL IT NOW WE KNOW THAT THE LONG RUNNING REPRIEVE FOR JAKS BAR IS FINALLY OVER AND IT IS TO BE DEMOLISHED

THE ACHIEVERS HIT THE JAKS STAGE THIS YEAR

PAG E 3 4 | B LU E S MAT TE R S! O CTO B E R-N OVE M B E R 2019

F

irst up was Gerry Jablonski and the Electric Band who hit the stage running and never looked back. ‘Hard To Make A Living’ featured some guitar pyrotechnics from Jablonski in response to which harmonica player, Peter Narojczyk, not wishing to be outdone, leaped into the audience, a great piece of rock showmanship done with style and humour. ‘Two-time lover’ saw Jablonski in a more soulful mood with drummer Lewis Fraser and bass player Grigor Leslie supporting with an insistent rhythmic pulse. Then another change of direction with ‘Anybody’ which began with Fraser taking charge of the vocals sung over Jablonski’s harmonic laden guitar. ‘Skinny Blue-eyed Boy’ featured some fine harmony and interplay between harmonica and guitar.

Gerry Jablonski and The Electric Band delivered 100% with some great soloing on guitar and harmonica over a pounding rhythm section with W W W.B LU E S MAT TE R S.C O M

some eye-watering fills from Fraser which set the bar pretty damned high for the evening.

Jamie Thyer and the Worried Man is a classic rock blues trio. In at the top with thumping blues and then straight into ‘I’m Crazy About Women.’ The audience was already on its feet when they launched into their take on ‘I Just Want To Make Love To You’ with an interesting doubletime bridge. A drum intro took them into ‘Boom Boom Boom Boom’ their own treatment of Hooker’s classic owing enough to the original with an added feel that made it theirs. The band delighted the audience with the first half of the set but the dancing went ‘astral’ when they moved it up a notch with some Chicago blues and some rock ‘n’ roll finishing triumphantly with a thundering version of Peter Gunn. Great stuff!

The evening ended with Teed-up, Steve Roux on guitar and vocals, Ray Drury on keys, Steve Browning on bass and Bernie Fox on drums. This band has some serious track record and their performance reflected their experience and expertise, a classy sound with tasteful contributions from all the members. The choice of material was also a great mix, old favourite Arthur Crudup’s ‘That’s Alright, Mama’ with an infectious rimshot from the wonderfully understated Bernie Fox, a sympathetic treatment of Ann Peebles ’Feel Like

Breaking Up Somebody’s Home’ and a lot of tasty original material ranging from the shuffle ‘One Kind Word’ to the moody ‘No Other Way’. A fantastic set and a great end to the first night.

Sunday afternoon began softly with Lucy Zirins, a perfect choice to ease the audience back into the music after what I suspect had been two late nights of partying for many of them! Her somewhat quirky style charmed the audience, her self-deprecating line ‘my friends say I have the voice of an angel and the mouth of a fishwife’, worked a treat!

Zirins undersells the material ‘Mercy’ was introduced as ‘asking for forgiveness for all the small things, like forgetting to put the bins out! ‘Falling To Pieces’, encapsulating a dark period of her life in London, Zirins summed up as ‘paying a grand to live in a shed!’

However, the humour in her presentation does not detract from the quality of songwriting and performance. ‘Close To The Wire’ described by Lucy as ‘being naughty’ began with delicate fingerpicking moving into a very rhythmic bridge.

Lucy Zirins, without doubt is a name to look out for, providing an entertaining and gentle introduction to another day of music on the Jak’s stage.

Zoe Schwartz and Rob Koral began deep in the Blues, Rob’s walking bassline on guitar providing a cool platform for Zoe’s fine voice. They continued

“A very experienced and skilled band with a set containing a great variety of material”

Feature

in that vein with classics from the likes of Billie Holiday, Nina Simone and Etta James. Their own material included a hymn to a long-gone venue in the unlikely sounding location of Chislehurst entitled ‘Way Down In The Caves’ though apparently Bowie, Hendrix and the Stones played there! Altogether a very classy set which served as an appetizer for the full band show later that evening.

George Shovlin with George Lamb, stalwarts of the British Blue scene, launched into a heavy acoustic riff which evolved into Muddy Waters ‘Hello Little Girl’. Their one-hour set flew by with Shovlin totally in control as a singer and a raconteur with fine support from George Lamb on guitar, with a mix old favourites as well as their own material, a solid duo playing sound Blues.

The evening session began with Zoe Schwartz this time with Rob Koral on guitar and joined by Rob Whittaker on Hammond and Paul Robinson on drums, known collectively as Blue Commotion. A very experienced and skilled band with a set containing a great variety of material which allowed Zoe and every member of the band to give of their best.

‘Way Down In The Caves’ reprised from the earlier set, took on a new dynamic with drummer Robinson driving at breakneck speed. Rob Whitaker’s Hammond solo on ‘I Put A Spell On You’ was suitably classic, whilst on the same tune Rob was having a lot of fun with his newly acquired Les Paul. On ‘You’ve Changed’ Rob entertained us with some CONTINUES OVER...

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 3 5

BLUES MATTERS AT JAKS

s and CDs ons of vinyl record ALL quality collecti ng wi vie in d ste you.

We are intere land. We’ll travel to out the UK and Ire ANYWHERE through one of our th wi uld like to talk Machine if you wo d un So e Th ct nta Co pointment. ange a viewing ap specialists or to arr

Record Shop ished Independent bl ta Es t es ng Lo g’s Readin s and CDs -hand vinyl record

g new and second

g and sellin Specialists in buyin across all genres.

hine.uk.com info@thesoundmac 07786 078 361 0118 957 5075

ading,

24 Harris Arcade, Re Berkshire RG1 1DN

uk.com

thesoundmachine.

very tasty wah-wah, this is a man totally ‘at home’ on guitar from a subtle jazzy approach in the afternoon set to solid blues in the evening and everything in between, all is possible! A really excellent set with Zoe’s superb voice sympathetically supported by three equally superb musicians.

British Blues Award-winning Dani Wilde burst on to the International scene in 2007, opening for Jools Holland at the Royal Albert Hall and subsequently supporting the likes of Johnny Winter and Robben Ford. She chose to start with ‘Bumblebee’ with acoustic guitar before her band joined her on stage, a neat and very tasty rhythm section of Victoria Smith on bass and Jack Bazzanti on

drums. A trio can sometimes be a slightly restrictive format but with these guys there was no sign of any restriction whatsoever! Their arrangement of ‘Hound Dog’ was excellent; alternating between a swinging shuffle and more restrained verses, very tasty! ‘Call On Me’ retained that Bill Withers sensibility but somehow it also became the band’s! An excellent set with fantastic contributions from all three musicians.

Dana Gillespie was the final act of the weekend. Having made her first album in 1966 she is without doubt a seasoned singer and consummate performer. Supporting her was a fine band with Dino Baptiste on keys, Jake Zeitz one of the most inventive players I’ve seen for

Feature

some time, on guitar, and Evan Jenkins on drums, arguably the happiest Blues musician in the world.

As you would expect the set was superb, her song ‘Experience’ said it all in more ways than one, as the set contained several risqué titles such as ‘Funk Me, It’s Hot’ and ‘Come On If You’re Coming!’

This fitted in well with Dana’s ‘old school’ style steeped in a tradition established by the likes of Bessie Smith and Etta James. As a result, her treatment of Mose Allison’s ‘Your Mind Is On Vacation’ had a certain authenticity to it. So, all in all, a fine set from superb musicians to end a great weekend of music, see you again next year!

ZOE SCHWARTZ AND BLUE COMMOTION

PAG E 3 6 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

W W W.B LU E S MAT TE R S.C O M

W W W.B LU E S MAT TE R S.C O M

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 3 7

BLUES MATTERS AT JAKS

s and CDs ons of vinyl record ALL quality collecti ng wi vie in d ste you.

We are intere land. We’ll travel to out the UK and Ire ANYWHERE through one of our th wi uld like to talk Machine if you wo d un So e Th ct nta Co pointment. ange a viewing ap specialists or to arr

Record Shop ished Independent bl ta Es t es ng Lo g’s Readin s and CDs -hand vinyl record

g new and second

g and sellin Specialists in buyin across all genres.

hine.uk.com info@thesoundmac 07786 078 361 0118 957 5075

ading,

24 Harris Arcade, Re Berkshire RG1 1DN

uk.com

thesoundmachine.

very tasty wah-wah, this is a man totally ‘at home’ on guitar from a subtle jazzy approach in the afternoon set to solid blues in the evening and everything in between, all is possible! A really excellent set with Zoe’s superb voice sympathetically supported by three equally superb musicians.

British Blues Award-winning Dani Wilde burst on to the International scene in 2007, opening for Jools Holland at the Royal Albert Hall and subsequently supporting the likes of Johnny Winter and Robben Ford. She chose to start with ‘Bumblebee’ with acoustic guitar before her band joined her on stage, a neat and very tasty rhythm section of Victoria Smith on bass and Jack Bazzanti on

drums. A trio can sometimes be a slightly restrictive format but with these guys there was no sign of any restriction whatsoever! Their arrangement of ‘Hound Dog’ was excellent; alternating between a swinging shuffle and more restrained verses, very tasty! ‘Call On Me’ retained that Bill Withers sensibility but somehow it also became the band’s! An excellent set with fantastic contributions from all three musicians.

Dana Gillespie was the final act of the weekend. Having made her first album in 1966 she is without doubt a seasoned singer and consummate performer. Supporting her was a fine band with Dino Baptiste on keys, Jake Zeitz one of the most inventive players I’ve seen for

Feature

some time, on guitar, and Evan Jenkins on drums, arguably the happiest Blues musician in the world.

As you would expect the set was superb, her song ‘Experience’ said it all in more ways than one, as the set contained several risqué titles such as ‘Funk Me, It’s Hot’ and ‘Come On If You’re Coming!’

This fitted in well with Dana’s ‘old school’ style steeped in a tradition established by the likes of Bessie Smith and Etta James. As a result, her treatment of Mose Allison’s ‘Your Mind Is On Vacation’ had a certain authenticity to it. So, all in all, a fine set from superb musicians to end a great weekend of music, see you again next year!

ZOE SCHWARTZ AND BLUE COMMOTION

PAG E 3 6 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

W W W.B LU E S MAT TE R S.C O M

W W W.B LU E S MAT TE R S.C O M

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 3 7

Feature

THE BISHOP

THE BISHOP

Bishop’s final blessing V E R B A L S : D AV E S C OT T

IN 1999 MY HAIRDRESSER, SURTEES WALKER, A SUBSCRIBER TO ALAN PEARCE’S SAVOY BROWN FANZINE TOLD ME ABOUT THE LAUNCH OF ALAN’S NEW BLUES MAGAZINE AND SUGGESTED I SHOULD BE A WRITER.

M

y first assignment was the Maryport Blues Festival and as I travelled by train to Cumbria, I found myself sitting next to slide guitar supremo Dave Peabody one of the festival headliners. We chatted non-stop, a conversation Dave later reported back to our founding editor: “You should call

him the bishop”, advised Dave, “because he spent the whole journey preaching the blues.”

The name stuck! Maryport was where I met my first major celebrity, Lonnie Donegan who was staying in the same hotel.

Some journalists found him difficult but he was extremely polite and engaging even though he teased the Cumbrian folk by

announcing on stage that he didn’t know why he had come to such a backwater; ‘Well, it’s hardly the Paris of the north is it?” exhorted Lonnie. Twenty years ago, it was hard work communicating my review to Blues Matters! because in that seaside town there was only one self-styled “Internet Café” with a single computer which

THE BISHOP’S TOP TEN ALBUMS (in chronological order) John Lee Hooker: The Blues Of John Lee Hooker

My love of the blues started with this 1962 classic by the greatest all-time blues star which a school friend, Ian Balmer, brought to my house that year. Listening to the 1948 recording of Boogie Chillun changed my life forever and if it wasn’t for Ian I would probably still be listening to Wayne Fontana and The Mindbenders!

John Mayall: John Mayall Plays John Mayall When I discovered Mayall’s debut live album, the world of British blues and the succession of brilliant musicians in his band opened up in front of me. Half a century later it remains one of the most atmospheric live blues albums of all time.

Alvin Lee: Pure Blues

The British blues explosion in the 1960s spawned blues and rock bands such as Ten Years After whose co-founder Alvin Lee, “the fastest guitarist in the west”, epitomised that era. He was brought up listening to his dad’s collection of Lead Belly and Big Bill Broonzy records and these influences are evident in Alvin’s immortal composition, The Bluest Blues

Grainne Duffy: Where I Belong

There is no need to include Beth Hart, Joe Bonamassa or Rory Gallagher in my Top Ten because the Irish chanteuse sings with the emotion and intensity of Beth, has the axe skills of Joe and plays with the spirit of Rory, her legendary compatriot.

PAG E 3 8 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

Grainne’s unique blend of blues, rock, country and Celtic influences is what sets her apart, together with sensational and unforgettable live performances.

Danny Bryant: Revelation

The blues don’t run any deeper than this. Danny’s honesty, vulnerability and soul searching alongside his amazing vocal and guitar talents affirm both his ‘national treasure’ moniker and rapidly increasing reputation as a blues supremo on the world stage. No wonder Walter Trout chose him to lead his band while recovering from a life-threatening illness.

George Shovlin and The Radars: Nothing To Lose The American Heritage Blues Hall Of

W W W.B LU E S MAT TE R S.C O M

was broken! As the owner of this quayside location explained wryly, “The men around here are more into fish nets than Internets!” I love the camaraderie of festivals and I was covering a particularly boozy event which nearly ended tragically on the Monday morning as the portable toilets were being removed from the site by a forklift truck. Someone was asleep recovering from a hangover in one of the cubicles as it was being lifted onto a lorry and this caused some consternation. A spokesman from the company responsible sent out a press release denying responsibility and claiming, “It was impossible to determine if a man or woman was inside because all of our operatives are instructed to approach from the rear.”

I have been privileged to interview some of the greatest names in blues including the legendary Charlie Musselwhite.

I had heard about his serious car accident and asked him if it had subsequently inspired his music in any way. “Do you know what Bishop”, he replied, “when I was lying in bed in agony, my spleen on the floor, it never occurred to me to write a song.”

At the end of the interview he acknowledged that I had asked him questions which no else had ever put to him before!

Not that it helped in my interview with a famous American singer/ songwriter and pianist; he had only three answers: “yes”, “no” and “no comment” so I went home with 20 words. By contrast, I spent the best part of three hours interviewing Ten Years After front man Alvin Lee for a series of editions of BM when the blues-rocker was living peacefully in semiretirement with his wife Evi, so that was a bit of a coup. He became a friend as well as a neighbour of mine in Spain and

Fame inductee has dedicated his life to promoting the blues in his native Sunderland, yet unbelievably George is still a virtual newcomer on the UK scene. Remarkable tracks such as I Don’t Mind and Lord Hear My Prayer are reminiscent of Bowie’s and Cohen’s final works in terms of power, anguish and lament.

Seamus McGarvey: Seamus O’ Boogie

Buddy Guy: The Blues Is Alive And Well

This 2018 album proves that the most revered and influential bluesman on the planet is still at the top of his game at 83 years of age. Multi-award-winning Guy has released as many albums as his 50+ years in the business and thoroughly deserves the title of the most overused word in blues journalism, ‘legend’, more than any other proponent of the genre.

W W W.B LU E S MAT TE R S.C O M

The highlight of 2019 came 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. It turned out to be one of the least pretentious and most honest blues-roots albums released in a long time and a testament to the band’s lifelong love of music and performing.

Edinburgh’s guitar prodigy Jed Potts makes a significant contribution.

Giles Robson: Journeys To The Heart Of The Blues

US Alligator mogul Bruce Iglauer made a shrewd move when he signed up Robson as the first British resident to his prestigious label in its near half-century

Feature

it was a sad day when he died at the peak of his solo career in 2013.

Some things make me furious. I was angry when a legendary R ‘n’ B headline act at a festival performed for less than 35 minutes and then refused an encore even though the microphones had not been switched on for the first 10 minutes of the show. Another pet hate of mine are the sons and daughters of American blues legends who exploit their parents’ fame to enhance their own reputations. They should be ashamed of themselves.

Imagine the following scenario: You are about to have dental treatment and you ask the dentist if he is qualified to carry out the procedure. When the answer is, “Well, no but my father was a dentist” you start feeling nervous. That is exactly CONTINUES OVER...

history. This authentic album of mainly 1920s to 50s blues classics features American Grammy award-winning vocalist/guitarist Joe Louis Walker and virtuoso pianist Bruce Katz teaming up with UK harp ace Giles Robson, the latter proving he is well worth his place in blues harp history.

Bruce Katz: Solo Ride

As Bruce explains modestly “My new album, is unusual and a little unique, I think. It is a purely solo acoustic piano album, no vocals and all original tunes of mine except one cover. It has blues elements, to be sure, but also jazz, as in 1930s/40s style stride piano: there’s a country waltz, there’s a modern-day hymn, there’s a Ramsey Lewis style boogaloo. And yes, Boogie-Woogie/ New Orleans and blues as well,”

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 3 9

Feature

THE BISHOP

THE BISHOP

Bishop’s final blessing V E R B A L S : D AV E S C OT T

IN 1999 MY HAIRDRESSER, SURTEES WALKER, A SUBSCRIBER TO ALAN PEARCE’S SAVOY BROWN FANZINE TOLD ME ABOUT THE LAUNCH OF ALAN’S NEW BLUES MAGAZINE AND SUGGESTED I SHOULD BE A WRITER.

M

y first assignment was the Maryport Blues Festival and as I travelled by train to Cumbria, I found myself sitting next to slide guitar supremo Dave Peabody one of the festival headliners. We chatted non-stop, a conversation Dave later reported back to our founding editor: “You should call

him the bishop”, advised Dave, “because he spent the whole journey preaching the blues.”

The name stuck! Maryport was where I met my first major celebrity, Lonnie Donegan who was staying in the same hotel.

Some journalists found him difficult but he was extremely polite and engaging even though he teased the Cumbrian folk by

announcing on stage that he didn’t know why he had come to such a backwater; ‘Well, it’s hardly the Paris of the north is it?” exhorted Lonnie. Twenty years ago, it was hard work communicating my review to Blues Matters! because in that seaside town there was only one self-styled “Internet Café” with a single computer which

THE BISHOP’S TOP TEN ALBUMS (in chronological order) John Lee Hooker: The Blues Of John Lee Hooker

My love of the blues started with this 1962 classic by the greatest all-time blues star which a school friend, Ian Balmer, brought to my house that year. Listening to the 1948 recording of Boogie Chillun changed my life forever and if it wasn’t for Ian I would probably still be listening to Wayne Fontana and The Mindbenders!

John Mayall: John Mayall Plays John Mayall When I discovered Mayall’s debut live album, the world of British blues and the succession of brilliant musicians in his band opened up in front of me. Half a century later it remains one of the most atmospheric live blues albums of all time.

Alvin Lee: Pure Blues

The British blues explosion in the 1960s spawned blues and rock bands such as Ten Years After whose co-founder Alvin Lee, “the fastest guitarist in the west”, epitomised that era. He was brought up listening to his dad’s collection of Lead Belly and Big Bill Broonzy records and these influences are evident in Alvin’s immortal composition, The Bluest Blues

Grainne Duffy: Where I Belong

There is no need to include Beth Hart, Joe Bonamassa or Rory Gallagher in my Top Ten because the Irish chanteuse sings with the emotion and intensity of Beth, has the axe skills of Joe and plays with the spirit of Rory, her legendary compatriot.

PAG E 3 8 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

Grainne’s unique blend of blues, rock, country and Celtic influences is what sets her apart, together with sensational and unforgettable live performances.

Danny Bryant: Revelation

The blues don’t run any deeper than this. Danny’s honesty, vulnerability and soul searching alongside his amazing vocal and guitar talents affirm both his ‘national treasure’ moniker and rapidly increasing reputation as a blues supremo on the world stage. No wonder Walter Trout chose him to lead his band while recovering from a life-threatening illness.

George Shovlin and The Radars: Nothing To Lose The American Heritage Blues Hall Of

W W W.B LU E S MAT TE R S.C O M

was broken! As the owner of this quayside location explained wryly, “The men around here are more into fish nets than Internets!” I love the camaraderie of festivals and I was covering a particularly boozy event which nearly ended tragically on the Monday morning as the portable toilets were being removed from the site by a forklift truck. Someone was asleep recovering from a hangover in one of the cubicles as it was being lifted onto a lorry and this caused some consternation. A spokesman from the company responsible sent out a press release denying responsibility and claiming, “It was impossible to determine if a man or woman was inside because all of our operatives are instructed to approach from the rear.”

I have been privileged to interview some of the greatest names in blues including the legendary Charlie Musselwhite.

I had heard about his serious car accident and asked him if it had subsequently inspired his music in any way. “Do you know what Bishop”, he replied, “when I was lying in bed in agony, my spleen on the floor, it never occurred to me to write a song.”

At the end of the interview he acknowledged that I had asked him questions which no else had ever put to him before!

Not that it helped in my interview with a famous American singer/ songwriter and pianist; he had only three answers: “yes”, “no” and “no comment” so I went home with 20 words. By contrast, I spent the best part of three hours interviewing Ten Years After front man Alvin Lee for a series of editions of BM when the blues-rocker was living peacefully in semiretirement with his wife Evi, so that was a bit of a coup. He became a friend as well as a neighbour of mine in Spain and

Fame inductee has dedicated his life to promoting the blues in his native Sunderland, yet unbelievably George is still a virtual newcomer on the UK scene. Remarkable tracks such as I Don’t Mind and Lord Hear My Prayer are reminiscent of Bowie’s and Cohen’s final works in terms of power, anguish and lament.

Seamus McGarvey: Seamus O’ Boogie

Buddy Guy: The Blues Is Alive And Well

This 2018 album proves that the most revered and influential bluesman on the planet is still at the top of his game at 83 years of age. Multi-award-winning Guy has released as many albums as his 50+ years in the business and thoroughly deserves the title of the most overused word in blues journalism, ‘legend’, more than any other proponent of the genre.

W W W.B LU E S MAT TE R S.C O M

The highlight of 2019 came 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. It turned out to be one of the least pretentious and most honest blues-roots albums released in a long time and a testament to the band’s lifelong love of music and performing.

Edinburgh’s guitar prodigy Jed Potts makes a significant contribution.

Giles Robson: Journeys To The Heart Of The Blues

US Alligator mogul Bruce Iglauer made a shrewd move when he signed up Robson as the first British resident to his prestigious label in its near half-century

Feature

it was a sad day when he died at the peak of his solo career in 2013.

Some things make me furious. I was angry when a legendary R ‘n’ B headline act at a festival performed for less than 35 minutes and then refused an encore even though the microphones had not been switched on for the first 10 minutes of the show. Another pet hate of mine are the sons and daughters of American blues legends who exploit their parents’ fame to enhance their own reputations. They should be ashamed of themselves.

Imagine the following scenario: You are about to have dental treatment and you ask the dentist if he is qualified to carry out the procedure. When the answer is, “Well, no but my father was a dentist” you start feeling nervous. That is exactly CONTINUES OVER...

history. This authentic album of mainly 1920s to 50s blues classics features American Grammy award-winning vocalist/guitarist Joe Louis Walker and virtuoso pianist Bruce Katz teaming up with UK harp ace Giles Robson, the latter proving he is well worth his place in blues harp history.

Bruce Katz: Solo Ride

As Bruce explains modestly “My new album, is unusual and a little unique, I think. It is a purely solo acoustic piano album, no vocals and all original tunes of mine except one cover. It has blues elements, to be sure, but also jazz, as in 1930s/40s style stride piano: there’s a country waltz, there’s a modern-day hymn, there’s a Ramsey Lewis style boogaloo. And yes, Boogie-Woogie/ New Orleans and blues as well,”

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 3 9

)

24 bit” line

promoting the profession and practice of music therapy promoting

the profession and practice of music therapy

To find out more about music therapy, how to find a therapist and how to support music therapy in the UK, please visit:

www.bamt.org To find out more about

music therapy, how to find a therapist and how to support music therapy in the UK, please visit:

Email info@bamt.org or call us on 020 7837 6100

www.bamt.org

Email info@bamt.org

BAMT is a registered charity, no. 1137807 oracall us limited on 020 7837no.

6100 and company by guarantee, 7301585

@musictherapyuk

BAMT is a registered charity, no. 1137807 and a company limited by guarantee, no. 7301585

@musictherapyuk

BritishAssocMusicTherapy

BritishAssocMusicTherapy

The Grange

RECORDING STUDIO +44 ( 0 ) 1760 756394

www.grangestudios.co.uk

for digital

u did s

u did

u did in

how I feel about some of the blues ‘offspring’.

The highlight of 20 years on the road was meeting Buddy Guy at his Legends Club in Chicago where he was performing with Carl Weathersby and Nellie ‘Tiger’ Travis. Buddy invited me personally over to his private table and was full of admiration for Blues Matters! as we perused the magazine over a bottle of bourbon. I reminded him of the time two decades earlier when I had seen him jump from the balcony onto the stage at Newcastle City Hall still playing his guitar. “I couldn’t do that anymore, my legs would give way”, explained Buddy even though his show proved he had lost none of that energy and showmanship.

B.B. King similarly gave me a personal tour of his club in New York including his opulent office.

Wearing an expensive suit, B.B. exuded the persona of a wealthy man and I couldn’t help but think about his humble beginnings.

I envisaged the next song he wrote starting with the line, “I woke up this morning, both cars had gone.”

I have been privileged to SEE

• Large 4 room recording area • 2 inch analogue tape 16 & 24 track • • Classic Studer 827 & MCI (Quior version) JH16 tape machines • • Radar 48 track digital • Full Pro Tools rig • • 80 channel analogue automated Amek Rembrandt console • • Vintage outboard • Classic 60s & 70s microphones • Combine analogue and digital for tracking and overdubs Mix to analogue 1⁄2” Studer or 96K/24 bit digital No multitrack tape charges. Residential with 2 self contained cottages Past clients include: Eric Bibb • Sari Schorr • Danny Bryant • Marcus Bonfanti • Don Airey Wille & The Bandits • Colin Blunstone • Hot Club of Cowtown • Eleanor McEvoy PAG E 4 0 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

W W W.B LU E S MAT TE R S.C O M

see most of the best blues performers in the world. In my opinion Beth Hart is one of the most inspirational with Walter Trout, Kris Barras, Kenny Wayne Shepherd, Eric Bibb, and Paul Lamb also in the outstanding category. I have followed John Mayall since the 60s and still love the authenticity and innovation he still brings to the blues. Gerry Jablonski is my favourite all round working bluesman: the ‘zany genius’ is quite simply unique and also the funniest man in the business W W W.B LU E S MAT TE R S.C O M

and a real showman. I once asked him, “How would you like to be remembered?” “As being taller”, he replied. There is so much new talent coming through which augurs well for the future as does the plethora of live venues and festivals despite the recession.

Fans of Jumpin’ The Gunn’s Shades Of Blue album in 1993 will have relished the return to greatness of Andy Gunn following serious illness, a true blues story of triumph over adversity as he proved with his storming performances at this year’s Edinburgh Fringe.

I have the utmost respect for Zoe Schwarz Blue Commotion, and it surprises me that they have not achieved international recognition given their combined talents. Sean Taylor is also worth checking out as he is the ultimate troubadour, a peace and justice campaigner whose music reflects his integrity and sincerity. My tips for the future

are Redfish and Safehouse north of the border due to the stunning contributions of the electrifying keyboard player Fraser Clark in the former and the inimitable guitarist John Bruce in the latter.

Perhaps young Toby Lee will make the grade given his recent stints with Trout, a leading role in the School Of Rock musical and the formation of his own band. What is certain is that the next 20 years will bring more great blues as it evolves further from the Leadbelly, John Lee Hooker and Sonny Terry/Brownie McGhee era of my youth whilst becoming increasingly relevant for the 21st century. I also predict that Blues Matters! will continue to flourish for the next couple of decades at least, given Alan’s energetic leadership, the skills of the editor, Iain and the creativity of Mairi who has transformed the website. It’s all about teamwork and it’s a superb team.

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 41

)

24 bit” line

promoting the profession and practice of music therapy promoting

the profession and practice of music therapy

To find out more about music therapy, how to find a therapist and how to support music therapy in the UK, please visit:

www.bamt.org To find out more about

music therapy, how to find a therapist and how to support music therapy in the UK, please visit:

Email info@bamt.org or call us on 020 7837 6100

www.bamt.org

Email info@bamt.org

BAMT is a registered charity, no. 1137807 oracall us limited on 020 7837no.

6100 and company by guarantee, 7301585

@musictherapyuk

BAMT is a registered charity, no. 1137807 and a company limited by guarantee, no. 7301585

@musictherapyuk

BritishAssocMusicTherapy

BritishAssocMusicTherapy

The Grange

RECORDING STUDIO +44 ( 0 ) 1760 756394

www.grangestudios.co.uk

for digital

u did s

u did

u did in

how I feel about some of the blues ‘offspring’.

The highlight of 20 years on the road was meeting Buddy Guy at his Legends Club in Chicago where he was performing with Carl Weathersby and Nellie ‘Tiger’ Travis. Buddy invited me personally over to his private table and was full of admiration for Blues Matters! as we perused the magazine over a bottle of bourbon. I reminded him of the time two decades earlier when I had seen him jump from the balcony onto the stage at Newcastle City Hall still playing his guitar. “I couldn’t do that anymore, my legs would give way”, explained Buddy even though his show proved he had lost none of that energy and showmanship.

B.B. King similarly gave me a personal tour of his club in New York including his opulent office.

Wearing an expensive suit, B.B. exuded the persona of a wealthy man and I couldn’t help but think about his humble beginnings.

I envisaged the next song he wrote starting with the line, “I woke up this morning, both cars had gone.”

I have been privileged to SEE

• Large 4 room recording area • 2 inch analogue tape 16 & 24 track • • Classic Studer 827 & MCI (Quior version) JH16 tape machines • • Radar 48 track digital • Full Pro Tools rig • • 80 channel analogue automated Amek Rembrandt console • • Vintage outboard • Classic 60s & 70s microphones • Combine analogue and digital for tracking and overdubs Mix to analogue 1⁄2” Studer or 96K/24 bit digital No multitrack tape charges. Residential with 2 self contained cottages Past clients include: Eric Bibb • Sari Schorr • Danny Bryant • Marcus Bonfanti • Don Airey Wille & The Bandits • Colin Blunstone • Hot Club of Cowtown • Eleanor McEvoy PAG E 4 0 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

W W W.B LU E S MAT TE R S.C O M

see most of the best blues performers in the world. In my opinion Beth Hart is one of the most inspirational with Walter Trout, Kris Barras, Kenny Wayne Shepherd, Eric Bibb, and Paul Lamb also in the outstanding category. I have followed John Mayall since the 60s and still love the authenticity and innovation he still brings to the blues. Gerry Jablonski is my favourite all round working bluesman: the ‘zany genius’ is quite simply unique and also the funniest man in the business W W W.B LU E S MAT TE R S.C O M

and a real showman. I once asked him, “How would you like to be remembered?” “As being taller”, he replied. There is so much new talent coming through which augurs well for the future as does the plethora of live venues and festivals despite the recession.

Fans of Jumpin’ The Gunn’s Shades Of Blue album in 1993 will have relished the return to greatness of Andy Gunn following serious illness, a true blues story of triumph over adversity as he proved with his storming performances at this year’s Edinburgh Fringe.

I have the utmost respect for Zoe Schwarz Blue Commotion, and it surprises me that they have not achieved international recognition given their combined talents. Sean Taylor is also worth checking out as he is the ultimate troubadour, a peace and justice campaigner whose music reflects his integrity and sincerity. My tips for the future

are Redfish and Safehouse north of the border due to the stunning contributions of the electrifying keyboard player Fraser Clark in the former and the inimitable guitarist John Bruce in the latter.

Perhaps young Toby Lee will make the grade given his recent stints with Trout, a leading role in the School Of Rock musical and the formation of his own band. What is certain is that the next 20 years will bring more great blues as it evolves further from the Leadbelly, John Lee Hooker and Sonny Terry/Brownie McGhee era of my youth whilst becoming increasingly relevant for the 21st century. I also predict that Blues Matters! will continue to flourish for the next couple of decades at least, given Alan’s energetic leadership, the skills of the editor, Iain and the creativity of Mairi who has transformed the website. It’s all about teamwork and it’s a superb team.

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 41

Mark Butcher VE R BALS: PETE SARG EANT

V I S U A L S : A N DY B A R T E R

BEST KNOWN FOR HIS HIGHLY SUCCESSFUL CAREER IN CRICKET, MARK HAS JUST RELEASED HIS SELF-PENNED SECOND ALBUM. HERE HE PICKS HIS TOP TEN INFLUENCES FOR BLUES MATTERS...

CAN’T LOSE WHAT YOU AIN’T NEVER HAD

A SMILE CAN’T HIDE A BROKEN HEART

MUDDY WATERS: THE ANTHOLOGY ’47-’72

WILLIAM BELL: BOUND TO HAPPEN

This song represents the blues to me - you may as well not bother trying to better it, from the double stop intro, the barrelhouse piano, rumbling double bass, and Muddy’s killer guitar & vocal. perfection!

The Stax sound personified. A filthy back beat and a great hook - nothing wasted!

HAVE YOU EVER LOVED A WOMAN DEREK & THE DOMINOS: LAYLA & OTHER ASSORTED LOVE SONGS.

Still gives me goosebumps every time I hear it. So much passion and fire from the whole ensemble. Eric was utterly inspired on this track as much by Duane Allman as Patti Harrison…

YOU’RE GONNA NEED ME ALBERT KING: KING OF THE BLUES GUITAR

A great arrangement, horn stabs complementing Albert’s laidback guitar & vocal delivery - whoo!

FORECAST CALLS FOR PAIN ROBERT CRAY: MIDNIGHT STROLL

I’m an absolute sucker for RC’s melding of R&B, soul & blues you get the lot here.

ME AND THE DEVIL BLUES ROBERT JOHNSON: THE COMPLETE RECORDINGS

The pact that inspired the genre!

PACK IT UP FREDDIE KING: BURGLAR

The Texas Cannonball in full funk mode. Like the other two Kings, as great a singer as guitar player.

DR FEELGOOD ARETHA FRANKLIN: I NEVER LOVED A MAN THE WAY I LOVE YOU

The Queen in full sermon mode - more goosebumps.

DOUBLE CROSSING TIME BLUES BREAKERS WITH ERIC CLAPTON

The first blues album I owned. Bought at the HMV store in Oxford St in ’85. After hearing it, I simply had to learn the guitar.

DAMN YOUR EYES ETTA JAMES: HOW STRONG IS A WOMAN

A fantastic album in its entirety, this track stands out as a wonderful lyric & even better vocal performance.

MARK BUTCHER'S NEW ALBUM 'NOW PLAYING' IS REVIEWED ON PAGE XX AND IS AVAILABLE NOW.FOR MORE INFO, GO TO WWW.MARKBUTCHERMUSIC.COM PAG E 4 2 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

W W W.B LU E S MAT TE R S.C O M

Sun House V E R B A L S : D AV E S T E V E N S

VISUALS: JACK ROB I NSON

SUN HOUSE ARE A YOUNG BAND, WRITING AND PERFORMING THEIR OWN MUSIC INSPIRED BY LEGENDARY ARTISTS OF THE PAST SUCH AS B.B. KING, HOWLING WOLF, AND MUDDY WATERS; WHILE CARRYING FORWARD THE TRADITIONS OF BLUES MUSIC

T

he line-up is Cam Meek (drums) when he is not performing with Sun House, he’s in demand as a session musician; Jamie Ellis (lead guitar) an excellent lead guitarist with a natural feel for blues; Emilia Quinn (bass guitar and vocals) with rave reviews and a raw gutsy voice, she sings with passion and intensity, telling you the story from the heart. Jamie told me how the band started, “myself and Cam met at university at the Academy of Contemporary Music, Guilford. We began as session musicians and we were then introduced to Emilia who was performing her own songs in the Surry area and she asked us to do some shows with her, from day one we realised our shared love of classic blues and rock.

We all grew up listening to our parent’s music, Led Zeppelin, The Rolling Stones, and AC/DC. We eventually started writing together, it just happened so naturally, and it grew from there “. Some music fans have a vision of bands touring in air-conditioned limos with roadies setting up their equipment but for most bands the reality is completely different. (Jamie) “We played anywhere in the first year, the three of us and all our instruments crammed into Emilia’s small Mini, we can play a gig in Newcastle and then the next day a show down in Surry; all W W W.B LU E S MAT TE R S.C O M

whilst trying to finish our university degrees and living off service station food, but what a learning curb, it made us resilient“. As session musicians they gained a lot of experience and have played with Cheri Lynn, The Hoodoo Skulls, and The Broken Dollars. (Jamie) “I am so grateful for that, I really cut my teeth as a musician on those shows and we met some amazing people who are still very good friends “. The band, to coin a phrase, have turned a corner and are playing more gigs in bigger venues now like The Camden Assembly, and the 100 Club, London.

Sun House’s first EP Rosedale is selling fast, (Jamie) “we really pulled out all the stops; if it wasn’t for our fans supporting us through Pledge Music we could not have done it; Pledge have hit some hard times but we are grateful for what they did for us.

Rosedale was recorded at Metropolis Studios, London. (Jamie) “it was a great experience, some of our biggest idols have recorded in that studio, it was surreal “. The tracks on Rosedale are Whatever It Takes, Crossroads, River, and Running.

Speaking as a blues lover it brings something different to the table, traditional blues mixed with the band’s new interpretation of blues. So, Jamie what’s next? “we are working on some new material at the moment and there will be some new singles on the way followed by our debut album “.

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 4 3

Mark Butcher VE R BALS: PETE SARG EANT

V I S U A L S : A N DY B A R T E R

BEST KNOWN FOR HIS HIGHLY SUCCESSFUL CAREER IN CRICKET, MARK HAS JUST RELEASED HIS SELF-PENNED SECOND ALBUM. HERE HE PICKS HIS TOP TEN INFLUENCES FOR BLUES MATTERS...

CAN’T LOSE WHAT YOU AIN’T NEVER HAD

A SMILE CAN’T HIDE A BROKEN HEART

MUDDY WATERS: THE ANTHOLOGY ’47-’72

WILLIAM BELL: BOUND TO HAPPEN

This song represents the blues to me - you may as well not bother trying to better it, from the double stop intro, the barrelhouse piano, rumbling double bass, and Muddy’s killer guitar & vocal. perfection!

The Stax sound personified. A filthy back beat and a great hook - nothing wasted!

HAVE YOU EVER LOVED A WOMAN DEREK & THE DOMINOS: LAYLA & OTHER ASSORTED LOVE SONGS.

Still gives me goosebumps every time I hear it. So much passion and fire from the whole ensemble. Eric was utterly inspired on this track as much by Duane Allman as Patti Harrison…

YOU’RE GONNA NEED ME ALBERT KING: KING OF THE BLUES GUITAR

A great arrangement, horn stabs complementing Albert’s laidback guitar & vocal delivery - whoo!

FORECAST CALLS FOR PAIN ROBERT CRAY: MIDNIGHT STROLL

I’m an absolute sucker for RC’s melding of R&B, soul & blues you get the lot here.

ME AND THE DEVIL BLUES ROBERT JOHNSON: THE COMPLETE RECORDINGS

The pact that inspired the genre!

PACK IT UP FREDDIE KING: BURGLAR

The Texas Cannonball in full funk mode. Like the other two Kings, as great a singer as guitar player.

DR FEELGOOD ARETHA FRANKLIN: I NEVER LOVED A MAN THE WAY I LOVE YOU

The Queen in full sermon mode - more goosebumps.

DOUBLE CROSSING TIME BLUES BREAKERS WITH ERIC CLAPTON

The first blues album I owned. Bought at the HMV store in Oxford St in ’85. After hearing it, I simply had to learn the guitar.

DAMN YOUR EYES ETTA JAMES: HOW STRONG IS A WOMAN

A fantastic album in its entirety, this track stands out as a wonderful lyric & even better vocal performance.

MARK BUTCHER'S NEW ALBUM 'NOW PLAYING' IS REVIEWED ON PAGE XX AND IS AVAILABLE NOW.FOR MORE INFO, GO TO WWW.MARKBUTCHERMUSIC.COM PAG E 4 2 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

W W W.B LU E S MAT TE R S.C O M

Sun House V E R B A L S : D AV E S T E V E N S

VISUALS: JACK ROB I NSON

SUN HOUSE ARE A YOUNG BAND, WRITING AND PERFORMING THEIR OWN MUSIC INSPIRED BY LEGENDARY ARTISTS OF THE PAST SUCH AS B.B. KING, HOWLING WOLF, AND MUDDY WATERS; WHILE CARRYING FORWARD THE TRADITIONS OF BLUES MUSIC

T

he line-up is Cam Meek (drums) when he is not performing with Sun House, he’s in demand as a session musician; Jamie Ellis (lead guitar) an excellent lead guitarist with a natural feel for blues; Emilia Quinn (bass guitar and vocals) with rave reviews and a raw gutsy voice, she sings with passion and intensity, telling you the story from the heart. Jamie told me how the band started, “myself and Cam met at university at the Academy of Contemporary Music, Guilford. We began as session musicians and we were then introduced to Emilia who was performing her own songs in the Surry area and she asked us to do some shows with her, from day one we realised our shared love of classic blues and rock.

We all grew up listening to our parent’s music, Led Zeppelin, The Rolling Stones, and AC/DC. We eventually started writing together, it just happened so naturally, and it grew from there “. Some music fans have a vision of bands touring in air-conditioned limos with roadies setting up their equipment but for most bands the reality is completely different. (Jamie) “We played anywhere in the first year, the three of us and all our instruments crammed into Emilia’s small Mini, we can play a gig in Newcastle and then the next day a show down in Surry; all W W W.B LU E S MAT TE R S.C O M

whilst trying to finish our university degrees and living off service station food, but what a learning curb, it made us resilient“. As session musicians they gained a lot of experience and have played with Cheri Lynn, The Hoodoo Skulls, and The Broken Dollars. (Jamie) “I am so grateful for that, I really cut my teeth as a musician on those shows and we met some amazing people who are still very good friends “. The band, to coin a phrase, have turned a corner and are playing more gigs in bigger venues now like The Camden Assembly, and the 100 Club, London.

Sun House’s first EP Rosedale is selling fast, (Jamie) “we really pulled out all the stops; if it wasn’t for our fans supporting us through Pledge Music we could not have done it; Pledge have hit some hard times but we are grateful for what they did for us.

Rosedale was recorded at Metropolis Studios, London. (Jamie) “it was a great experience, some of our biggest idols have recorded in that studio, it was surreal “. The tracks on Rosedale are Whatever It Takes, Crossroads, River, and Running.

Speaking as a blues lover it brings something different to the table, traditional blues mixed with the band’s new interpretation of blues. So, Jamie what’s next? “we are working on some new material at the moment and there will be some new singles on the way followed by our debut album “.

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 4 3

Schuld & Stamer

VE R BAL S: S U P P LI E D BY TH E ARTI ST

SEPARATELY, THE MUSIC OF ANDREAS SCHULD AND HANS STAMER SHOULD HAVE GAINED THEM INTERNATIONAL FAME, OR AT LEAST NATIONAL FAME IN THEIR ADOPTED HOMELAND OF CANADA

S

chuld with his instrumental, guitar driven masterwork ‘Buster Brown & The New Resolutions’ and Stamer’s 1973 blues-rock classic ‘Dig A Hole’ are solo projects deserving of accolade upon accolade.

Schuld’s guitar mastery and genius as a producer combines perfectly with Stamer’s vocals, a voice so raw and powerful that it could raise Howlin’ Wolf.

Both men originally hail from Germany, and Stamer, the senior of the two, even got to see the Beatles play the Star Club and was also present at Louis Armstrong’s legendary 1955 concert in Hamburg, where the audience rioted.

If Schuld & Stamer’s individual careers were viewed as parallel tributaries running alongside one another, then the source of their inspiration can be traced to the same river, the country blues.

In 1996 they decided to delve headfirst into their musical love and put their incredible talents together on the album ‘No Special Rider’. The record featured special guest Bill Bourne on some of the tracks and was nominated for Canada’s prestigious Juno award upon its release, in 1997.

The following year, they started work on their second album ‘You got the bread…we got the jam!’, this time teaming

up with their old friend and true hero of the British Blues, Long John Baldry. When asked about the recording sessions Baldry told Peter North of the Edmonton Journal, “all we needed were some acoustic guitars and a couple of bottles of wine.”

Baldry would even get Schuld to produce his last album, ‘Remembering Leadbelly’ and the pair were featured in the 2001 TV special, ‘Happy Birthday Blues: Long John Baldry & Friends’ where Hans, along with his national steel, serenaded Baldry on his 60th with a rendition of ‘Happy Birthday’.

Over the years they have toured and recorded sporadically.

2009’s ‘Everything Happens To Me,’ a traditional Jazz album, was met with critical acclaim and much radio play. Their most ambitious project followed in 2014, when they turned the blues on its head and recorded the seminal ‘Kuddelmuddel.’

With a new project in the pipeline, Schuld and Stamer still fly the flag of a music so dear to their hearts.

Although they haven’t matched the career heights of many of their contemporaries, Andreas Schuld and Hans Stamer stand shoulder to shoulder with the blues greats who inspired them all those years ago.

FOR MORE INFORMATION, GO TO: WWW.FRANKFOTUSKY.COM

PAG E 4 4 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

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Iron Kyte

VE R BAL S: B R E N D O N WE S LEY VI S UAL S: S U P P LI E D BY ARTI ST

IN 2013, RHYTHM GUITARIST AND SINGER/SONGWRITER, BRENDON WESLEY, FORMED ONE OF ONLY TWO ALTERNATIVE ROCK BANDS IN JAMAICA BY REACHING OUT TO TALENTED INDIVIDUALS THROUGH SOCIAL MEDIA, FRIENDS OF FRIENDS AND LOVERS OF ROCK AND ROLL

T

he line-up is Cam Meek (drums) when he is not performing with Sun House, he’s in demand as a session musician; Jamie Ellis (lead guitar) an excellent lead guitarist with a natural feel for blues; Emilia Quinn (bass guitar and vocals) with rave reviews and a raw gutsy voice, she sings with passion and intensity, telling you the story from the heart. Jamie told me how the band started, “myself and Cam met at university at the Academy of Contemporary Music, Guilford. We began as session musicians and we were then introduced to Emilia who was performing her own songs in the Surry area and she asked us to do some shows with her, from day one we realised our shared love of classic blues and rock.

We all grew up listening to our parent’s music, Led Zeppelin, The Rolling Stones, and AC/DC. We eventually started writing together, it just happened so naturally, and it grew from there “. Some music fans have a vision of bands touring in air-conditioned limos with roadies setting up their equipment but for most bands the reality is completely different. (Jamie) “We played anywhere in the first year, the three of us and all our instruments crammed into Emilia’s small Mini, we can play a gig in Newcastle and then the next day a show down in Surry; all whilst trying to finish our university degrees and living off service station food, but what a learning W W W.B LU E S MAT TE R S.C O M

curb, it made us resilient“. As session musicians they gained a lot of experience and have played with Cheri Lynn, The Hoodoo Skulls, and The Broken Dollars. (Jamie) “I am so grateful for that, I really cut my teeth as a musician on those shows and we met some amazing people who are still very good friends “. The band, to coin a phrase, have turned a corner and are playing more gigs in bigger venues now like The Camden Assembly, and the 100 Club, London.

Sun House’s first EP Rosedale is selling fast, (Jamie) “we really pulled out all the stops; if it wasn’t for our fans supporting us through Pledge Music we could not have done it; Pledge have hit some hard times but we are grateful for what they did for us.

Rosedale was recorded at Metropolis Studios, London. (Jamie) “it was a great experience, some of our biggest idols have recorded in that studio, it was surreal “. The tracks on Rosedale are Whatever It Takes, Crossroads, River, and Running.

Speaking as a blues lover it brings something different to the table, traditional blues mixed with the band’s new interpretation of blues. So, Jamie what’s next? “we are working on some new material at the moment and there will be some new singles on the way followed by our debut album “.

FOR MORE INFORMATION, GO TO: WWW.FACEBOOK.COM/IRONKYTEBAND/

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 4 5

Schuld & Stamer

VE R BAL S: S U P P LI E D BY TH E ARTI ST

SEPARATELY, THE MUSIC OF ANDREAS SCHULD AND HANS STAMER SHOULD HAVE GAINED THEM INTERNATIONAL FAME, OR AT LEAST NATIONAL FAME IN THEIR ADOPTED HOMELAND OF CANADA

S

chuld with his instrumental, guitar driven masterwork ‘Buster Brown & The New Resolutions’ and Stamer’s 1973 blues-rock classic ‘Dig A Hole’ are solo projects deserving of accolade upon accolade.

Schuld’s guitar mastery and genius as a producer combines perfectly with Stamer’s vocals, a voice so raw and powerful that it could raise Howlin’ Wolf.

Both men originally hail from Germany, and Stamer, the senior of the two, even got to see the Beatles play the Star Club and was also present at Louis Armstrong’s legendary 1955 concert in Hamburg, where the audience rioted.

If Schuld & Stamer’s individual careers were viewed as parallel tributaries running alongside one another, then the source of their inspiration can be traced to the same river, the country blues.

In 1996 they decided to delve headfirst into their musical love and put their incredible talents together on the album ‘No Special Rider’. The record featured special guest Bill Bourne on some of the tracks and was nominated for Canada’s prestigious Juno award upon its release, in 1997.

The following year, they started work on their second album ‘You got the bread…we got the jam!’, this time teaming

up with their old friend and true hero of the British Blues, Long John Baldry. When asked about the recording sessions Baldry told Peter North of the Edmonton Journal, “all we needed were some acoustic guitars and a couple of bottles of wine.”

Baldry would even get Schuld to produce his last album, ‘Remembering Leadbelly’ and the pair were featured in the 2001 TV special, ‘Happy Birthday Blues: Long John Baldry & Friends’ where Hans, along with his national steel, serenaded Baldry on his 60th with a rendition of ‘Happy Birthday’.

Over the years they have toured and recorded sporadically.

2009’s ‘Everything Happens To Me,’ a traditional Jazz album, was met with critical acclaim and much radio play. Their most ambitious project followed in 2014, when they turned the blues on its head and recorded the seminal ‘Kuddelmuddel.’

With a new project in the pipeline, Schuld and Stamer still fly the flag of a music so dear to their hearts.

Although they haven’t matched the career heights of many of their contemporaries, Andreas Schuld and Hans Stamer stand shoulder to shoulder with the blues greats who inspired them all those years ago.

FOR MORE INFORMATION, GO TO: WWW.FRANKFOTUSKY.COM

PAG E 4 4 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

W W W.B LU E S MAT TE R S.C O M

Iron Kyte

VE R BAL S: B R E N D O N WE S LEY VI S UAL S: S U P P LI E D BY ARTI ST

IN 2013, RHYTHM GUITARIST AND SINGER/SONGWRITER, BRENDON WESLEY, FORMED ONE OF ONLY TWO ALTERNATIVE ROCK BANDS IN JAMAICA BY REACHING OUT TO TALENTED INDIVIDUALS THROUGH SOCIAL MEDIA, FRIENDS OF FRIENDS AND LOVERS OF ROCK AND ROLL

T

he line-up is Cam Meek (drums) when he is not performing with Sun House, he’s in demand as a session musician; Jamie Ellis (lead guitar) an excellent lead guitarist with a natural feel for blues; Emilia Quinn (bass guitar and vocals) with rave reviews and a raw gutsy voice, she sings with passion and intensity, telling you the story from the heart. Jamie told me how the band started, “myself and Cam met at university at the Academy of Contemporary Music, Guilford. We began as session musicians and we were then introduced to Emilia who was performing her own songs in the Surry area and she asked us to do some shows with her, from day one we realised our shared love of classic blues and rock.

We all grew up listening to our parent’s music, Led Zeppelin, The Rolling Stones, and AC/DC. We eventually started writing together, it just happened so naturally, and it grew from there “. Some music fans have a vision of bands touring in air-conditioned limos with roadies setting up their equipment but for most bands the reality is completely different. (Jamie) “We played anywhere in the first year, the three of us and all our instruments crammed into Emilia’s small Mini, we can play a gig in Newcastle and then the next day a show down in Surry; all whilst trying to finish our university degrees and living off service station food, but what a learning W W W.B LU E S MAT TE R S.C O M

curb, it made us resilient“. As session musicians they gained a lot of experience and have played with Cheri Lynn, The Hoodoo Skulls, and The Broken Dollars. (Jamie) “I am so grateful for that, I really cut my teeth as a musician on those shows and we met some amazing people who are still very good friends “. The band, to coin a phrase, have turned a corner and are playing more gigs in bigger venues now like The Camden Assembly, and the 100 Club, London.

Sun House’s first EP Rosedale is selling fast, (Jamie) “we really pulled out all the stops; if it wasn’t for our fans supporting us through Pledge Music we could not have done it; Pledge have hit some hard times but we are grateful for what they did for us.

Rosedale was recorded at Metropolis Studios, London. (Jamie) “it was a great experience, some of our biggest idols have recorded in that studio, it was surreal “. The tracks on Rosedale are Whatever It Takes, Crossroads, River, and Running.

Speaking as a blues lover it brings something different to the table, traditional blues mixed with the band’s new interpretation of blues. So, Jamie what’s next? “we are working on some new material at the moment and there will be some new singles on the way followed by our debut album “.

FOR MORE INFORMATION, GO TO: WWW.FACEBOOK.COM/IRONKYTEBAND/

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 4 5

HELP US STOP ONE MAN BEING KILLED EVERY 45 MINUTES

Cliff Beach VE R BALS: ADAM KE LLI NG

CLIFF BEACH IS A US SOUL-BLUESMAN WITH ATTITUDE AND A SPARKLING CONFIDENCE THAT SHINES AT EVERY TURN AS HE LOOKS AHEAD TO A BRIGHT FUTURE

We need your help to fund research to beat prostate cancer.

I

f you want to put a ring on it, I’ve got just the finger for you”. That’s my favourite lyric from one of my latest singles “Movin’ On”. Featuring Alex Nester on vocals, we get to have a back and forth, knockout, drag out fight on record. It is my first time featuring a female vocalist, but it works! I penned a song that says everything I didn’t get to say but wished I had said at the end of a very tumultuous, long distance relationship. It is the follow up to another one of my songs “Let Me Down”, where I get to lament over the same women doing me wrong, saying “ I really think that she’s a burglar, I wish I could get all the time that she stole.” I’ll never forget being angry, after driving 8 hours to visit this woman only for her to basically say she didn’t want to be with me. Luckily for me I write from my most painful experiences and turn that pain into something beautiful. That is the essence of the blues, you don’t just write it; you live it. My mom calls it “beauty from ashes”.

The Blues does not always have to be sad though. It can be empowering. The B side to “Movin’ On, is “Confident”, and it does just that. Influenced by Parliament and Stevie Wonder,

Get involved at prostatecanceruk.org

Prostate Cancer UK is a registered charity in England and Wales (1005541) and in Scotland (SC039332). Registered company number 02653887.

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featuring the MBs, I get to express how we all need to be more self-confident and believe in ourselves. The only way to chase away the blues is with a big stick, and that’s what confidence is. I poignantly write “Why’d it take so long for me to see what’s keeping me from being free/finally I know what’s right for me/ the only way to be is absolutely, totally confident.” I personally have not always had high self-esteem, but I’ll fake it ‘til I make it.

I started asking myself why not? Why not me? Why not now?

“Confident” was born from the feeling of saying, no more blues, funk that noise. Be more confident.

I am very excited for more singles to drop this year. “Sock It To Me” featuring Honey LaRochelle, pays homage to the late great Aretha Franklin. I state, “You make me feel good/like a real girl should…with your lovin’/ sock it to me.” After having the blues in past relationships, I wanted to write about one woman doing me right this time. Lastly, the single “The Truth”, is my ode to being cheated on. I elegantly wrote “Your deceit isn’t what’s killing me/it’s the truth that’s cutting me up inside like a knife”. If that ain’t the Blues I don’t know what is.

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 47

HELP US STOP ONE MAN BEING KILLED EVERY 45 MINUTES

Cliff Beach VE R BALS: ADAM KE LLI NG

CLIFF BEACH IS A US SOUL-BLUESMAN WITH ATTITUDE AND A SPARKLING CONFIDENCE THAT SHINES AT EVERY TURN AS HE LOOKS AHEAD TO A BRIGHT FUTURE

We need your help to fund research to beat prostate cancer.

I

f you want to put a ring on it, I’ve got just the finger for you”. That’s my favourite lyric from one of my latest singles “Movin’ On”. Featuring Alex Nester on vocals, we get to have a back and forth, knockout, drag out fight on record. It is my first time featuring a female vocalist, but it works! I penned a song that says everything I didn’t get to say but wished I had said at the end of a very tumultuous, long distance relationship. It is the follow up to another one of my songs “Let Me Down”, where I get to lament over the same women doing me wrong, saying “ I really think that she’s a burglar, I wish I could get all the time that she stole.” I’ll never forget being angry, after driving 8 hours to visit this woman only for her to basically say she didn’t want to be with me. Luckily for me I write from my most painful experiences and turn that pain into something beautiful. That is the essence of the blues, you don’t just write it; you live it. My mom calls it “beauty from ashes”.

The Blues does not always have to be sad though. It can be empowering. The B side to “Movin’ On, is “Confident”, and it does just that. Influenced by Parliament and Stevie Wonder,

Get involved at prostatecanceruk.org

Prostate Cancer UK is a registered charity in England and Wales (1005541) and in Scotland (SC039332). Registered company number 02653887.

PAG E 4 6 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

W W W.B LU E S MAT TE R S.C O M

W W W.B LU E S MAT TE R S.C O M

featuring the MBs, I get to express how we all need to be more self-confident and believe in ourselves. The only way to chase away the blues is with a big stick, and that’s what confidence is. I poignantly write “Why’d it take so long for me to see what’s keeping me from being free/finally I know what’s right for me/ the only way to be is absolutely, totally confident.” I personally have not always had high self-esteem, but I’ll fake it ‘til I make it.

I started asking myself why not? Why not me? Why not now?

“Confident” was born from the feeling of saying, no more blues, funk that noise. Be more confident.

I am very excited for more singles to drop this year. “Sock It To Me” featuring Honey LaRochelle, pays homage to the late great Aretha Franklin. I state, “You make me feel good/like a real girl should…with your lovin’/ sock it to me.” After having the blues in past relationships, I wanted to write about one woman doing me right this time. Lastly, the single “The Truth”, is my ode to being cheated on. I elegantly wrote “Your deceit isn’t what’s killing me/it’s the truth that’s cutting me up inside like a knife”. If that ain’t the Blues I don’t know what is.

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 47

LAUREN ANDERSON

Interview

BE TRUE TO YOURSELF

LAUREN ANDERSON

LAUREN MAY BE A NEW NAME TO SOME IN THE BLUES WORLD, BUT SHE WEARS HER HEART ON HER SLEEVE AND IS A MUCH-ACCOMPLISHED SINGER SONGWRITER V E R B A L S : C O L I N C A M P B E L L V I S U A L S : K E L S E Y T H O M A S ( T H I S PA G E ) D E S I R A E C O P E ( O V E R L E A F )

H

ailing from Chicago she has now moved to the music city of Nashville, Tennessee and has recently brought out an E.P. titled Won’t Stay Down. Here she discusses music, touring and influences on her career.

Hi thanks for taking time out to talk to Blues Matters Magazine. How are you and where are you today?

I’m good, we’re in Indianapolis just now, I played The Slippery Noodle last night.

What kind of audiences do you get?

A wide variety, blues fans are prominent at our shows. I take the blues and put a modern mix to it. Audiences are a varied range depending on where we play.

Can you tell us a bit about your roots, where you were born and brought up, and what got you into music in the first place?

I grew up outside Chicago. I have been singing for as long as I can remember. My parents were very supportive and put me in a choir right away! I was classically trained, my under grad is in opera. I grew up listening to soul and pop and rock, I liked Whitney Houston. My dad listened to classic rock and I listened to Lauryn Hill, Etta James and Kelly Clarkson. Basically, any voice that was big and powerful. Then I stumbled on Susan Tedeschi and Bonnie Raitt when I was in College. In Grad School my brother got me into blues. So, when I was in College and realised that I didn’t want to be an opera

singer, I did a lot of solo gigs and learned the guitar. Then I slowly formed a band and here we are!

How did you end up in Nashville, why leave Chicago?

I went to Grad School outside Kansas City, and worked for a while, then I realised I wanted to do music full time. I was not sure if I wanted to return to Chicago and had been a few times to Nashville, I knew I would regret it if I didn’t give it a shot. There are a lot of supportive people in Nashville. We all do the same thing and we all have our own talent.

You are an accomplished singer songwriter; did you get musical lessons growing up?

Yes, I started getting piano lessons when I was eight and I continued through to College.

I played mandolin and saxophone, but I was awful at that. I’ve studied a lot of music.

Did you always want to be involved in music?

Yes, I went to Grad School and studied Music Therapy. I worked as a Music Therapist in a Paediatric Unit for a while. I gave it a shot to not be a musician and it didn’t work, so here we are for better or worse!

For those who have not heard you, how would you describe your music style? It seems quite eclectic, it is blues driven, want to say something about that?

I call it blues rock or rock soul for a quick description. Its blues based but I put my CONTINUES OVER

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B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 4 9

LAUREN ANDERSON

Interview

BE TRUE TO YOURSELF

LAUREN ANDERSON

LAUREN MAY BE A NEW NAME TO SOME IN THE BLUES WORLD, BUT SHE WEARS HER HEART ON HER SLEEVE AND IS A MUCH-ACCOMPLISHED SINGER SONGWRITER V E R B A L S : C O L I N C A M P B E L L V I S U A L S : K E L S E Y T H O M A S ( T H I S PA G E ) D E S I R A E C O P E ( O V E R L E A F )

H

ailing from Chicago she has now moved to the music city of Nashville, Tennessee and has recently brought out an E.P. titled Won’t Stay Down. Here she discusses music, touring and influences on her career.

Hi thanks for taking time out to talk to Blues Matters Magazine. How are you and where are you today?

I’m good, we’re in Indianapolis just now, I played The Slippery Noodle last night.

What kind of audiences do you get?

A wide variety, blues fans are prominent at our shows. I take the blues and put a modern mix to it. Audiences are a varied range depending on where we play.

Can you tell us a bit about your roots, where you were born and brought up, and what got you into music in the first place?

I grew up outside Chicago. I have been singing for as long as I can remember. My parents were very supportive and put me in a choir right away! I was classically trained, my under grad is in opera. I grew up listening to soul and pop and rock, I liked Whitney Houston. My dad listened to classic rock and I listened to Lauryn Hill, Etta James and Kelly Clarkson. Basically, any voice that was big and powerful. Then I stumbled on Susan Tedeschi and Bonnie Raitt when I was in College. In Grad School my brother got me into blues. So, when I was in College and realised that I didn’t want to be an opera

singer, I did a lot of solo gigs and learned the guitar. Then I slowly formed a band and here we are!

How did you end up in Nashville, why leave Chicago?

I went to Grad School outside Kansas City, and worked for a while, then I realised I wanted to do music full time. I was not sure if I wanted to return to Chicago and had been a few times to Nashville, I knew I would regret it if I didn’t give it a shot. There are a lot of supportive people in Nashville. We all do the same thing and we all have our own talent.

You are an accomplished singer songwriter; did you get musical lessons growing up?

Yes, I started getting piano lessons when I was eight and I continued through to College.

I played mandolin and saxophone, but I was awful at that. I’ve studied a lot of music.

Did you always want to be involved in music?

Yes, I went to Grad School and studied Music Therapy. I worked as a Music Therapist in a Paediatric Unit for a while. I gave it a shot to not be a musician and it didn’t work, so here we are for better or worse!

For those who have not heard you, how would you describe your music style? It seems quite eclectic, it is blues driven, want to say something about that?

I call it blues rock or rock soul for a quick description. Its blues based but I put my CONTINUES OVER

PAG E 4 8 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

W W W.B LU E S MAT TE R S.C O M

W W W.B LU E S MAT TE R S.C O M

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 4 9

Interview

LAUREN ANDERSON

LAUREN ANDERSON

“When I was in College and realised that I didn’t want to be an opera singer, I did a lot of solo gigs and learned the guitar” hard, but I said it will work for me! Here I am swallowing my words!

How difficult is it to keep your own style and not be labelled as a sound-alike artiste?

It’s tough. You have to be true to yourself as a female artist. I go to the lake and compose my songs, get the lyrics true that’s what I do.

I record sleepy voice memos on the phone and write the song later. All songs start with lyrics and then melody.

Talk about the new release, is there a theme running through it? There’s a lot of heartache noted in some of the lyrics and also a feeling of going out there and doing your best. Is that fair to say?

influences of pop, jazz and rock in. I like taking blues music and putting a modern twist to it.

Who did you listen to growing up, who are your musical influences on song writing and guitar playing?

The Pointer Sisters, they were an influence, Bonnie Raitt, Billie Holiday, I like strong females doing it for themselves. I am not a solo guitarist the guitar supports my vocals.

I would like to learn slide. I enjoy finger picking I don’t have strong guitar influences really.

What is your take on blues music, does it have a place in today’s society and what does the word blues evoke in you as a musician?

Blues music has a place in society and it’s going to grow! As long as we pay homage it’s in every genre of music, we can’t forget

it! My knowledge of blues history relates to slavery. So, when I think of the blues, I think of writing music. it’s a way of feeling pain and releasing it. When I sing and play, I want people to feel they are not alone in feeling particular emotions. In school we always talked about what has kept music around.

The best reason is it connects us!

Best advice you have had in your musical career?

When I first moved to Nashville I sat with a songwriter. He talked about the fifteen second rule. Every fifteen seconds you have a heartbreak or obstacle. He said this happens to everyone, just find resources to deal with it. Music is hard and going after your dream is hard. You have to remind yourself this is ok you’ll get through it.

And worst advice?

When I was little, people said music would be

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I think being true to yourself. The song, Cake I like, it’s about working hard and trying for your dream. Won’t Stay Down, I have had on my phone since 2016. I came back from L.A. heartbroken. I wrote it so my next heartache I can deal with. Truly Me, was my first album and was full of different genres.

What was the production process of the new release? How did you lay out the tracks and are you happy with the results?

the road you can tell?

Knuckleheads in Kansas City, it’s my “Cheers” place. Drawing a blank on tales from the road! I enjoy playing intimate venues. But I like being on stage with a sea of people in front of me. I’m an introvert but when am on stage I change that.

Do you enjoy the touring life, does that fit well with you?

It’s been a fun summer. Touring life will be better when I get a better touring vehicle. It’s a work in progress. In Chicago am staying with my folks - I’ll get a cooked meal!

Other than music, do you have time for any other interests?

I got my Real Estate licence recently and I’m using this as a backup for my musicianship.

It uses the same muscles as I use in the music business side of things. Music is still more than full time! It’s a matter of playing songs you love that may attract the attention of labels and the music industry. The world craves strong women. I want to say it’s alright to be in touch with your emotions. I think music can heal if it is used properly!

What future plans and projects have you still to do?

Touring more, get some good PR team going I want to make that stronger. I’ve got more music coming out, and a couple of singles that are covers in the pipeline. My Dad played guitar and has this song about a girl who broke his heart, I am going to rearrange this tune. Always a circle of life. I am doing a cover of Radiohead’s “Creep”. We will also be doing a Whitney Houston tune.

Very happy with it. Taylor Kropp was the Producer. Regarding the order of songs, I go with a combination of a nice story line but also a good flow.

If you listen to it in a car, I want it RECENT RELEASES Won’t Stay Down 2019 to flow not jump around.

DISCOGRAPHY

What is your philosophy in life, are you an optimist or a pessimist?

A realist probably! I focus on what could go wrong but prefer to see what is right!

Any favourite venues and stories from W W W.B LU E S MAT TE R S.C O M

The Game Truly Me

Interview

2018 2015

Anything you want your fans to tell them that they wouldn’t otherwise know about you?

I lay it all out in music. What I write is raw. What they see is real and I want to keep connecting with people. I would have loved to meet Billie Holiday she paved the way.

And Mavis Staples I would like to sing with, she’s a cool lady!

FOR A FULL REVIEW OF WON’T STAY DOWN’, GO TO OUR REVIEWS SECTION ON PAGE 11?????

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 51

Interview

LAUREN ANDERSON

LAUREN ANDERSON

“When I was in College and realised that I didn’t want to be an opera singer, I did a lot of solo gigs and learned the guitar” hard, but I said it will work for me! Here I am swallowing my words!

How difficult is it to keep your own style and not be labelled as a sound-alike artiste?

It’s tough. You have to be true to yourself as a female artist. I go to the lake and compose my songs, get the lyrics true that’s what I do.

I record sleepy voice memos on the phone and write the song later. All songs start with lyrics and then melody.

Talk about the new release, is there a theme running through it? There’s a lot of heartache noted in some of the lyrics and also a feeling of going out there and doing your best. Is that fair to say?

influences of pop, jazz and rock in. I like taking blues music and putting a modern twist to it.

Who did you listen to growing up, who are your musical influences on song writing and guitar playing?

The Pointer Sisters, they were an influence, Bonnie Raitt, Billie Holiday, I like strong females doing it for themselves. I am not a solo guitarist the guitar supports my vocals.

I would like to learn slide. I enjoy finger picking I don’t have strong guitar influences really.

What is your take on blues music, does it have a place in today’s society and what does the word blues evoke in you as a musician?

Blues music has a place in society and it’s going to grow! As long as we pay homage it’s in every genre of music, we can’t forget

it! My knowledge of blues history relates to slavery. So, when I think of the blues, I think of writing music. it’s a way of feeling pain and releasing it. When I sing and play, I want people to feel they are not alone in feeling particular emotions. In school we always talked about what has kept music around.

The best reason is it connects us!

Best advice you have had in your musical career?

When I first moved to Nashville I sat with a songwriter. He talked about the fifteen second rule. Every fifteen seconds you have a heartbreak or obstacle. He said this happens to everyone, just find resources to deal with it. Music is hard and going after your dream is hard. You have to remind yourself this is ok you’ll get through it.

And worst advice?

When I was little, people said music would be

PAG E 5 0 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

W W W.B LU E S MAT TE R S.C O M

I think being true to yourself. The song, Cake I like, it’s about working hard and trying for your dream. Won’t Stay Down, I have had on my phone since 2016. I came back from L.A. heartbroken. I wrote it so my next heartache I can deal with. Truly Me, was my first album and was full of different genres.

What was the production process of the new release? How did you lay out the tracks and are you happy with the results?

the road you can tell?

Knuckleheads in Kansas City, it’s my “Cheers” place. Drawing a blank on tales from the road! I enjoy playing intimate venues. But I like being on stage with a sea of people in front of me. I’m an introvert but when am on stage I change that.

Do you enjoy the touring life, does that fit well with you?

It’s been a fun summer. Touring life will be better when I get a better touring vehicle. It’s a work in progress. In Chicago am staying with my folks - I’ll get a cooked meal!

Other than music, do you have time for any other interests?

I got my Real Estate licence recently and I’m using this as a backup for my musicianship.

It uses the same muscles as I use in the music business side of things. Music is still more than full time! It’s a matter of playing songs you love that may attract the attention of labels and the music industry. The world craves strong women. I want to say it’s alright to be in touch with your emotions. I think music can heal if it is used properly!

What future plans and projects have you still to do?

Touring more, get some good PR team going I want to make that stronger. I’ve got more music coming out, and a couple of singles that are covers in the pipeline. My Dad played guitar and has this song about a girl who broke his heart, I am going to rearrange this tune. Always a circle of life. I am doing a cover of Radiohead’s “Creep”. We will also be doing a Whitney Houston tune.

Very happy with it. Taylor Kropp was the Producer. Regarding the order of songs, I go with a combination of a nice story line but also a good flow.

If you listen to it in a car, I want it RECENT RELEASES Won’t Stay Down 2019 to flow not jump around.

DISCOGRAPHY

What is your philosophy in life, are you an optimist or a pessimist?

A realist probably! I focus on what could go wrong but prefer to see what is right!

Any favourite venues and stories from W W W.B LU E S MAT TE R S.C O M

The Game Truly Me

Interview

2018 2015

Anything you want your fans to tell them that they wouldn’t otherwise know about you?

I lay it all out in music. What I write is raw. What they see is real and I want to keep connecting with people. I would have loved to meet Billie Holiday she paved the way.

And Mavis Staples I would like to sing with, she’s a cool lady!

FOR A FULL REVIEW OF WON’T STAY DOWN’, GO TO OUR REVIEWS SECTION ON PAGE 11?????

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 51

BROR GUNNAR JANSSON

Interview

BLUES TRADITION FOR THE 21ST CENTURY

BROR GUNNAR JANSSON

BROR GUNNAR JANSSON MAY BE OUT TO SHOCK TRADITIONALISTS WITH HIS OWN STAMP AND BLUES DELIVERY BUT HE’S ALSO AT HOME WITH THE MUSICAL LEGACY AS AN ESSENTIAL, FUNDAMENTAL FEATURE AT THE FORE VE R BALS: B R IAN BAN KS

O

VISUALS: SOFI E SIG R I N N JANSSON AN D AN NA MALM B E RG

ne of the rarely lauded treats of mass media is that different cultural genres can be experienced simultaneously.

Watching the T.V. series Damnation, I was struck by the song ‘Ain’t No Grave (Gonna Keep My Body Down)’: must be 50s blues, a modern souped-up version by The North Mississippi Allstars, maybe even Tame Impala? Nope. Gander my shock when I found it was by…a Swedish one-man band living in Paris! Of course, we know that Scandinavia has much at the cutting edge of cross-cultural music, but also a one-man band sounding part Tom Waits, Beefheart, and John Lee Hooker sharing amps with Canned Heat!

Big hitters, it’s true, but this guy can at least share the same stage as he spans all decades evaporating time and geography. It isn’t for nothing that Bror means brother in Swedish. Check out the jazz flourishes, Cajun and Cuban rhythms along with blistering rock on his second, French-released album Moan Snake Moan with sax, cello, organ, assorted percussion including ‘sticks, cage and chains,’ following his debut of 2012. He name-checks in lyrics and recommends all sorts on his website because of his range.

Not only proto-rock in the ethos of legendary one-man bands like Joe Hill Louis (such a tragic demise), Jesse ‘Lone Cat’ Fuller and Dr.Ross but Duster Bennett, Nick Pickett

(Greensleeves), and John Fiddler of Medicine Head. The most famous one-man band was probably Don Partridge, inspired by Fuller and like Jansson used sessioneers sparingly for recordings; he had two top fi hits in 1968 (‘Rosie’; ‘Blue Eyes’) and a film of 2005 with Liam Neeson named after his featured song ‘Breakfast On Pluto’. On Moan Snake Moan are also tones of pedal-strutting John Martyn and tale-telling Nick Cave, like his love of films by David Lynch and Jim Jarmush.

There is still a rich tradition of true one-man bands playing instruments simultaneously, starting in far-off times with Fate Norris, Daddy Stovepipe—one of the earliest recorded bluesmen—to Greeley Robertson in country music. Jesse Fuller built a home-made fotdella (pronounced footdella, piano stringed foot-bass), Joe Hill Louis used to throw percussion to the audience to join in. Probably Louis was the first recorded to use the format like proto rock as developed in the late 60s by Duster Bennett and Medicine Head who sought to replicate music playable at home, a DIY ethos that led to the Punk Movement. Big Joe Williams stunned 60s festival hippies with a 9-string guitar for power with variant tunings near-impossible to copy (like our subject) plus percussion rigged

PAG E 5 2 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

CONTINUES OVER

W W W.B LU E S MAT TE R S.C O M

W W W.B LU E S MAT TE R S.C O M

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 5 3

BROR GUNNAR JANSSON

Interview

BLUES TRADITION FOR THE 21ST CENTURY

BROR GUNNAR JANSSON

BROR GUNNAR JANSSON MAY BE OUT TO SHOCK TRADITIONALISTS WITH HIS OWN STAMP AND BLUES DELIVERY BUT HE’S ALSO AT HOME WITH THE MUSICAL LEGACY AS AN ESSENTIAL, FUNDAMENTAL FEATURE AT THE FORE VE R BALS: B R IAN BAN KS

O

VISUALS: SOFI E SIG R I N N JANSSON AN D AN NA MALM B E RG

ne of the rarely lauded treats of mass media is that different cultural genres can be experienced simultaneously.

Watching the T.V. series Damnation, I was struck by the song ‘Ain’t No Grave (Gonna Keep My Body Down)’: must be 50s blues, a modern souped-up version by The North Mississippi Allstars, maybe even Tame Impala? Nope. Gander my shock when I found it was by…a Swedish one-man band living in Paris! Of course, we know that Scandinavia has much at the cutting edge of cross-cultural music, but also a one-man band sounding part Tom Waits, Beefheart, and John Lee Hooker sharing amps with Canned Heat!

Big hitters, it’s true, but this guy can at least share the same stage as he spans all decades evaporating time and geography. It isn’t for nothing that Bror means brother in Swedish. Check out the jazz flourishes, Cajun and Cuban rhythms along with blistering rock on his second, French-released album Moan Snake Moan with sax, cello, organ, assorted percussion including ‘sticks, cage and chains,’ following his debut of 2012. He name-checks in lyrics and recommends all sorts on his website because of his range.

Not only proto-rock in the ethos of legendary one-man bands like Joe Hill Louis (such a tragic demise), Jesse ‘Lone Cat’ Fuller and Dr.Ross but Duster Bennett, Nick Pickett

(Greensleeves), and John Fiddler of Medicine Head. The most famous one-man band was probably Don Partridge, inspired by Fuller and like Jansson used sessioneers sparingly for recordings; he had two top fi hits in 1968 (‘Rosie’; ‘Blue Eyes’) and a film of 2005 with Liam Neeson named after his featured song ‘Breakfast On Pluto’. On Moan Snake Moan are also tones of pedal-strutting John Martyn and tale-telling Nick Cave, like his love of films by David Lynch and Jim Jarmush.

There is still a rich tradition of true one-man bands playing instruments simultaneously, starting in far-off times with Fate Norris, Daddy Stovepipe—one of the earliest recorded bluesmen—to Greeley Robertson in country music. Jesse Fuller built a home-made fotdella (pronounced footdella, piano stringed foot-bass), Joe Hill Louis used to throw percussion to the audience to join in. Probably Louis was the first recorded to use the format like proto rock as developed in the late 60s by Duster Bennett and Medicine Head who sought to replicate music playable at home, a DIY ethos that led to the Punk Movement. Big Joe Williams stunned 60s festival hippies with a 9-string guitar for power with variant tunings near-impossible to copy (like our subject) plus percussion rigged

PAG E 5 2 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

CONTINUES OVER

W W W.B LU E S MAT TE R S.C O M

W W W.B LU E S MAT TE R S.C O M

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 5 3

Interview

BROR GUNNAR JANSSON

BROR GUNNAR JANSSON

“On some tracks I play big wooden sticks, a big metal cage and heavy chains”

to the amp and round his neck! John Lee Hooker, one of Gunnar’s inspirations, taped bottletops under his shoes for the beat—could this be the origin of heavy metal music?!

Perhaps he just didn’t want to invest in a drum and hi-hat.

This is no idle thought, because oneman bands originally wanted to save costs (being paid for each instrument as if they had a musician!) and avoid let-downs for gigs by others otherwise engaged. One-man bands replace decibels with artful energy, compressed into a space as compact as a neutron, sparking song-power likened to music and dance merged into one pagan frenzy. Gunnar ramps but not amps up the energy, even on thoughtful slow ballads, evoking the intensity of the roots. Here is texture in a well-woven canvas, with weapongrade boogie smoldering to ignite the touchpaper: stand back and marvel!

Ten tracks on Moan Snake Moan (a title track inspired by Cajun legend Clifton Chenier) of 48 minutes show. Jansson has chops and originality to extend the standard blues format even to 8 minutes in a collage weaving lyric from ‘Pops’ Staples to Blind Lemon Jefferson and Howling Wolf in stomping boogie complete with menacing fuzz, cowbell and zurna, a Balkan wood instrument. Other instruments such as pump organ, banjo, cello, brass and drums occasionally colour traditional stories such as William Joseph Dean returning from the dead (murdering Pretty Polly!) to bring hell to earth. Reprised in other songs, his mother Mary Lee was a crazy, god-fearing Christian fanatic responsible for her son’s evil origins.

The old-style vocal with its breathy outro adds gravitas over a pump organ sounding like Nico’s harmonium.

‘Ain’t No Grave’, the aforementioned film

PAG E 5 4 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

W W W.B LU E S MAT TE R S.C O M

track, is the only cover song. Made famous

by Brother Claude Ely in the 1950s, it was first recorded by Bozie Sturdivant from a Baptist Church in 1942, then Johnny Cash in 2010 from seven years earlier. Gospel-blues tradition is here wrenched into the current century smoking to a mean full-on crescendo of energy against ‘the band of angels.’ The finale is the intense ‘God Have Mercy,’ that one moment could be 60s but becomes a sixminute-plus storm culminating with Kristin Norden’s organ swathes as if gospel served in a psychedelic brew. Or Son House with his graveyard balladry among the shades of Robert Johnson and his like. A promo film

by Herman Hansson (2015) on YouTube in a Gothenburg backyard, played in socks as did Fuller, needs to be seen to be believed. The LP was nominated album of the week by Canal + and Best Blues Disc by the Charles Cross Academy.

Also, on view is live at the celebrated Parisian club La Maroquinerie in snazzy waistcoat and Fedora. Review called it ‘Dandy Blues’ and ‘Blues of the Bayou… Swedish.’

How this guy packs so much passion into a set without spoiling his chic duds with sweat and blood is another mystery. Blues old and new, including a modern version of the classic ‘Walking Blues’ covered as a live-staple by Medicine Head, ballads like John Martyn, Mike Cooper or Nick Pickett in his own oneman band format of bass drum side-on with snare and hi-hat but no harmonica.

A charismatic vocalist like Bennet or Johnny Winter, he was born near Gothenburg to a family of musicians: his father toured with Chet Baker, Toots Thielemanns etc., - their group, Serves You Right To Suffer was a homage to Hooker. Gunnar worked in jazz clubs before he was old enough to be in groups. He may be roaming the American southern states in his heart but has a headful of Swedish folklore and scripture poetry too, writing on one guitar neck: ‘O death, where is

W W W.B LU E S MAT TE R S.C O M

Interview

thy sting?’ Blues Matters! caught up with him during his extensive North Europe tour.

How did you come to your original style and decision for your musical expression?

I’ve always been into live music. Me and one sister are the fourth generation of musicians on my father’s side, so I grew up with a lot of live music, especially jazz, and different kinds of folk music at the local Nefertiti club, where I saw so many great musicians. In fact, I spent so much time there that guests and staff thought that I actually was working there, although still way too young to do that.

Were legends like Joe Hill Louis, Jessie Fuller, Medicine Head or Duster Bennett an influence?

What about Don Partridge who moved to Gothenburg (twice), toured with Swedish band Slim Volume, and recorded two albums there after his world hits?

Don Partridge is a name that often comes up in Sweden when mentioning you’re playing a one-person band. Don’t think I know any others from the UK though, but have seen and heard so many when travelling in Europe.

I’ve never really felt like part of the oneperson-band stage though, but guess in some ways I am. I don’t think much of genres and their scenes, having always made music that doesn’t really fit any pigeon-holes anywhere, and I kinda like that.

Your website says you are ‘a sleek drugstore cowboy’ influenced by Lightnin’ Hopkins and Kopparmärra?

Not as influences but more as mood setters.

The Kopparmärra thing (a statue in my hometown square) was more of a gag really.

I think I’ve too many influences to mention, often finding inspiration from a lot of different directions. For instance, the last album’s main influence was real life crime investigations in Sweden. Much of these songs’ information comes from different True Crime podcasts, some historical cases from the 17th century, one even on my street.

How do you compare your first two albums?

Well, the first one (S/T, 2012) is very downCONTINUES OVER

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 5 5

Interview

BROR GUNNAR JANSSON

BROR GUNNAR JANSSON

“On some tracks I play big wooden sticks, a big metal cage and heavy chains”

to the amp and round his neck! John Lee Hooker, one of Gunnar’s inspirations, taped bottletops under his shoes for the beat—could this be the origin of heavy metal music?!

Perhaps he just didn’t want to invest in a drum and hi-hat.

This is no idle thought, because oneman bands originally wanted to save costs (being paid for each instrument as if they had a musician!) and avoid let-downs for gigs by others otherwise engaged. One-man bands replace decibels with artful energy, compressed into a space as compact as a neutron, sparking song-power likened to music and dance merged into one pagan frenzy. Gunnar ramps but not amps up the energy, even on thoughtful slow ballads, evoking the intensity of the roots. Here is texture in a well-woven canvas, with weapongrade boogie smoldering to ignite the touchpaper: stand back and marvel!

Ten tracks on Moan Snake Moan (a title track inspired by Cajun legend Clifton Chenier) of 48 minutes show. Jansson has chops and originality to extend the standard blues format even to 8 minutes in a collage weaving lyric from ‘Pops’ Staples to Blind Lemon Jefferson and Howling Wolf in stomping boogie complete with menacing fuzz, cowbell and zurna, a Balkan wood instrument. Other instruments such as pump organ, banjo, cello, brass and drums occasionally colour traditional stories such as William Joseph Dean returning from the dead (murdering Pretty Polly!) to bring hell to earth. Reprised in other songs, his mother Mary Lee was a crazy, god-fearing Christian fanatic responsible for her son’s evil origins.

The old-style vocal with its breathy outro adds gravitas over a pump organ sounding like Nico’s harmonium.

‘Ain’t No Grave’, the aforementioned film

PAG E 5 4 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

W W W.B LU E S MAT TE R S.C O M

track, is the only cover song. Made famous

by Brother Claude Ely in the 1950s, it was first recorded by Bozie Sturdivant from a Baptist Church in 1942, then Johnny Cash in 2010 from seven years earlier. Gospel-blues tradition is here wrenched into the current century smoking to a mean full-on crescendo of energy against ‘the band of angels.’ The finale is the intense ‘God Have Mercy,’ that one moment could be 60s but becomes a sixminute-plus storm culminating with Kristin Norden’s organ swathes as if gospel served in a psychedelic brew. Or Son House with his graveyard balladry among the shades of Robert Johnson and his like. A promo film

by Herman Hansson (2015) on YouTube in a Gothenburg backyard, played in socks as did Fuller, needs to be seen to be believed. The LP was nominated album of the week by Canal + and Best Blues Disc by the Charles Cross Academy.

Also, on view is live at the celebrated Parisian club La Maroquinerie in snazzy waistcoat and Fedora. Review called it ‘Dandy Blues’ and ‘Blues of the Bayou… Swedish.’

How this guy packs so much passion into a set without spoiling his chic duds with sweat and blood is another mystery. Blues old and new, including a modern version of the classic ‘Walking Blues’ covered as a live-staple by Medicine Head, ballads like John Martyn, Mike Cooper or Nick Pickett in his own oneman band format of bass drum side-on with snare and hi-hat but no harmonica.

A charismatic vocalist like Bennet or Johnny Winter, he was born near Gothenburg to a family of musicians: his father toured with Chet Baker, Toots Thielemanns etc., - their group, Serves You Right To Suffer was a homage to Hooker. Gunnar worked in jazz clubs before he was old enough to be in groups. He may be roaming the American southern states in his heart but has a headful of Swedish folklore and scripture poetry too, writing on one guitar neck: ‘O death, where is

W W W.B LU E S MAT TE R S.C O M

Interview

thy sting?’ Blues Matters! caught up with him during his extensive North Europe tour.

How did you come to your original style and decision for your musical expression?

I’ve always been into live music. Me and one sister are the fourth generation of musicians on my father’s side, so I grew up with a lot of live music, especially jazz, and different kinds of folk music at the local Nefertiti club, where I saw so many great musicians. In fact, I spent so much time there that guests and staff thought that I actually was working there, although still way too young to do that.

Were legends like Joe Hill Louis, Jessie Fuller, Medicine Head or Duster Bennett an influence?

What about Don Partridge who moved to Gothenburg (twice), toured with Swedish band Slim Volume, and recorded two albums there after his world hits?

Don Partridge is a name that often comes up in Sweden when mentioning you’re playing a one-person band. Don’t think I know any others from the UK though, but have seen and heard so many when travelling in Europe.

I’ve never really felt like part of the oneperson-band stage though, but guess in some ways I am. I don’t think much of genres and their scenes, having always made music that doesn’t really fit any pigeon-holes anywhere, and I kinda like that.

Your website says you are ‘a sleek drugstore cowboy’ influenced by Lightnin’ Hopkins and Kopparmärra?

Not as influences but more as mood setters.

The Kopparmärra thing (a statue in my hometown square) was more of a gag really.

I think I’ve too many influences to mention, often finding inspiration from a lot of different directions. For instance, the last album’s main influence was real life crime investigations in Sweden. Much of these songs’ information comes from different True Crime podcasts, some historical cases from the 17th century, one even on my street.

How do you compare your first two albums?

Well, the first one (S/T, 2012) is very downCONTINUES OVER

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 5 5

BROR GUNNAR JANSSON

to-earth and bluesy, basically one-personband stuff live in a nice studio recorded over just a weekend. Moan Snake Moan was a much bigger project, more people involved and bigger production. And it’s moving in different directions, I guess. In 2016 I started recording an even bigger project than Moan…, my latest release, And The Great Unknown Part 1 & 2, more cinematographic than previously, more kinda Southern Gothic.

The next album will differ from all the others: one part is based on regular one-person-band and the other part is more rock ‘n’ roll, a bit of a mix between Led Zeppelin, White Stripes, Kyuss and Earth or something.

What does ‘sticks, cage and chains’ on Moan refer to, and is the use of a pump organ a nod to your grandfather who played accordion?

Quite literally on some tracks I play big wooden sticks, a big metal cage and heavy chains; never thought of that, always liked accordions though. I think it had much to do with my fascination for that specific pump organ, owned by a friend. You can fold it together and then looks like an old suitcase.

Interview

My setup is usually either an old 1940s WFL, a Levin bass drum or a new vintage-inspired one from Think Drums. The snare, a 90s Ludwig or a new Think, is a bit modified, as is the hi-hat: the bottom cymbal has rivets and top is an old cheapo Japanese cymbal which is quite dark and clunky. I use the hi-hat more like a crash or ride cymbal, and that’s why I have a little rubber thing between them so that I don’t accidentally close it but leave it to ring out its tone and sizzle. The stand is modified too, the height is shortened without legs. From time to time small percussions like shakers, tambourine and cow bell are added.

On Moan…an old wooden guitar-case was used as a bass drum.

You are clearly a talented multi-instrumentalist. Is there any reason for no harmonica, popular in oneman bands: is it to make the sound more modern sounding perhaps, or to stretch yourself in other directions?

I never really had the patience to learn the harmonica, though really like their sound. Growing up I tried out a bunch of instruments, cello, bass clarinet, electric bass, zurna…but my main instrument was saxophone for many years. When aged 20 You use a sharp array of guitars but not the wellknown models like Hooker’s Gibson. Do you prefer a or so I started to sing and play guitar more professionally, and since ’08 or ’09 have had different sound? this one-person-band thing.

Yes. I am in love basically with sound. It’s So, music-lovers, the saga continues with easy to get bored hearing the same sounds this 21st century blues boogie woven from too often, I like variety. And different sounds a 1950s smoke-and-lights joint. If you like are often easier to find on different gear. what R.L. Burnside or Hooker with Canned I constantly work with my sound and try Heat did for the blues sound, or Leslie West out ways to colour what I want to create. or Del Bromham with their back catalogues, Nowadays much of it comes from pedals then you’ll love this. Authentic and how I use them. Since I grit but not in your eye, this is the travel a lot and can’t take my own wild shuffle of preachers tortured amp everywhere, it’s practical to by the flames licking their ankles. build most of my guitar sound in RECENT RELEASES Bror Gunner Jansson 2012 Smoking like a cobra exposed numerous pedals, some of which are Moan Snake Moan 2014 to a spliff, burning like a ZZ Top custom-built. Sometimes bottleneck And The Great... Pt.1 2017 retro, it’s as passionate as soul and capo are used but mainly lots And The Great... Pt. 2 2017 without posturing, gospel without of variant tunings, it’s quite helpful They Found My Body... 2019 the puff-and-huff. In short, pure to try them when writing and can unadulterated fun, which is less open up other ways of thinking. easy these days if you care about head, heart and body. Am I wrong to You have an original way with name-drop? percussion: a snare for a bass drum!

DISCOGRAPHY

Does this also reflect personal choice for the sound?

PAG E 5 6 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

W W W.B LU E S MAT TE R S.C O M

W W W.B LU E S MAT TE R S.C O M

FOR MORE INFORMATION, GO TO WWW.BRORGUNNAR.COM

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 57

BROR GUNNAR JANSSON

to-earth and bluesy, basically one-personband stuff live in a nice studio recorded over just a weekend. Moan Snake Moan was a much bigger project, more people involved and bigger production. And it’s moving in different directions, I guess. In 2016 I started recording an even bigger project than Moan…, my latest release, And The Great Unknown Part 1 & 2, more cinematographic than previously, more kinda Southern Gothic.

The next album will differ from all the others: one part is based on regular one-person-band and the other part is more rock ‘n’ roll, a bit of a mix between Led Zeppelin, White Stripes, Kyuss and Earth or something.

What does ‘sticks, cage and chains’ on Moan refer to, and is the use of a pump organ a nod to your grandfather who played accordion?

Quite literally on some tracks I play big wooden sticks, a big metal cage and heavy chains; never thought of that, always liked accordions though. I think it had much to do with my fascination for that specific pump organ, owned by a friend. You can fold it together and then looks like an old suitcase.

Interview

My setup is usually either an old 1940s WFL, a Levin bass drum or a new vintage-inspired one from Think Drums. The snare, a 90s Ludwig or a new Think, is a bit modified, as is the hi-hat: the bottom cymbal has rivets and top is an old cheapo Japanese cymbal which is quite dark and clunky. I use the hi-hat more like a crash or ride cymbal, and that’s why I have a little rubber thing between them so that I don’t accidentally close it but leave it to ring out its tone and sizzle. The stand is modified too, the height is shortened without legs. From time to time small percussions like shakers, tambourine and cow bell are added.

On Moan…an old wooden guitar-case was used as a bass drum.

You are clearly a talented multi-instrumentalist. Is there any reason for no harmonica, popular in oneman bands: is it to make the sound more modern sounding perhaps, or to stretch yourself in other directions?

I never really had the patience to learn the harmonica, though really like their sound. Growing up I tried out a bunch of instruments, cello, bass clarinet, electric bass, zurna…but my main instrument was saxophone for many years. When aged 20 You use a sharp array of guitars but not the wellknown models like Hooker’s Gibson. Do you prefer a or so I started to sing and play guitar more professionally, and since ’08 or ’09 have had different sound? this one-person-band thing.

Yes. I am in love basically with sound. It’s So, music-lovers, the saga continues with easy to get bored hearing the same sounds this 21st century blues boogie woven from too often, I like variety. And different sounds a 1950s smoke-and-lights joint. If you like are often easier to find on different gear. what R.L. Burnside or Hooker with Canned I constantly work with my sound and try Heat did for the blues sound, or Leslie West out ways to colour what I want to create. or Del Bromham with their back catalogues, Nowadays much of it comes from pedals then you’ll love this. Authentic and how I use them. Since I grit but not in your eye, this is the travel a lot and can’t take my own wild shuffle of preachers tortured amp everywhere, it’s practical to by the flames licking their ankles. build most of my guitar sound in RECENT RELEASES Bror Gunner Jansson 2012 Smoking like a cobra exposed numerous pedals, some of which are Moan Snake Moan 2014 to a spliff, burning like a ZZ Top custom-built. Sometimes bottleneck And The Great... Pt.1 2017 retro, it’s as passionate as soul and capo are used but mainly lots And The Great... Pt. 2 2017 without posturing, gospel without of variant tunings, it’s quite helpful They Found My Body... 2019 the puff-and-huff. In short, pure to try them when writing and can unadulterated fun, which is less open up other ways of thinking. easy these days if you care about head, heart and body. Am I wrong to You have an original way with name-drop? percussion: a snare for a bass drum!

DISCOGRAPHY

Does this also reflect personal choice for the sound?

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FOR MORE INFORMATION, GO TO WWW.BRORGUNNAR.COM

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 57

Interview

A

BERT DEIVERT

fter forty years or so living in Scandinavia, US blues musician Bert Deivert knows his way around the region where he’s a firm favourite with festival crowds and works and weaves his musical magic with an instrument too often ignored, or possibly even dismissed, by way too many pickers and fans. Because Deivert, who started out as a kid in New England with a passion for the Beatles and as a drummer-turnedguitarist, made an expansive and fruitful switch to the four-stringed mandolin, a move that has allowed him to carve out a pretty singular career in European blues music generally.

Deivert recalls the moment when he first became aware of the instrument and its blues potential: ‘I came across the mandolin as a blues instrument mostly through the playing of Yank Rachell. He was just amazing. The more I heard of the guy, the more I became interested in his music and the instrument really. But as a kid I wasn’t really aware of blues music. I remember seeing the Beatles on TV when I was about 13 years old. I fell for it, like kids everywhere. I started playing drums and my brother played guitar, we played together as much as we could,’ he explains how he first got drawn into playing music.

So where did the blues come from, I wonder, the Beatles were hardly known for

BERT DEIVERT

Interview

their blues background or promotion: ‘I remember seeing Son House on Public TV in the US. He was doing ‘Death Letter.’ I’d never heard anything like it. I was fascinated. It must have been around 1966, I reckon, and Son House and his ‘Death Letter’ just sort of gave me the shivers. But that music just wasn’t around and I didn’t know anyone who was into it back then. I didn’t have any records, they just weren’t around where I was then, sixty miles from Boston.’

But it fired a lasting spark in the young Deivert, a fire that still burns today and has largely shaped his own personal musical journey through life: ‘I decided I’d have to go down to Mississippi and just do that stuff.

I began playing my brother’s guitar. Then I discovered more blues-inspired stuff from the likes of Cream, the Stones and then, the great Skip James and ‘I’m So Glad.’ I went out immediately and looked up Skip James, just to find out who this guy was with this amazing sound. I was well and truly hooked.’

Aged seventeen, Deivert went off to university but remained passionate about blues music and found the time to increasingly research and discover more about it and the players: ‘At university I suddenly found I had real access to it all. It was almost life-changing,’ he laughs. ‘I found Muddy, and so many others. There was a CONTINUES OVER

THE MISSION STATEMENT

BERT DEIVERT

BERT DEIVERT MAY BE A NEW NAME TO MANY BUT HE’S A GUY WITH A HISTORY AND HOPE THAT OFTEN REACHES THE PARTS OTHER US BLUESMEN MISS OR OVERLOOK. BLUES MATTERS CAUGHT UP WITH THE GUY AT HOME IN CENTRAL SWEDEN WHERE HE EXPLAINS HIS HOPES AND INFLUENCES, ALWAYS WITH AN EYE OPEN FOR NEW MUSICAL MEETINGS AND ENCOUNTERS. V E R B A L S : I A I N P AT I E N C E V I S U A L S : B E R T D E I V E R T, F R A N C O I S M AY ( O V E R L E A F, L E F T )

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B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 5 9

Interview

A

BERT DEIVERT

fter forty years or so living in Scandinavia, US blues musician Bert Deivert knows his way around the region where he’s a firm favourite with festival crowds and works and weaves his musical magic with an instrument too often ignored, or possibly even dismissed, by way too many pickers and fans. Because Deivert, who started out as a kid in New England with a passion for the Beatles and as a drummer-turnedguitarist, made an expansive and fruitful switch to the four-stringed mandolin, a move that has allowed him to carve out a pretty singular career in European blues music generally.

Deivert recalls the moment when he first became aware of the instrument and its blues potential: ‘I came across the mandolin as a blues instrument mostly through the playing of Yank Rachell. He was just amazing. The more I heard of the guy, the more I became interested in his music and the instrument really. But as a kid I wasn’t really aware of blues music. I remember seeing the Beatles on TV when I was about 13 years old. I fell for it, like kids everywhere. I started playing drums and my brother played guitar, we played together as much as we could,’ he explains how he first got drawn into playing music.

So where did the blues come from, I wonder, the Beatles were hardly known for

BERT DEIVERT

Interview

their blues background or promotion: ‘I remember seeing Son House on Public TV in the US. He was doing ‘Death Letter.’ I’d never heard anything like it. I was fascinated. It must have been around 1966, I reckon, and Son House and his ‘Death Letter’ just sort of gave me the shivers. But that music just wasn’t around and I didn’t know anyone who was into it back then. I didn’t have any records, they just weren’t around where I was then, sixty miles from Boston.’

But it fired a lasting spark in the young Deivert, a fire that still burns today and has largely shaped his own personal musical journey through life: ‘I decided I’d have to go down to Mississippi and just do that stuff.

I began playing my brother’s guitar. Then I discovered more blues-inspired stuff from the likes of Cream, the Stones and then, the great Skip James and ‘I’m So Glad.’ I went out immediately and looked up Skip James, just to find out who this guy was with this amazing sound. I was well and truly hooked.’

Aged seventeen, Deivert went off to university but remained passionate about blues music and found the time to increasingly research and discover more about it and the players: ‘At university I suddenly found I had real access to it all. It was almost life-changing,’ he laughs. ‘I found Muddy, and so many others. There was a CONTINUES OVER

THE MISSION STATEMENT

BERT DEIVERT

BERT DEIVERT MAY BE A NEW NAME TO MANY BUT HE’S A GUY WITH A HISTORY AND HOPE THAT OFTEN REACHES THE PARTS OTHER US BLUESMEN MISS OR OVERLOOK. BLUES MATTERS CAUGHT UP WITH THE GUY AT HOME IN CENTRAL SWEDEN WHERE HE EXPLAINS HIS HOPES AND INFLUENCES, ALWAYS WITH AN EYE OPEN FOR NEW MUSICAL MEETINGS AND ENCOUNTERS. V E R B A L S : I A I N P AT I E N C E V I S U A L S : B E R T D E I V E R T, F R A N C O I S M AY ( O V E R L E A F, L E F T )

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B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 5 9

BERT DEIVERT

Interview

“People often say that after the age of thirty it’s all downhill but I’m feeling great. If anything, I’m more on top of my game than ever”

whole world of great blues music out there.

And there was a wonderful music archive I had access to.’

By around 1973 and 1974, Deivert was playing for nickels and dimes, the odd dollar, in San Francisco: ‘I was earning money, perpetually broke though, like a lot of us back then. I was working a lot with Peter Case at that time; we remain good friends.’

Having then made the move to Sweden, where he’s been ever since, Deivert immersed himself in the buoyant folk music world of the country and then soon discovered Yank Rachell: ‘I found an album by Yank and so I bought it. And I wanted to do something with Yank Rachell’s music. I loved that blues mando sound. It was so different. It was exciting. But I didn’t just switch from guitar to mando, I played – and still do play – folk music. But then I steadily began adding some blues to it, to the mix. Then I started playing blues. I loved and still love it.’Deivert also worked a televised Yank Rachell Tribute show alongside some musical greats including US roots music guru the

late, Mike Seeger, and sixties ‘Summer in the City’ writer and performer, John Sebastian.

And as his love of the music developed he moved around, touring Europe, playing with others from the Nordic north (including Blues Matters! Swedish correspondent, Brian Kramer) through Germany, down into Italy.

Ireland also became a welcome tour-gig port of call where he often hooks up and plays (and records) with Christy O’Leary of Boys of the Lough fame among many others. And unexpectedly perhaps, Thailand, where he regularly spends a few Swedish winter months away from home playing and recording with other like-minded blues musicians, including a recent project with ‘Pong’, widely known as Thailand’s Bob Dylan, and immensely popular out there.

In recent years, Deivert has been in demand on the European blues festival circuit with notable performances as far apart as Tarragona Blues Festival in Spain and Sweden’s leading annual blues event, Amal Blues Festival, a near-local gig for him where, this year, he had the pleasure of meeting up

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with an old buddy, another US-Swedish blues import, Eric Bibb, when they shared the bill together: ‘I’ve known Eric a long time now. We made three albums together between around 1979 and 1982. Sadly, all now out of print, but with some great stuff on them. We were both together at this summer’s Amal Blues Festival young then, I was about twenty-nine and Eric in Sweden in July. about twenty-eight, I think. We clicked, we hit He also adds that he has been selected as it off together back then. So it was great to a Swedish blues challenger for the European see him again. We sat down and chatted about Blues Association contest to be held in Malmo the music. We’d a lot to cover after the years in September, where he will be playing with that have passed.’ his old US, Brooklyn-born blues buddy, Deivert considers himself to be on top form guitarist Brian Kramer. these days, satisfied with his general musical Looking back over an eventful career that performance and focus: ‘People often say that seems to continually grow and keep him on after the age of thirty it’s all downhill but I’m his proverbial toes, Deivert considers his main feeling great. If anything, I’m more on top of influences to be Son House – the guy who first my game than ever,’ he laughs confidently. turned him onto blues music – Sam Chatmon, Deivert also returns ‘home’ to his native and Sleepy John Estes. Ry Cooder also gets USA from time to time. In the past he has a passing mention because of his occasional worked and played with Cadillac John Noden blues-mandolin forays and adventures. Oh, in Memphis, the late T-Model Ford and Bill and of course, there’s always Yank Rachell…

Abel, old-style southern bluesmen. And And with around a dozen albums behind following the success of his current, latest him so far, Deivert adds a final comment, album, Blood In My Eyes for You, a that just maybe sums up his own personal, professional music goal: collection of self-written and classic ‘I love all that old string-band stuff standards, with the title track Bo really. People often ask why I’m Carter-inspired, recorded with a RECENT RELEASES playing a bluegrass instrument. four piece band, Copperhead Run, Blood in My Eyes... 2018 Kid Man Blues 2016 But bluegrass was only invented confirms he is currently working Takin’ Sam’s Advice 2007 in around the 1940s. It really came on his next recording project, a Hello Stranger 1983 out of all that string-band stuff planned fourteen-track album River Road 1980 where black musicians were able together with Mississippi bluesApril Fools 1979 to play together for mixed, black lady and picker, Libby Rae Watson. and white audiences. There was Watson studied guitar under the all this cross-pollination going on guidance and with the help of exback then.

Mississippi Sheik, Sam Chatmon, so I’m on a mission to promote she clearly knows her way around blues mando, to push the blues the music. Deivert is excited by the mandolin further still! project which also saw them pairing

DISCOGRAPHY

W W W.B LU E S MAT TE R S.C O M

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 61

BERT DEIVERT

Interview

“People often say that after the age of thirty it’s all downhill but I’m feeling great. If anything, I’m more on top of my game than ever”

whole world of great blues music out there.

And there was a wonderful music archive I had access to.’

By around 1973 and 1974, Deivert was playing for nickels and dimes, the odd dollar, in San Francisco: ‘I was earning money, perpetually broke though, like a lot of us back then. I was working a lot with Peter Case at that time; we remain good friends.’

Having then made the move to Sweden, where he’s been ever since, Deivert immersed himself in the buoyant folk music world of the country and then soon discovered Yank Rachell: ‘I found an album by Yank and so I bought it. And I wanted to do something with Yank Rachell’s music. I loved that blues mando sound. It was so different. It was exciting. But I didn’t just switch from guitar to mando, I played – and still do play – folk music. But then I steadily began adding some blues to it, to the mix. Then I started playing blues. I loved and still love it.’Deivert also worked a televised Yank Rachell Tribute show alongside some musical greats including US roots music guru the

late, Mike Seeger, and sixties ‘Summer in the City’ writer and performer, John Sebastian.

And as his love of the music developed he moved around, touring Europe, playing with others from the Nordic north (including Blues Matters! Swedish correspondent, Brian Kramer) through Germany, down into Italy.

Ireland also became a welcome tour-gig port of call where he often hooks up and plays (and records) with Christy O’Leary of Boys of the Lough fame among many others. And unexpectedly perhaps, Thailand, where he regularly spends a few Swedish winter months away from home playing and recording with other like-minded blues musicians, including a recent project with ‘Pong’, widely known as Thailand’s Bob Dylan, and immensely popular out there.

In recent years, Deivert has been in demand on the European blues festival circuit with notable performances as far apart as Tarragona Blues Festival in Spain and Sweden’s leading annual blues event, Amal Blues Festival, a near-local gig for him where, this year, he had the pleasure of meeting up

PAG E 6 0 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

W W W.B LU E S MAT TE R S.C O M

with an old buddy, another US-Swedish blues import, Eric Bibb, when they shared the bill together: ‘I’ve known Eric a long time now. We made three albums together between around 1979 and 1982. Sadly, all now out of print, but with some great stuff on them. We were both together at this summer’s Amal Blues Festival young then, I was about twenty-nine and Eric in Sweden in July. about twenty-eight, I think. We clicked, we hit He also adds that he has been selected as it off together back then. So it was great to a Swedish blues challenger for the European see him again. We sat down and chatted about Blues Association contest to be held in Malmo the music. We’d a lot to cover after the years in September, where he will be playing with that have passed.’ his old US, Brooklyn-born blues buddy, Deivert considers himself to be on top form guitarist Brian Kramer. these days, satisfied with his general musical Looking back over an eventful career that performance and focus: ‘People often say that seems to continually grow and keep him on after the age of thirty it’s all downhill but I’m his proverbial toes, Deivert considers his main feeling great. If anything, I’m more on top of influences to be Son House – the guy who first my game than ever,’ he laughs confidently. turned him onto blues music – Sam Chatmon, Deivert also returns ‘home’ to his native and Sleepy John Estes. Ry Cooder also gets USA from time to time. In the past he has a passing mention because of his occasional worked and played with Cadillac John Noden blues-mandolin forays and adventures. Oh, in Memphis, the late T-Model Ford and Bill and of course, there’s always Yank Rachell…

Abel, old-style southern bluesmen. And And with around a dozen albums behind following the success of his current, latest him so far, Deivert adds a final comment, album, Blood In My Eyes for You, a that just maybe sums up his own personal, professional music goal: collection of self-written and classic ‘I love all that old string-band stuff standards, with the title track Bo really. People often ask why I’m Carter-inspired, recorded with a RECENT RELEASES playing a bluegrass instrument. four piece band, Copperhead Run, Blood in My Eyes... 2018 Kid Man Blues 2016 But bluegrass was only invented confirms he is currently working Takin’ Sam’s Advice 2007 in around the 1940s. It really came on his next recording project, a Hello Stranger 1983 out of all that string-band stuff planned fourteen-track album River Road 1980 where black musicians were able together with Mississippi bluesApril Fools 1979 to play together for mixed, black lady and picker, Libby Rae Watson. and white audiences. There was Watson studied guitar under the all this cross-pollination going on guidance and with the help of exback then.

Mississippi Sheik, Sam Chatmon, so I’m on a mission to promote she clearly knows her way around blues mando, to push the blues the music. Deivert is excited by the mandolin further still! project which also saw them pairing

DISCOGRAPHY

W W W.B LU E S MAT TE R S.C O M

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 61

BETH HART

Interview

WAR IN MY MIND

BETH HART

BETH HART HAS A BRAND-NEW ALBUM ENTITLED WAR IN MY MIND DUE FOR RELEASE ANY DAY NOW. A RECORD THAT EMBRACES BOTH HER DARK SIDE AND THE BLUES...

V E R B A L S : S T E P H E N H A R R I S O N V I S U A L S : G R E G W AT E R M A N

W

ar... is a very personal album that brings to the fore her finest writing to date. An album enriched in the blues that she just owns. BM recently rang her in L.A to talk about the album and other relevant stuff.

I really enjoyed listening to your new album.

Personally, I think it’s the best album you’ve done so far.

Are you kidding me? Wow. What is it that you think you like the most?

It’s because it’s so personal, and one of the things I was going to ask you was because it’s so personal did you write them consciously or did, they just appear like that?

Well I’m basically writing all the time so for every record, I usually turn in a lot of songs at least 30-50, it just depends, I always love everything I turn into the producer that I happen to be working with, on that record they kinda just choose what they think is best for that record. And then whenever I’m writing it’s always whatever I’m feeling or what is happening at that time. So, yes whatever I’m writing is always personal.

Now if I’m doing a co-write which sometimes I’ll co-write with my friend, and many years ago we wrote a song called Caught Out In The Rain which was on Bang Bang Boom Boom and we’d also wrote a song called Sugar Shack but it never really connected, but then we realised that it needed to come up a notch so it inspired me to write a new

part. So, when we got that it was like ok let’s make this for the new record. But, lyrically its always personal. And I start writing the music first working stuff out on the piano and take it from there. Rob Cavello (producer) is a really nice man and very sensitive and wow what a talent. Everyone on the record was so talented and they were really nice people.

So how long did the album take to write and record?

Well like I said I’m always writing so when I’m home from touring all I do is stay in my studio and write, so the songs that he chose had been recently written and also from many, many, years ago. In terms of the length of time in the studio, the first round was about five days and then many months went by and I was on the road a lot and he had another window so we did another week, then we had a little more time so we went back in and recorded the choir and then I did some over-dubbing and background stuff.

Then all of a sudden, we had a deadline of two days, so we had to do the final mixes.

The choir, for me, really helped make the album on the couple of tracks they are on.

They were so incredible. We had the choir for Let It Grow and they are like a real deal choir so unbelievably cool and they were so neat I was like a five-year-old kid, but they were so sweet and so good.

CONTINUES OVER

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B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 6 3

BETH HART

Interview

WAR IN MY MIND

BETH HART

BETH HART HAS A BRAND-NEW ALBUM ENTITLED WAR IN MY MIND DUE FOR RELEASE ANY DAY NOW. A RECORD THAT EMBRACES BOTH HER DARK SIDE AND THE BLUES...

V E R B A L S : S T E P H E N H A R R I S O N V I S U A L S : G R E G W AT E R M A N

W

ar... is a very personal album that brings to the fore her finest writing to date. An album enriched in the blues that she just owns. BM recently rang her in L.A to talk about the album and other relevant stuff.

I really enjoyed listening to your new album.

Personally, I think it’s the best album you’ve done so far.

Are you kidding me? Wow. What is it that you think you like the most?

It’s because it’s so personal, and one of the things I was going to ask you was because it’s so personal did you write them consciously or did, they just appear like that?

Well I’m basically writing all the time so for every record, I usually turn in a lot of songs at least 30-50, it just depends, I always love everything I turn into the producer that I happen to be working with, on that record they kinda just choose what they think is best for that record. And then whenever I’m writing it’s always whatever I’m feeling or what is happening at that time. So, yes whatever I’m writing is always personal.

Now if I’m doing a co-write which sometimes I’ll co-write with my friend, and many years ago we wrote a song called Caught Out In The Rain which was on Bang Bang Boom Boom and we’d also wrote a song called Sugar Shack but it never really connected, but then we realised that it needed to come up a notch so it inspired me to write a new

part. So, when we got that it was like ok let’s make this for the new record. But, lyrically its always personal. And I start writing the music first working stuff out on the piano and take it from there. Rob Cavello (producer) is a really nice man and very sensitive and wow what a talent. Everyone on the record was so talented and they were really nice people.

So how long did the album take to write and record?

Well like I said I’m always writing so when I’m home from touring all I do is stay in my studio and write, so the songs that he chose had been recently written and also from many, many, years ago. In terms of the length of time in the studio, the first round was about five days and then many months went by and I was on the road a lot and he had another window so we did another week, then we had a little more time so we went back in and recorded the choir and then I did some over-dubbing and background stuff.

Then all of a sudden, we had a deadline of two days, so we had to do the final mixes.

The choir, for me, really helped make the album on the couple of tracks they are on.

They were so incredible. We had the choir for Let It Grow and they are like a real deal choir so unbelievably cool and they were so neat I was like a five-year-old kid, but they were so sweet and so good.

CONTINUES OVER

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W W W.B LU E S MAT TE R S.C O M

W W W.B LU E S MAT TE R S.C O M

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 6 3

Interview

BETH HART

BETH HART

“I knew from a very young age that I wanted to write but when I started out, I was really interested in classical music”

to the piano. Even as a little girl I’d go to it for comfort.

When you mentioned Robert Johnson, for me everything that I hear now in blues music goes back to him and Bessie Smith and Big Mama Thornton and those kinds of people.

I’m doing but I have a guide with which to follow into a different field of song-writing.

But I didn’t feel comfortable writing lyrics, so I concentrated on writing music. I then realised why I was so scared about writing lyrics; it was because my mother came from a time when the lyrics were so fabulous in the forties and the fifties. I always felt like I couldn’t get near it, but I had to start writing my own lyrics and test myself.

Were any of your normal touring band involved on the album?

No. I usually work with the musicians that the producer wants me to work with and I think that’s a really cool thing because they know these guys so well and they know how to make it go down fast so it’s much easier for them and they always choose great people. They put together an unbelievable band for Fire On The Floor and Rob did such a great job with the guys that he chose.

I’ve seen you live three times and the guys in your band are awesome.

Thank you. I love them all so much. They played The Royal Albert Hall gig and they did such a great job on that. I was so nervous in that show it scared me so bad, I flew my mom over for that show and I’ve never flown her to England before and wow just to play The Royal Albert Hall it was amazing, and at the end of the day it came out nice.

You always seem to be on the road. Do you enjoy touring?

Yeah, I do. It’s definitely challenging for my

mind so usually for the first three weeks that I’m out I’m having so much fun. Always challenging and I’m always nervous that the audience is having a good time so that makes it more challenging for me because after about three weeks I start to worry if the show’s not good enough or if the audience are going to walk out and that’s when I know it’s time to get off. I usually do like five-or sixweek tours so now I work with my manager and do four or five weeks at a time then have about four weeks off.

Did you always want to be a blues singer/musician?

I knew from a very young age that I wanted to write but when I started out, I was really interested in classical music, so that’s what I wanted to do. I wanted to be an opera singer and a cellist. Those were the two things I was really interested in. My opera teacher said to me, you like to fiddle with these pieces too much, you can’t do that. You have to respect the composer that’s the point.

She said I think that you’d be better off just doing your own thing. It was kind of sad but also exciting because I don’t know what

PAG E 6 4 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

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Interview

This is a personal observation of mine that I’ve had since I started following your career. I’ve always felt that people like Bessie Smith, Janis Joplin, Billie Holiday, and Big Mama Thornton were all part of your own DNA. Part of your make-up. Does that make sense to you?

I was recently listening to Big Mama Thornton sing Hound Dog and I hadn’t really heard her do that before and I’d only heard Elvis’s version of that, but boy does she sing that song differently. And she has different lyrics that she uses. I just love it, it’s so fabulous. The version that I heard was her taking two takes and those were so killer. She really was something wasn’t she. She was so cool.

Who has been the biggest influence on your career?

It’s almost impossible to say because when I’m writing, depending on the genre type musically I’m writing in I’ll pull from people from that genre and I love them all. I don’t think that I could choose just one, except for who inspired me to go the piano in the first place, and that was Beethoven.

What Drives You?

Yeah it does because I listened to a lot of I mean it’s really not that dramatic. I thinks different genres because my family always it’s just that I wanna feel better and music loved music, so I was soaked with everything seems to be a place that it’s kinda like that from jazz to blues to rock to pop and lots of child’s blanket, you know that comforting singer- songwriters like James Taylor, and blanket that makes me feel better. It’s not Carole King. So, I think it was that, hearing that life is so painful and terrible; life is so much stuff done in so many different pretty much an amazing miracle with so ways. But I think there was something in many good things. And yes, there are the the sadness and the yearning that obvious painful things. But there I heard in classical music with is just something about music Beethoven and in blues music with that seems to make everything Billie Holiday and Robert Johnson. feel better and taste better. It’s got RECENT RELEASES My California 2010 There was this brokenness so much hope in it and it has no Bang Bang Boom Boom 2012 but also hope in that they would judgement you know.

Better Than Home 2015 still make music, and to me their Fire On The Floor 2016 playing music and singing those Well thank you so much for taking the Live at the Albert Hall 2018 songs showed their hope in life. time to talk to me today. I look forward War In My Mind 2019 And in there they could find to seeing you in Manchester next year something good in life and in God when you come over here again. and that’s what it’s been like for It’s been an absolute pleasure me in music. I think that’s why I talking to you Stephen. write a lot of sad things, it’s not because I’m that sad it’s just that FOR A FULL REVIEW OF ‘WAR ON THE MIND’, GO TO OUR when I’m scared or hopeless, I go REVIEWS SECTION ON PAGE 103

DISCOGRAPHY

W W W.B LU E S MAT TE R S.C O M

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 6 5

Interview

BETH HART

BETH HART

“I knew from a very young age that I wanted to write but when I started out, I was really interested in classical music”

to the piano. Even as a little girl I’d go to it for comfort.

When you mentioned Robert Johnson, for me everything that I hear now in blues music goes back to him and Bessie Smith and Big Mama Thornton and those kinds of people.

I’m doing but I have a guide with which to follow into a different field of song-writing.

But I didn’t feel comfortable writing lyrics, so I concentrated on writing music. I then realised why I was so scared about writing lyrics; it was because my mother came from a time when the lyrics were so fabulous in the forties and the fifties. I always felt like I couldn’t get near it, but I had to start writing my own lyrics and test myself.

Were any of your normal touring band involved on the album?

No. I usually work with the musicians that the producer wants me to work with and I think that’s a really cool thing because they know these guys so well and they know how to make it go down fast so it’s much easier for them and they always choose great people. They put together an unbelievable band for Fire On The Floor and Rob did such a great job with the guys that he chose.

I’ve seen you live three times and the guys in your band are awesome.

Thank you. I love them all so much. They played The Royal Albert Hall gig and they did such a great job on that. I was so nervous in that show it scared me so bad, I flew my mom over for that show and I’ve never flown her to England before and wow just to play The Royal Albert Hall it was amazing, and at the end of the day it came out nice.

You always seem to be on the road. Do you enjoy touring?

Yeah, I do. It’s definitely challenging for my

mind so usually for the first three weeks that I’m out I’m having so much fun. Always challenging and I’m always nervous that the audience is having a good time so that makes it more challenging for me because after about three weeks I start to worry if the show’s not good enough or if the audience are going to walk out and that’s when I know it’s time to get off. I usually do like five-or sixweek tours so now I work with my manager and do four or five weeks at a time then have about four weeks off.

Did you always want to be a blues singer/musician?

I knew from a very young age that I wanted to write but when I started out, I was really interested in classical music, so that’s what I wanted to do. I wanted to be an opera singer and a cellist. Those were the two things I was really interested in. My opera teacher said to me, you like to fiddle with these pieces too much, you can’t do that. You have to respect the composer that’s the point.

She said I think that you’d be better off just doing your own thing. It was kind of sad but also exciting because I don’t know what

PAG E 6 4 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

W W W.B LU E S MAT TE R S.C O M

Interview

This is a personal observation of mine that I’ve had since I started following your career. I’ve always felt that people like Bessie Smith, Janis Joplin, Billie Holiday, and Big Mama Thornton were all part of your own DNA. Part of your make-up. Does that make sense to you?

I was recently listening to Big Mama Thornton sing Hound Dog and I hadn’t really heard her do that before and I’d only heard Elvis’s version of that, but boy does she sing that song differently. And she has different lyrics that she uses. I just love it, it’s so fabulous. The version that I heard was her taking two takes and those were so killer. She really was something wasn’t she. She was so cool.

Who has been the biggest influence on your career?

It’s almost impossible to say because when I’m writing, depending on the genre type musically I’m writing in I’ll pull from people from that genre and I love them all. I don’t think that I could choose just one, except for who inspired me to go the piano in the first place, and that was Beethoven.

What Drives You?

Yeah it does because I listened to a lot of I mean it’s really not that dramatic. I thinks different genres because my family always it’s just that I wanna feel better and music loved music, so I was soaked with everything seems to be a place that it’s kinda like that from jazz to blues to rock to pop and lots of child’s blanket, you know that comforting singer- songwriters like James Taylor, and blanket that makes me feel better. It’s not Carole King. So, I think it was that, hearing that life is so painful and terrible; life is so much stuff done in so many different pretty much an amazing miracle with so ways. But I think there was something in many good things. And yes, there are the the sadness and the yearning that obvious painful things. But there I heard in classical music with is just something about music Beethoven and in blues music with that seems to make everything Billie Holiday and Robert Johnson. feel better and taste better. It’s got RECENT RELEASES My California 2010 There was this brokenness so much hope in it and it has no Bang Bang Boom Boom 2012 but also hope in that they would judgement you know.

Better Than Home 2015 still make music, and to me their Fire On The Floor 2016 playing music and singing those Well thank you so much for taking the Live at the Albert Hall 2018 songs showed their hope in life. time to talk to me today. I look forward War In My Mind 2019 And in there they could find to seeing you in Manchester next year something good in life and in God when you come over here again. and that’s what it’s been like for It’s been an absolute pleasure me in music. I think that’s why I talking to you Stephen. write a lot of sad things, it’s not because I’m that sad it’s just that FOR A FULL REVIEW OF ‘WAR ON THE MIND’, GO TO OUR when I’m scared or hopeless, I go REVIEWS SECTION ON PAGE 103

DISCOGRAPHY

W W W.B LU E S MAT TE R S.C O M

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 6 5

BLACK STONE CHERRY

Interview

BLACK TO THE BLUES AGAIN!

BLACK STONE CHERRY BLACK STONE CHERRY ARE ONE OF THE MOST SUCCESSFUL HARD ROCK BANDS ON THE PLANET RIGHT NOW. FOUR YOUNG GUYS WHO STARTED PLAYING MUSIC TOGETHER AS TEENS BACK IN 2001. DRUMMER, JOHN FRED YOUNG IS THE SON OF THE KENTUCKY HEADHUNTERS’ RICHARD YOUNG, SO BLUES AND SOUTHERN DRENCHED MUSIC WAS ALL AROUND HIM SINCE BIRTH. V E R B A L S : S T E V E Y O U R G L I V C H V I S U A L S : W I L L I R E L A N D ( T H I S P A G E ) A N D M I K E R O D W AY

J

ohn was joined by like-minded friends Chris Robertson, Ben Wells and Jon Lawhon. Having always included covers of the blues music that was such a huge part of their DNA in live shows they decided to release a Blues covers EP in 2017 to great acclaim, topping the Billboard blues charts in week one and breaking into the UK album charts. Now the time feels right for Volume Two! I grabbed the opportunity to catch up with guitarist Ben Wells:

Hi Ben, Steve here, how are you doing?

Hiya man, thanks for calling. It’s always a pleasure talking to someone who knows about blues music.

Thank you. I really want to talk to you about your new Blues EP. I’ve been listening to it quite a lot and really enjoying it. I’ve followed the band since the first album, so I know you’ve always had that blues vibe going on.

Thank you so much, that means a lot. We all grew up playing and listening to that kinda music. A lot of the artists we covered on the first EP, and on this one, all those songs are songs we have played since the band first started. Son House, Death Letter Blues, we’ve had in the set list for years and we have people ask us, is that one of yours? So, I guess it’s a kinda humbling reality check

to learn that there are lots of younger music fans out there who don’t know about these great blues artists.

Like lots of others when I was a teenager I listened to bands like Zeppelin and Cream etc and went backwards to discover the blues that had influenced them. It’s an ongoing legacy passing from one generation to another.

I really think it does. Any great rock and roll band in history will tell you they would be nowhere without the blues. I mean look at the Rolling Stones, and Aerosmith, it’s always just a blues band playing rock music.

And I think that’s where we find a lot of our DNA caught up in that blues music because we relate to it, the honesty of the lyrics, and the early blues artists had some of the coolest guitar riffs and grooves. We listen to that stuff and our stance is let’s play those riffs and grooves and approach it as if we’d written it, you know. Some of the songs like the Elmore James and even Me And The Devil we just wrote new riffs around those.

We try to make as much of our own as we can but also true to as they were.

I think you’ve succeeded in that. It’s interesting mentioning the Elmore James song, I thought it was brilliant that you didn’t go for the obvious

PAG E 6 6 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

CONTINUES OVER

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W W W.B LU E S MAT TE R S.C O M

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 6 7

BLACK STONE CHERRY

Interview

BLACK TO THE BLUES AGAIN!

BLACK STONE CHERRY BLACK STONE CHERRY ARE ONE OF THE MOST SUCCESSFUL HARD ROCK BANDS ON THE PLANET RIGHT NOW. FOUR YOUNG GUYS WHO STARTED PLAYING MUSIC TOGETHER AS TEENS BACK IN 2001. DRUMMER, JOHN FRED YOUNG IS THE SON OF THE KENTUCKY HEADHUNTERS’ RICHARD YOUNG, SO BLUES AND SOUTHERN DRENCHED MUSIC WAS ALL AROUND HIM SINCE BIRTH. V E R B A L S : S T E V E Y O U R G L I V C H V I S U A L S : W I L L I R E L A N D ( T H I S P A G E ) A N D M I K E R O D W AY

J

ohn was joined by like-minded friends Chris Robertson, Ben Wells and Jon Lawhon. Having always included covers of the blues music that was such a huge part of their DNA in live shows they decided to release a Blues covers EP in 2017 to great acclaim, topping the Billboard blues charts in week one and breaking into the UK album charts. Now the time feels right for Volume Two! I grabbed the opportunity to catch up with guitarist Ben Wells:

Hi Ben, Steve here, how are you doing?

Hiya man, thanks for calling. It’s always a pleasure talking to someone who knows about blues music.

Thank you. I really want to talk to you about your new Blues EP. I’ve been listening to it quite a lot and really enjoying it. I’ve followed the band since the first album, so I know you’ve always had that blues vibe going on.

Thank you so much, that means a lot. We all grew up playing and listening to that kinda music. A lot of the artists we covered on the first EP, and on this one, all those songs are songs we have played since the band first started. Son House, Death Letter Blues, we’ve had in the set list for years and we have people ask us, is that one of yours? So, I guess it’s a kinda humbling reality check

to learn that there are lots of younger music fans out there who don’t know about these great blues artists.

Like lots of others when I was a teenager I listened to bands like Zeppelin and Cream etc and went backwards to discover the blues that had influenced them. It’s an ongoing legacy passing from one generation to another.

I really think it does. Any great rock and roll band in history will tell you they would be nowhere without the blues. I mean look at the Rolling Stones, and Aerosmith, it’s always just a blues band playing rock music.

And I think that’s where we find a lot of our DNA caught up in that blues music because we relate to it, the honesty of the lyrics, and the early blues artists had some of the coolest guitar riffs and grooves. We listen to that stuff and our stance is let’s play those riffs and grooves and approach it as if we’d written it, you know. Some of the songs like the Elmore James and even Me And The Devil we just wrote new riffs around those.

We try to make as much of our own as we can but also true to as they were.

I think you’ve succeeded in that. It’s interesting mentioning the Elmore James song, I thought it was brilliant that you didn’t go for the obvious

PAG E 6 6 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

CONTINUES OVER

W W W.B LU E S MAT TE R S.C O M

W W W.B LU E S MAT TE R S.C O M

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 6 7

Interview

BLACK STONE CHERRY

BLACK STONE CHERRY

Interview

class you guys as Southern Rock and I feel that same tradition applies there in that the music is more than just that, it covers a whole way of life, a creed almost.

Well there’s that honesty there I believe. An honesty and a vulnerability as in the blues.

Real life sorrow or real life happiness not just writing for commercial success. Like the blues artists they were just writing what they were feeling and that’s what we do too. That’s why I think those blues tunes are so haunting and why it remains such an important genre still to this day.

I found it interesting that, with the exception of the Freddie King track, all of the latter age artists you covered on this and the first EP were Chicago based. Was that deliberate or just how the tracks panned out?

ones, you know Dust My Broom, It Hurts Me Too etc. Instead you went for Early One Morning, a really great choice.

Thank you. You know we were listening to Elmore James in the studio but like you said we didn’t want to be too obvious. We listened to lots of tracks back to back, over and over again, but we all kept coming back to that one, Early One Morning. We did our own arrangement of it and I’m glad we picked that song and I’m glad maybe we’ve shed some light on an artist like Elmore James as well.

How did you narrow down what must have been a huge list to these six tracks?

So, we knew straight in that we wanted to do - Big Legged Woman - and Jon Lawhon had picked out that he wanted to do the Otis Rush song, All You Love. So, we knew we were gonna do those two. The rest of them were literally up in the air. We had no rehearsal before we went in and recorded this. We just got to the studio and besides

the two tracks I mentioned before, we just started listening to our favourite blues artists, going through their catalogue. For example, the Elmore James tune, we just said yeah let’s try that. When we started tracking, we all played at once and recorded everything. So actually, that riff on Me And The Devil, we were just jamming around as if we were writing an original song. Luckily, we were recording and so we just kept going, and we put the Robert Johnson lyrics on top. It was spontaneous how this thing happened. We got the whole thing tracked in four days. You know the blues is meant to be spontaneous so if we had gone in and tried to

“That’s why I think those blues tunes are so haunting and why it remains such an important genre”

PAG E 6 8 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

W W W.B LU E S MAT TE R S.C O M

have it all mapped out 100% perfect to us it would’ve come out as insincere.

I have to say how impressed I am with Yates McKendree on keys. What an amazing job he did. I thought on the Freddie King number the interplay between the keys and guitar was superb and really added something extra to the whole arrangement.

I think most ways it was just the tracks we picked and when we looked back, we thought man we did pick a lot of Chicago artists. We love Muddy Waters and Howlin’ Wolf, stuff like that. We connect with those artists a lot so we could easily do an album of just those.

With this one we did want to make more of an attempt to get more to the Delta because we are also very influenced by that. That’s why we included Robert Johnson and Son House.

I know Death Letter Blues is a long-standing part of your live set and is included on your live album, Thank You Livin’ Live; will you be adding any of this batch on the next tour?

Oh yeah, we’ve already been talking about playing a bunch of them, but we don’t give too much away yet, but we’ll be adding some of these to the set list.

Thank you for saying that, I’ll make sure he knows that, he’ll appreciate it.

Believe it or not he’s just turned 18 at the end of July. He’s such a young gifted talent it’s amazing.

RECENT RELEASES

DISCOGRAPHY

Any UK dates coming up and what else is happening?

Yes, he did, he plays with Delbert.

Even though he’s young, he’s very well-seasoned.

Unfortunately, not. We played in the UK this Summer and we’re touring mainland Europe soon supporting Alice Cooper but not the UK leg. The plan then is to catch up on some sleep, take January off and then start work on the next album. -

We talked about how this blues tradition is handed down, most people would

FOR A FULL REVIEW OF ‘BACK TO THE BLUES’, GO TO OUR REVIEWS SECTION ON PAGE 102

Yes, and I believe he’s got some impressive blues credentials already.

Delbert McClinton’s last album for example. And a few other things too.

W W W.B LU E S MAT TE R S.C O M

Black To Blues Vol 2 2019 Family Tree 2018 Black To Blues Vol 1 2017 Kentucky 2016 Magic Mountain 2014

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 6 9

Interview

BLACK STONE CHERRY

BLACK STONE CHERRY

Interview

class you guys as Southern Rock and I feel that same tradition applies there in that the music is more than just that, it covers a whole way of life, a creed almost.

Well there’s that honesty there I believe. An honesty and a vulnerability as in the blues.

Real life sorrow or real life happiness not just writing for commercial success. Like the blues artists they were just writing what they were feeling and that’s what we do too. That’s why I think those blues tunes are so haunting and why it remains such an important genre still to this day.

I found it interesting that, with the exception of the Freddie King track, all of the latter age artists you covered on this and the first EP were Chicago based. Was that deliberate or just how the tracks panned out?

ones, you know Dust My Broom, It Hurts Me Too etc. Instead you went for Early One Morning, a really great choice.

Thank you. You know we were listening to Elmore James in the studio but like you said we didn’t want to be too obvious. We listened to lots of tracks back to back, over and over again, but we all kept coming back to that one, Early One Morning. We did our own arrangement of it and I’m glad we picked that song and I’m glad maybe we’ve shed some light on an artist like Elmore James as well.

How did you narrow down what must have been a huge list to these six tracks?

So, we knew straight in that we wanted to do - Big Legged Woman - and Jon Lawhon had picked out that he wanted to do the Otis Rush song, All You Love. So, we knew we were gonna do those two. The rest of them were literally up in the air. We had no rehearsal before we went in and recorded this. We just got to the studio and besides

the two tracks I mentioned before, we just started listening to our favourite blues artists, going through their catalogue. For example, the Elmore James tune, we just said yeah let’s try that. When we started tracking, we all played at once and recorded everything. So actually, that riff on Me And The Devil, we were just jamming around as if we were writing an original song. Luckily, we were recording and so we just kept going, and we put the Robert Johnson lyrics on top. It was spontaneous how this thing happened. We got the whole thing tracked in four days. You know the blues is meant to be spontaneous so if we had gone in and tried to

“That’s why I think those blues tunes are so haunting and why it remains such an important genre”

PAG E 6 8 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

W W W.B LU E S MAT TE R S.C O M

have it all mapped out 100% perfect to us it would’ve come out as insincere.

I have to say how impressed I am with Yates McKendree on keys. What an amazing job he did. I thought on the Freddie King number the interplay between the keys and guitar was superb and really added something extra to the whole arrangement.

I think most ways it was just the tracks we picked and when we looked back, we thought man we did pick a lot of Chicago artists. We love Muddy Waters and Howlin’ Wolf, stuff like that. We connect with those artists a lot so we could easily do an album of just those.

With this one we did want to make more of an attempt to get more to the Delta because we are also very influenced by that. That’s why we included Robert Johnson and Son House.

I know Death Letter Blues is a long-standing part of your live set and is included on your live album, Thank You Livin’ Live; will you be adding any of this batch on the next tour?

Oh yeah, we’ve already been talking about playing a bunch of them, but we don’t give too much away yet, but we’ll be adding some of these to the set list.

Thank you for saying that, I’ll make sure he knows that, he’ll appreciate it.

Believe it or not he’s just turned 18 at the end of July. He’s such a young gifted talent it’s amazing.

RECENT RELEASES

DISCOGRAPHY

Any UK dates coming up and what else is happening?

Yes, he did, he plays with Delbert.

Even though he’s young, he’s very well-seasoned.

Unfortunately, not. We played in the UK this Summer and we’re touring mainland Europe soon supporting Alice Cooper but not the UK leg. The plan then is to catch up on some sleep, take January off and then start work on the next album. -

We talked about how this blues tradition is handed down, most people would

FOR A FULL REVIEW OF ‘BACK TO THE BLUES’, GO TO OUR REVIEWS SECTION ON PAGE 102

Yes, and I believe he’s got some impressive blues credentials already.

Delbert McClinton’s last album for example. And a few other things too.

W W W.B LU E S MAT TE R S.C O M

Black To Blues Vol 2 2019 Family Tree 2018 Black To Blues Vol 1 2017 Kentucky 2016 Magic Mountain 2014

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 6 9

CHRIS YOULDEN

Interview

BROWN AND BLUES

CHRIS YOULDEN

CHRIS YOULDEN MIGHT JUST BE THE MOST UNDERVALUED SINGER TO HAVE EMERGED DURING THE LATE 60S BRITISH BLUES BOOM. SURE, HE SANG ON FOUR HIGHLY RATED SAVOY BROWN ALBUMS AND, YES, HE HAS CONTINUED TO WORK RIGHT UP UNTIL THE PRESENT DAY BUT DESPITE BEING ADMIRED BY THE COGNOSCENTI HE HAS ONLY RECEIVED A FRACTION OF THE ACCLAIM AND RICHES OF CONTEMPORARIES LIKE PAUL RODGERS AND ROBERT PLANT VE R BAL S: TR EVO R H O D G ET T VI S UAL S: MALC O LM M I LLS

L

ike those contemporaries, Youlden first became besotted with blues as a teenager.

“It was a total underground thing,” he reminisces. “A friend and me thought we were the only people in our area who had heard of blues! But a promotion company, Lippmann Rau, brought over a tour of American blues artists every year for the American Folk Blues Festival and for years I went to those concerts and saw fantastic people like Muddy Waters, Howlin’ Wolf, John Lee Hooker, Buddy Guy, Little Brother Montgomery, Victoria Spivey, Lightnin’ Hopkins, Willie Dixon, Matt Murphy, Freddie Below, Memphis Slim…all great performers.”

The first British blues boom began around 1964, with bands like the Rolling Stones.

“I didn’t actually see the Stones, funnily enough,” admits Youlden. “But it was a good time. All of a sudden people were doing stuff: it wasn’t only on record it was actually there.

My main port of call was the Marquee where I used to see John Baldry and the harmonica player Cyril Davies. I remember those two very well.”

Youlden joined Savoy Brown in 1968.

“They had this thing at the Nag’s Head in Battersea and the singer, Bryce Portius was sick one day,” he recalls. “They were stuck so the bass player Ray Chappell, who I’d previously worked with in another band, suggested me. That was how I was introduced to the band. And then later, when they decided to make a change, they contacted me.”

The band had already released their debut album, Shake Down (1967). With Youlden as their new singer they recorded Getting To The Point (1968) which, like its predecessor, was produced by Mike Vernon, who also produced Fleetwood Mac. “He was a great producer, very professional, very capable,” says Youlden. “He could add suggestions or even contribute things like the odd bit of percussion.”

Youlden co-wrote five of the album’s nine songs, mostly with guitarist Kim Simmonds.

“A lot of that was done in the studio,” he explains. “Take ‘Flood In Houston’: Kim had the title and the basic musical idea and he played it over. The band worked through it in the studio while the sound was being set up so in effect, they had a little rehearsal. And in that time, I wrote the lyrics. A lot of the songs were produced that way.”

Blue Matter in 1969 was partly recorded live. Strangely, guitarist ‘Lonesome’ Dave Peverett sings on those tracks instead of Youlden. “We could have been working twenty-five gigs in thirty days, up and down the motorways,” says Youlden. “And the technology was quite primitive so you didn’t have monitor speakers and quite often as a singer you couldn’t hear yourself above the band. I used to be giving it out at full volume every night. And I got a very sore throat and lost my voice and had to pull out.”

CONTINUES OVER

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W W W.B LU E S MAT TE R S.C O M

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 71

CHRIS YOULDEN

Interview

BROWN AND BLUES

CHRIS YOULDEN

CHRIS YOULDEN MIGHT JUST BE THE MOST UNDERVALUED SINGER TO HAVE EMERGED DURING THE LATE 60S BRITISH BLUES BOOM. SURE, HE SANG ON FOUR HIGHLY RATED SAVOY BROWN ALBUMS AND, YES, HE HAS CONTINUED TO WORK RIGHT UP UNTIL THE PRESENT DAY BUT DESPITE BEING ADMIRED BY THE COGNOSCENTI HE HAS ONLY RECEIVED A FRACTION OF THE ACCLAIM AND RICHES OF CONTEMPORARIES LIKE PAUL RODGERS AND ROBERT PLANT VE R BAL S: TR EVO R H O D G ET T VI S UAL S: MALC O LM M I LLS

L

ike those contemporaries, Youlden first became besotted with blues as a teenager.

“It was a total underground thing,” he reminisces. “A friend and me thought we were the only people in our area who had heard of blues! But a promotion company, Lippmann Rau, brought over a tour of American blues artists every year for the American Folk Blues Festival and for years I went to those concerts and saw fantastic people like Muddy Waters, Howlin’ Wolf, John Lee Hooker, Buddy Guy, Little Brother Montgomery, Victoria Spivey, Lightnin’ Hopkins, Willie Dixon, Matt Murphy, Freddie Below, Memphis Slim…all great performers.”

The first British blues boom began around 1964, with bands like the Rolling Stones.

“I didn’t actually see the Stones, funnily enough,” admits Youlden. “But it was a good time. All of a sudden people were doing stuff: it wasn’t only on record it was actually there.

My main port of call was the Marquee where I used to see John Baldry and the harmonica player Cyril Davies. I remember those two very well.”

Youlden joined Savoy Brown in 1968.

“They had this thing at the Nag’s Head in Battersea and the singer, Bryce Portius was sick one day,” he recalls. “They were stuck so the bass player Ray Chappell, who I’d previously worked with in another band, suggested me. That was how I was introduced to the band. And then later, when they decided to make a change, they contacted me.”

The band had already released their debut album, Shake Down (1967). With Youlden as their new singer they recorded Getting To The Point (1968) which, like its predecessor, was produced by Mike Vernon, who also produced Fleetwood Mac. “He was a great producer, very professional, very capable,” says Youlden. “He could add suggestions or even contribute things like the odd bit of percussion.”

Youlden co-wrote five of the album’s nine songs, mostly with guitarist Kim Simmonds.

“A lot of that was done in the studio,” he explains. “Take ‘Flood In Houston’: Kim had the title and the basic musical idea and he played it over. The band worked through it in the studio while the sound was being set up so in effect, they had a little rehearsal. And in that time, I wrote the lyrics. A lot of the songs were produced that way.”

Blue Matter in 1969 was partly recorded live. Strangely, guitarist ‘Lonesome’ Dave Peverett sings on those tracks instead of Youlden. “We could have been working twenty-five gigs in thirty days, up and down the motorways,” says Youlden. “And the technology was quite primitive so you didn’t have monitor speakers and quite often as a singer you couldn’t hear yourself above the band. I used to be giving it out at full volume every night. And I got a very sore throat and lost my voice and had to pull out.”

CONTINUES OVER

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B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 71

Interview

CHRIS YOULDEN

CHRIS YOULDEN

Savoy Brown first toured America in 1969.

The band developed a more flamboyant stage act for American audiences with Youlden becoming renowned for his fur coat, top hat and cigar. “The American agency wanted us to audition so a gig was arranged at a pub in London,” recalls Youlden. “To get the tour we had to impress these people, so we had to do something about image. A friend of my wife’s had this big fur coat and she donated it to me, and I thought, ‘A top hat might go with that.’ And I already liked the odd cigar and I smoked a bit on stage so that’s how that came about. It was purely to get into America. To be honest I wasn’t that into image so when we got there, I didn’t wear the stuff for a couple of gigs. But then the message came from the agency: ‘Wear the fur coat! Wear the top hat!’

So, I had to.”

In the States Savoy Brown appeared in legendary venues like San Francisco’s Fillmore West and New York’s Fillmore East, venues associated with hippie heroes like Janis Joplin, the Grateful Dead and the Allman Brothers Band. Were those venues really as wonderful as we in the UK imagined?

“Actually, yes!” answers Youlden. “It was a very vibrant, exciting time and the audiences were very responsive and there was a tremendous atmosphere. It was magical.”

Some of the band’s many American tours lasted as long as four months and, legend has it, in 1969 they spent nine months in the country. “That was difficult,” acknowledges Youlden of the band’s brutal touring schedule.

“You’re constantly thinking of the next gig so it’s difficult to unwind. You might get a week in New York or Los Angeles but apart from that you’re flying from city to city. You’d get in at, say, one o’clock in the afternoon in Chicago, for example, then you would go to the motel which would be out of town, probably an hour’s drive away, then you would have to go back into the city to soundcheck, then you’d come out again, eat, and then drive in again and do the gig. And sometimes you did two performances a night! It was hard work.”

The band released A Step Further in 1969 which includes ‘Savoy Brown Boogie’, a twenty-two-minute live track. “At the time there was a fashion for bands like Led Zep and Ten Years After to put a little rock’n’roll in a

number,” says Youlden. “So, we tried that out and it seemed to work and then it developed, because the audiences were so enthusiastic.

One time there was someone dancing in front of the stage and I said, ‘Get up on stage!’ And he did and then more people started getting up and hence the song lasted longer and then we started putting other little things in like ‘Hernando’s Hideway’ and ‘Purple Haze’ and the thing grew until it became a sort of symphony!”

A Step Further reached number seventyone in the American album charts and the band seemed on the up. But its follow-up, 1970’s Raw Sienna, only reached number one hundred and twenty-one. Soon afterwards Youlden left the band. “It was time to move on,” he reflects. “When I joined the band, it was a straight-ahead blues band and we were all on the same page. But after going to America there were a whole range of guitar bands there and from Kim’s point of view the guitar was the big thing whereas my contribution was as vocalist and songwriter so I was going in one direction, Kim was going in another and the two things became difficult to keep together.”

SOLO ALBUMS

Youlden subsequently released the solo albums Nowhere Road (1973) and City Child (1974), backed by musicians like Pete Wingfield (keyboards) and Danny Kirwan and Chris Spedding (guitars). “I thought the contributions of the musicians were great and some things on the albums I was very happy with,” he says. “But some tracks I think, ‘It could have been a better song,’ or, ‘I should have sung it better.’”

After the commercial failure of the two albums Youlden fell somewhat below the radar. “I was still writing, and I’d got advances from the record company for those albums, so I had a bit of leeway,” he explains. Youlden returned with the smooth Second Sight album (1991), produced by Mike Vernon, who had produced Savoy Brown’s first four albums, and featuring musicians like guitarists Innes Sibun and Tim Renwick. “Again, you think this or that could have been better,” he says, “but I thought it worked very well and the musicians and Mike did a great job. But in

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Interview

terms of what people would accept from me it was a step too far.” A subsequent album, Matico (1993), credited to Chris Youlden and the Big Picture, also failed to find an audience. “Matico’s difficult to describe,” muses Youlden. “It’s a sort of fusion of blues, soul and various rhythms. It was an attempt to produce an album that had a bluesy feel but was contemporary. Whether it came off, I don’t know but the people on it were great and I’m very happy with it musically.”

Movin’ Along, an EP recorded in 2002 with Shakey Vick’s band, as Maxwell Street, returned Youlden to more familiar territory.

“That idea was put to me,” says Youlden.

“Shakey had his band and they played Chicago blues, one of my big influences, so the idea appealed to me and we set out to make a straight-ahead blues record.” my musical life,” he says. “The first cover of Catastrophe struck Youlden in 2008 when he a song of mine was Little Milton’s ‘I’m Tired’ which came out maybe six months after we’d suffered a near-fatal illness. “I got pneumonia done it as Savoy Brown [on A Step Further]. which turned into septicaemia. I was in That was a knockout [because] I’m into Little intensive care for two months on life support.

Milton’s style.”

I had the whole lot: tracheotomy etc etc and Youlden’s most recently released album is obviously after an illness like that it takes Closing Time, credited to Chris Youlden & the months to get back to something like you Slammers. The album comprises previously were but funnily it didn’t affect my singing.” unreleased tracks recorded years apart, in Youlden played alongside guitarist Martin 1987 and in 1991 respectively, with musicians Stone and others as The Tossers at the like keyboard player Geraint Watkins.

Glastonbury Festival in 2011. He remembers Included are interpretations of songs by Lazy the experience as being fraught. “We played Lester, Earl King, Ray Charles, Jimmy Reed a gig the night before, so we were travelling and others. “It’d been a good while since I’d from about ten o’clock. And of course, when heard the tapes but hearing them again, I you hit the outskirts, being rural, there are think the music stands up,” he says. just side roads. So, we didn’t get there, with “We had this thing going at Dingwall’s in great difficulty, until four. And then we had London and the idea came to record. more difficulty because they have a We approached it on the basis that tremendously complicated security any individual in the band could system with checkpoints you have come up with songs they wanted to go through. And then there was RECENT RELEASES to do. I suggested James Brown’s very little time before our set, so it Closing Time 2018 Matico 1993 ‘Tell Me What You’re Gonna Do’, was a question of getting on and Second Sight 1991 drummer, Malcolm Mills might have tuning up and we weren’t thinking Legend 1979 suggested Mose Allison’s ‘Fool’s much beyond, ‘In thirty seconds I’ve City Child 1974 Paradise’ everyone contributed so we got to do this!’ But once we started, Nowhere Road 1973 tried them out and if they worked, I quite enjoyed it.” we put them in. And bassist, Paul Youlden has written songs Riley did a great job in remastering throughout his career and his and, listening to the thing as a compositions have been covered whole, I think the two sessions hang by the likes of Little Milton, the together, it’s difficult now for me to Blind Boys Of Alabama and Bettye distinguish between them.”

Lavette. “That’s been a big part of

DISCOGRAPHY

W W W.B LU E S MAT TE R S.C O M

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 7 3

Interview

CHRIS YOULDEN

CHRIS YOULDEN

Savoy Brown first toured America in 1969.

The band developed a more flamboyant stage act for American audiences with Youlden becoming renowned for his fur coat, top hat and cigar. “The American agency wanted us to audition so a gig was arranged at a pub in London,” recalls Youlden. “To get the tour we had to impress these people, so we had to do something about image. A friend of my wife’s had this big fur coat and she donated it to me, and I thought, ‘A top hat might go with that.’ And I already liked the odd cigar and I smoked a bit on stage so that’s how that came about. It was purely to get into America. To be honest I wasn’t that into image so when we got there, I didn’t wear the stuff for a couple of gigs. But then the message came from the agency: ‘Wear the fur coat! Wear the top hat!’

So, I had to.”

In the States Savoy Brown appeared in legendary venues like San Francisco’s Fillmore West and New York’s Fillmore East, venues associated with hippie heroes like Janis Joplin, the Grateful Dead and the Allman Brothers Band. Were those venues really as wonderful as we in the UK imagined?

“Actually, yes!” answers Youlden. “It was a very vibrant, exciting time and the audiences were very responsive and there was a tremendous atmosphere. It was magical.”

Some of the band’s many American tours lasted as long as four months and, legend has it, in 1969 they spent nine months in the country. “That was difficult,” acknowledges Youlden of the band’s brutal touring schedule.

“You’re constantly thinking of the next gig so it’s difficult to unwind. You might get a week in New York or Los Angeles but apart from that you’re flying from city to city. You’d get in at, say, one o’clock in the afternoon in Chicago, for example, then you would go to the motel which would be out of town, probably an hour’s drive away, then you would have to go back into the city to soundcheck, then you’d come out again, eat, and then drive in again and do the gig. And sometimes you did two performances a night! It was hard work.”

The band released A Step Further in 1969 which includes ‘Savoy Brown Boogie’, a twenty-two-minute live track. “At the time there was a fashion for bands like Led Zep and Ten Years After to put a little rock’n’roll in a

number,” says Youlden. “So, we tried that out and it seemed to work and then it developed, because the audiences were so enthusiastic.

One time there was someone dancing in front of the stage and I said, ‘Get up on stage!’ And he did and then more people started getting up and hence the song lasted longer and then we started putting other little things in like ‘Hernando’s Hideway’ and ‘Purple Haze’ and the thing grew until it became a sort of symphony!”

A Step Further reached number seventyone in the American album charts and the band seemed on the up. But its follow-up, 1970’s Raw Sienna, only reached number one hundred and twenty-one. Soon afterwards Youlden left the band. “It was time to move on,” he reflects. “When I joined the band, it was a straight-ahead blues band and we were all on the same page. But after going to America there were a whole range of guitar bands there and from Kim’s point of view the guitar was the big thing whereas my contribution was as vocalist and songwriter so I was going in one direction, Kim was going in another and the two things became difficult to keep together.”

SOLO ALBUMS

Youlden subsequently released the solo albums Nowhere Road (1973) and City Child (1974), backed by musicians like Pete Wingfield (keyboards) and Danny Kirwan and Chris Spedding (guitars). “I thought the contributions of the musicians were great and some things on the albums I was very happy with,” he says. “But some tracks I think, ‘It could have been a better song,’ or, ‘I should have sung it better.’”

After the commercial failure of the two albums Youlden fell somewhat below the radar. “I was still writing, and I’d got advances from the record company for those albums, so I had a bit of leeway,” he explains. Youlden returned with the smooth Second Sight album (1991), produced by Mike Vernon, who had produced Savoy Brown’s first four albums, and featuring musicians like guitarists Innes Sibun and Tim Renwick. “Again, you think this or that could have been better,” he says, “but I thought it worked very well and the musicians and Mike did a great job. But in

PAG E 72 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

W W W.B LU E S MAT TE R S.C O M

Interview

terms of what people would accept from me it was a step too far.” A subsequent album, Matico (1993), credited to Chris Youlden and the Big Picture, also failed to find an audience. “Matico’s difficult to describe,” muses Youlden. “It’s a sort of fusion of blues, soul and various rhythms. It was an attempt to produce an album that had a bluesy feel but was contemporary. Whether it came off, I don’t know but the people on it were great and I’m very happy with it musically.”

Movin’ Along, an EP recorded in 2002 with Shakey Vick’s band, as Maxwell Street, returned Youlden to more familiar territory.

“That idea was put to me,” says Youlden.

“Shakey had his band and they played Chicago blues, one of my big influences, so the idea appealed to me and we set out to make a straight-ahead blues record.” my musical life,” he says. “The first cover of Catastrophe struck Youlden in 2008 when he a song of mine was Little Milton’s ‘I’m Tired’ which came out maybe six months after we’d suffered a near-fatal illness. “I got pneumonia done it as Savoy Brown [on A Step Further]. which turned into septicaemia. I was in That was a knockout [because] I’m into Little intensive care for two months on life support.

Milton’s style.”

I had the whole lot: tracheotomy etc etc and Youlden’s most recently released album is obviously after an illness like that it takes Closing Time, credited to Chris Youlden & the months to get back to something like you Slammers. The album comprises previously were but funnily it didn’t affect my singing.” unreleased tracks recorded years apart, in Youlden played alongside guitarist Martin 1987 and in 1991 respectively, with musicians Stone and others as The Tossers at the like keyboard player Geraint Watkins.

Glastonbury Festival in 2011. He remembers Included are interpretations of songs by Lazy the experience as being fraught. “We played Lester, Earl King, Ray Charles, Jimmy Reed a gig the night before, so we were travelling and others. “It’d been a good while since I’d from about ten o’clock. And of course, when heard the tapes but hearing them again, I you hit the outskirts, being rural, there are think the music stands up,” he says. just side roads. So, we didn’t get there, with “We had this thing going at Dingwall’s in great difficulty, until four. And then we had London and the idea came to record. more difficulty because they have a We approached it on the basis that tremendously complicated security any individual in the band could system with checkpoints you have come up with songs they wanted to go through. And then there was RECENT RELEASES to do. I suggested James Brown’s very little time before our set, so it Closing Time 2018 Matico 1993 ‘Tell Me What You’re Gonna Do’, was a question of getting on and Second Sight 1991 drummer, Malcolm Mills might have tuning up and we weren’t thinking Legend 1979 suggested Mose Allison’s ‘Fool’s much beyond, ‘In thirty seconds I’ve City Child 1974 Paradise’ everyone contributed so we got to do this!’ But once we started, Nowhere Road 1973 tried them out and if they worked, I quite enjoyed it.” we put them in. And bassist, Paul Youlden has written songs Riley did a great job in remastering throughout his career and his and, listening to the thing as a compositions have been covered whole, I think the two sessions hang by the likes of Little Milton, the together, it’s difficult now for me to Blind Boys Of Alabama and Bettye distinguish between them.”

Lavette. “That’s been a big part of

DISCOGRAPHY

W W W.B LU E S MAT TE R S.C O M

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 7 3

CHRISTONE ‘KINGFISH’ INGRAM

Interview

A RIGHT OF PASSAGE TO PLAY THE BLUES

CHRISTONE ‘KINGFISH’ INGRAM

ONCE IN A BLUES GENERATION THERE COMES AN ARTIST WHO CAN GRAB THE ESSENCE OF THE MUSIC, THE TRADITIONS AND VALUES. WITH A TRUE VISION OF KEEPING THE BLUES ALIVE FOR A FUTURE GENERATION, THIS TWENTY-YEAR OLD SINGER SONGWRITER IS DESERVEDLY IN VOGUE. V E R B A L S : C O L I N C A M P B E L L V I S U A L S : R O R Y D OY L E , J I M I F R A H E R ( PA G E 76 )

C

hristone ‘Kingfish’ Ingram was recently signed by Alligator Records, who mastered his debut album, Kingfish, to great acclaim. I enjoyed the chance to talk to this rising prodigy albeit on a crackly telephone line. He comes across as very humble and with a deep love of music.

Hi Christone, thanks for taking time out to talk to Blues Matters Magazine, where are you today, how are things with you?

I’m good, I’m currently in Los Angeles. We did a private party last night and I’m doing some studio work.

Tell us a bit about your childhood growing up in Clarksdale, Mississippi; what kind of music did you listen to at home when growing up?

I grew up in Clarksdale, Mississippi. My dad showed me a documentary about Muddy Waters when I was young. I grew up next door to a blues band and would go to parties there, so I was around the blues music scene a lot.

When did you decide you wanted to be a musician?

What got you into the blues music genre?

I always wanted to be one; I took my guitar everywhere, even the Church!

Coming from the blues mecca of Clarksdale I was always interested in that music. It’s part of our history and I want to keep that going.

I’m very interested in history and culture.

When did you become involved in the Delta Blues Museum Arts and Education Program in Clarksdale?

When I was eight years old! My dad enrolled me there. I learned a lot from being there.

They have ‘explore and learn’ programmes. I learned to play the blues there and I learned about keeping the blues alive.

Was it a natural progression to be interested in the blues genre or did you have any other musical preferences?

I love funk, rock, rhythm & blues. I also got into Gospel music, I like anything that is good to hear, a wide range of music styles.

What does the blues mean to you? What would be your blues philosophy?

CONTINUES OVER

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W W W.B LU E S MAT TE R S.C O M

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 75

CHRISTONE ‘KINGFISH’ INGRAM

Interview

A RIGHT OF PASSAGE TO PLAY THE BLUES

CHRISTONE ‘KINGFISH’ INGRAM

ONCE IN A BLUES GENERATION THERE COMES AN ARTIST WHO CAN GRAB THE ESSENCE OF THE MUSIC, THE TRADITIONS AND VALUES. WITH A TRUE VISION OF KEEPING THE BLUES ALIVE FOR A FUTURE GENERATION, THIS TWENTY-YEAR OLD SINGER SONGWRITER IS DESERVEDLY IN VOGUE. V E R B A L S : C O L I N C A M P B E L L V I S U A L S : R O R Y D OY L E , J I M I F R A H E R ( PA G E 76 )

C

hristone ‘Kingfish’ Ingram was recently signed by Alligator Records, who mastered his debut album, Kingfish, to great acclaim. I enjoyed the chance to talk to this rising prodigy albeit on a crackly telephone line. He comes across as very humble and with a deep love of music.

Hi Christone, thanks for taking time out to talk to Blues Matters Magazine, where are you today, how are things with you?

I’m good, I’m currently in Los Angeles. We did a private party last night and I’m doing some studio work.

Tell us a bit about your childhood growing up in Clarksdale, Mississippi; what kind of music did you listen to at home when growing up?

I grew up in Clarksdale, Mississippi. My dad showed me a documentary about Muddy Waters when I was young. I grew up next door to a blues band and would go to parties there, so I was around the blues music scene a lot.

When did you decide you wanted to be a musician?

What got you into the blues music genre?

I always wanted to be one; I took my guitar everywhere, even the Church!

Coming from the blues mecca of Clarksdale I was always interested in that music. It’s part of our history and I want to keep that going.

I’m very interested in history and culture.

When did you become involved in the Delta Blues Museum Arts and Education Program in Clarksdale?

When I was eight years old! My dad enrolled me there. I learned a lot from being there.

They have ‘explore and learn’ programmes. I learned to play the blues there and I learned about keeping the blues alive.

Was it a natural progression to be interested in the blues genre or did you have any other musical preferences?

I love funk, rock, rhythm & blues. I also got into Gospel music, I like anything that is good to hear, a wide range of music styles.

What does the blues mean to you? What would be your blues philosophy?

CONTINUES OVER

PAG E 74 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

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W W W.B LU E S MAT TE R S.C O M

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 75

Interview

CHRISTONE ‘KINGFISH’ INGRAM

CHRISTONE ‘KINGFISH’ INGRAM

Interview

“I grew up watching my Uncle’s band and learned from that.

I create songs from experiences I have had, and listening to people” first it just depends on the flow.

How do you feel about having people like Buddy Guy saying: “You are the next explosion of the blues”?

I feel honoured but just want to keep up the tradition. I met him in 2015 at The Waterfront Blues Festival, it was amazing.

All songs are from me, this my life really.

All musicians need a good nickname, what are the origins of yours, “Kingfish”?

It was given to me by one of my mentors. I didn’t like the name at first but it grew on me!

Blues has always been there. There’s always been poverty and struggles. It’s part of life not something you can just get rid of, even if we dislike it. It’s always gonna be there. I want to keep the blues alive.

Who was your biggest influence on choosing this career path?

My family, some people in my neighbourhood are also influences. B.B. King, Albert King, Freddie King, there are lots of influences.

What is the best advice you have been given in this regard?

Keep my head straight, be humble, and keep on progressing and respecting tradition. Just keep going, I guess!

What is the worst advice you have had in your musical career?

I ain’t had any yet, ha ha!

What is your take on success, what does that mean

for you?

Man, this is something I have always wanted to do, and it means a lot to me, I am just grateful for it.

When did you realise you had a talent to play amazing blues music, and what keeps that spirit fresh?

When I was younger and first attracted notoriety, I realised this is gonna be my thing. I always gravitated to this idea.

Did you take guitar lessons and singing lessons?

Where did you learn to do your songwriting, and do you have a process?

I didn’t take no singing lessons, but I did take guitar lessons at the Delta Blues Museum.

Singing came naturally, my mom helped me out there and my Uncles. I grew up watching my Uncle’s band and learned from that. I create songs from experiences I have had, and listening to people. The tune might come

PAG E 76 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

W W W.B LU E S MAT TE R S.C O M

It’s hard to believe you are in your early twenties, your singing is so mature and your lyrics, especially on tunes like ‘Been Here Before’ are so hauntingly real, it’s like you have an inner vision - care to talk about that?

Thank you. That was a song that when I was young my grandma said, “write a song,” and this was me reflecting on that, and putting it into words.

Do you enjoy touring; you’ve certainly played lots of venues, any one that stands out?

I like touring apart from the driving part, that can be a bit heavy at times! I like meeting new people and seeing new places.

New audiences I love.

I first played in a local library. I enjoyed playing Ground Zero Club. I did my first gig playing bass when I was eight or nine.

I’m more comfortable on stage nowadays and more knowledgeable about stagecraft.

It’s a whole new ball game from when I first started. I would like to play with Carlos Santana sometime in the future. I want my music to continue to evolve through the blues.

On to the new album, ‘Kingfish,’ you got picked up

by Alligator Records, how cool was that, can you tell us how that came to be?

Have you got time to do things outwith music; you got any hobbies and interests?

What do you feel about the album, have you got any favourite songs you like playing and singing, is there a theme running through it?

Thanks for chatting and keeping the blues well and truly alive and keeping the torch burning for a new generation. I hope to catch you live sometime when you’re in the UK, all the best for a continued bright future.

I’ve known Bruce Igluar since I was younger, I met him a few times. It’s great being part of blues history.

It’s my record, I gotta like that! I love all the songs. I do a few on my live set now and I’m getting used to playing them with my own band, not the one on the record. I had a great time doing it. No, there’s no real theme to it.

W W W.B LU E S MAT TE R S.C O M

I do have a life outside! I play video games and I take care of stuff at home that I have to do. I live with my mom and I have a good relationship with her.

THE ALBUM CATFISH IS AVAILABLE NOW. FOR MORE INFORMATION, GO TO WWW.CHRISTONEKINGFISHINGRAM.COM

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 77

Interview

CHRISTONE ‘KINGFISH’ INGRAM

CHRISTONE ‘KINGFISH’ INGRAM

Interview

“I grew up watching my Uncle’s band and learned from that.

I create songs from experiences I have had, and listening to people” first it just depends on the flow.

How do you feel about having people like Buddy Guy saying: “You are the next explosion of the blues”?

I feel honoured but just want to keep up the tradition. I met him in 2015 at The Waterfront Blues Festival, it was amazing.

All songs are from me, this my life really.

All musicians need a good nickname, what are the origins of yours, “Kingfish”?

It was given to me by one of my mentors. I didn’t like the name at first but it grew on me!

Blues has always been there. There’s always been poverty and struggles. It’s part of life not something you can just get rid of, even if we dislike it. It’s always gonna be there. I want to keep the blues alive.

Who was your biggest influence on choosing this career path?

My family, some people in my neighbourhood are also influences. B.B. King, Albert King, Freddie King, there are lots of influences.

What is the best advice you have been given in this regard?

Keep my head straight, be humble, and keep on progressing and respecting tradition. Just keep going, I guess!

What is the worst advice you have had in your musical career?

I ain’t had any yet, ha ha!

What is your take on success, what does that mean

for you?

Man, this is something I have always wanted to do, and it means a lot to me, I am just grateful for it.

When did you realise you had a talent to play amazing blues music, and what keeps that spirit fresh?

When I was younger and first attracted notoriety, I realised this is gonna be my thing. I always gravitated to this idea.

Did you take guitar lessons and singing lessons?

Where did you learn to do your songwriting, and do you have a process?

I didn’t take no singing lessons, but I did take guitar lessons at the Delta Blues Museum.

Singing came naturally, my mom helped me out there and my Uncles. I grew up watching my Uncle’s band and learned from that. I create songs from experiences I have had, and listening to people. The tune might come

PAG E 76 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

W W W.B LU E S MAT TE R S.C O M

It’s hard to believe you are in your early twenties, your singing is so mature and your lyrics, especially on tunes like ‘Been Here Before’ are so hauntingly real, it’s like you have an inner vision - care to talk about that?

Thank you. That was a song that when I was young my grandma said, “write a song,” and this was me reflecting on that, and putting it into words.

Do you enjoy touring; you’ve certainly played lots of venues, any one that stands out?

I like touring apart from the driving part, that can be a bit heavy at times! I like meeting new people and seeing new places.

New audiences I love.

I first played in a local library. I enjoyed playing Ground Zero Club. I did my first gig playing bass when I was eight or nine.

I’m more comfortable on stage nowadays and more knowledgeable about stagecraft.

It’s a whole new ball game from when I first started. I would like to play with Carlos Santana sometime in the future. I want my music to continue to evolve through the blues.

On to the new album, ‘Kingfish,’ you got picked up

by Alligator Records, how cool was that, can you tell us how that came to be?

Have you got time to do things outwith music; you got any hobbies and interests?

What do you feel about the album, have you got any favourite songs you like playing and singing, is there a theme running through it?

Thanks for chatting and keeping the blues well and truly alive and keeping the torch burning for a new generation. I hope to catch you live sometime when you’re in the UK, all the best for a continued bright future.

I’ve known Bruce Igluar since I was younger, I met him a few times. It’s great being part of blues history.

It’s my record, I gotta like that! I love all the songs. I do a few on my live set now and I’m getting used to playing them with my own band, not the one on the record. I had a great time doing it. No, there’s no real theme to it.

W W W.B LU E S MAT TE R S.C O M

I do have a life outside! I play video games and I take care of stuff at home that I have to do. I live with my mom and I have a good relationship with her.

THE ALBUM CATFISH IS AVAILABLE NOW. FOR MORE INFORMATION, GO TO WWW.CHRISTONEKINGFISHINGRAM.COM

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 77

DANNY BRYANT

Interview

TRACK BY TRACK

DANNY BRYANT

LAST YEAR DANNY BRYANT RELEASED REVELATION, A BIG ALBUM IN EVERY SENSE OF THE WORD, RECORDED WITH A BIG BAND AND MAKING A BIG IMPRESSION ON EVERYONE WHO HEARD IT. VE R BAL S: STEVE YO U R G LIVC H VI S UAL S: R O B B LAC K HAM

F

ollowing what many considered his best work to date was always going to be daunting but an inspired Danny has gone back into the studio and recorded the follow up Means of Escape. A rawer, more stripped back collection of songs for the most part, and with Danny taking control of production himself for the first time, the power and energy of his live shows crackle and spark from the speakers. It’s always a pleasure talking to Danny Bryant, as well as being one of the UK’s premier blues performers he is more than anything a blues lover, collector and super fan, and a very knowledgeable one.

Danny, good to catch up with you again. I’ve been listening to the new album and I’m very impressed with it. You must be very pleased.

Hi Steve, yes, I am. It’s always hard to tell how other people are going to judge it, you get into a kind of bubble. Of course, you always hope people are going to enjoy it.

I really loved the last album, Revelation. I thought that was probably your best album to date because you took some risks and tried new things. I enjoyed the big band line up. Do you feel that Means of Escape is an extension of that?

Not really, no. That was an album on its own with a theme that ran all the way through.

With this one I wanted an album that would hang together but with lots of different styles within that. We’ve done some straight-ahead blues and then some rockier stuff. They all had to fit but they weren’t all on one theme.

So, I suppose if the last one was Revelation you could almost call this one Redemption (laughs), but I didn’t want to do that.

I thought it was interesting that on tracks like Warning Signs, for instance, there are lots of Hammond but in a harder rock vein.

Yes, I did use the same band, and that big band thing is something I play with a lot now, a nine piece. I feel really fortunate that I get to do that now, it’s taken a long time and a lot of risks which are now paying off. Yes, we went for a rockier edge. We used a different studio because I wanted a big live room where we could play together and cut it live. So, in that sense I feel it does sound more rockier. Also, I didn’t want to repeat myself, I didn’t want to do a Revelation 2 and it not be as good as Revelation 1.

That’s an important point. So often the fans want to hear the same thing again. But as an artist you need to grow and develop I feel you have to please yourself otherwise it doesn’t come across as honest.

Yes, authenticity is vital. If it’s not there, people can tell. I think you touch upon that on the opening track, Tired Of Trying.

Yeah, lyrically, you know the music business and the ups and downs of it. One day you can be high as a kite and everything is great, the next its real hard work. Musicians by nature are sensitive people but then we’re putting CONTINUES OVER

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B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 7 9

DANNY BRYANT

Interview

TRACK BY TRACK

DANNY BRYANT

LAST YEAR DANNY BRYANT RELEASED REVELATION, A BIG ALBUM IN EVERY SENSE OF THE WORD, RECORDED WITH A BIG BAND AND MAKING A BIG IMPRESSION ON EVERYONE WHO HEARD IT. VE R BAL S: STEVE YO U R G LIVC H VI S UAL S: R O B B LAC K HAM

F

ollowing what many considered his best work to date was always going to be daunting but an inspired Danny has gone back into the studio and recorded the follow up Means of Escape. A rawer, more stripped back collection of songs for the most part, and with Danny taking control of production himself for the first time, the power and energy of his live shows crackle and spark from the speakers. It’s always a pleasure talking to Danny Bryant, as well as being one of the UK’s premier blues performers he is more than anything a blues lover, collector and super fan, and a very knowledgeable one.

Danny, good to catch up with you again. I’ve been listening to the new album and I’m very impressed with it. You must be very pleased.

Hi Steve, yes, I am. It’s always hard to tell how other people are going to judge it, you get into a kind of bubble. Of course, you always hope people are going to enjoy it.

I really loved the last album, Revelation. I thought that was probably your best album to date because you took some risks and tried new things. I enjoyed the big band line up. Do you feel that Means of Escape is an extension of that?

Not really, no. That was an album on its own with a theme that ran all the way through.

With this one I wanted an album that would hang together but with lots of different styles within that. We’ve done some straight-ahead blues and then some rockier stuff. They all had to fit but they weren’t all on one theme.

So, I suppose if the last one was Revelation you could almost call this one Redemption (laughs), but I didn’t want to do that.

I thought it was interesting that on tracks like Warning Signs, for instance, there are lots of Hammond but in a harder rock vein.

Yes, I did use the same band, and that big band thing is something I play with a lot now, a nine piece. I feel really fortunate that I get to do that now, it’s taken a long time and a lot of risks which are now paying off. Yes, we went for a rockier edge. We used a different studio because I wanted a big live room where we could play together and cut it live. So, in that sense I feel it does sound more rockier. Also, I didn’t want to repeat myself, I didn’t want to do a Revelation 2 and it not be as good as Revelation 1.

That’s an important point. So often the fans want to hear the same thing again. But as an artist you need to grow and develop I feel you have to please yourself otherwise it doesn’t come across as honest.

Yes, authenticity is vital. If it’s not there, people can tell. I think you touch upon that on the opening track, Tired Of Trying.

Yeah, lyrically, you know the music business and the ups and downs of it. One day you can be high as a kite and everything is great, the next its real hard work. Musicians by nature are sensitive people but then we’re putting CONTINUES OVER

PAG E 78 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

W W W.B LU E S MAT TE R S.C O M

W W W.B LU E S MAT TE R S.C O M

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 7 9

Interview

DANNY BRYANT

DANNY BRYANT

tragic life really. But yes, I wanted it to sound squawky and authentic, you know that kinda cheap guitar feel. I was inspired to do that by seeing on YouTube Robert Nighthawk on Maxwell Street. It’s kinda dirty and messy in the right kind of way.

I think that’s an era of blues music that’s sadly overlooked a bit. People like Hound Dog Taylor and Robert Nighthawk playing that dirty driven blues.

Yes, it absolutely is. They knew no other way and they were playing with cheap instruments a lot of the time through amps that weren’t really big enough and getting very distorted. I’ve always liked that style of blues with that real edge on it.

I feel you really nail that vibe on Hurting Time.

That’s recorded live. We put the horns on afterwards, but the four-piece was live and a lot of fun. We’ll do that on the road, means I’ll have to carry another guitar set up for slide but, hey. ourselves in a job where we open ourselves to criticism. Which is fair enough, if you say I’m this person and I’m putting it out to the world you’ve got to be open to criticism otherwise you just keep your work in your house.

I have to say I really like this album. It’s definitely a Danny Bryant album. On a lot of the tracks I pick up a Texas blues almost Southern feel.

I think you’re right. I don’t think that was actually intentional, but they did come out like that, definitely. A track like Nine Lives is probably as Texas blues as I’ve done. I adore Stevie Ray Vaughan, but I’ve never been one of those guys turning up and trying to emulate that sound, but I guess that’s as close as I’ve got.

I suppose if you mention Texas blues SRV is who most people think of. For me Albert Collins springs to mind. I know from talks we’ve had previously that you’re a connoisseur, a fan and collector of blues music. The track Hurting Time reminds me a lot of that 70’s Chicago feel, the likes of Son Seals and Jimmy Dawkins.

I listen to a lot of Jimmy Dawkins and a lot of Son Seals actually. I watched a documentary on him recently. He had quite a strange and

I guess everyone will pick up the fact that you’ve produced the album this time. How did you feel about that and how did it come about?

Well Richard who produced Revelation lives in Canada now so timewise that didn’t work out. I had songs that I wanted a live feel and as a band we had toured together so I felt I would have a good sense of what was the best take. It wasn’t as daunting as it sounds because when I decided to do that, I wanted to surround myself with the best possible people.

So, I picked the studio that I really wanted to use, then Ian Dowling and then Eddie Spear to mix it. You know it’s a blues album but why shouldn’t it have the best sonic quality? You know Ian Dowling has a Grammy for working with Adele and Eddie Spear had just finished mixing a new U2 album right before he mixed mine. Just because it’s a blues album and kinda down and dirty doesn’t mean it can’t have the best sonic. Those guys were brilliant to work with. Eddie mixed a lot of The Rival Sons albums.

Rival Sons have that rocky blues Southern feel that we mentioned earlier too.

Yes, maybe it’s not so much the songs but the way he’s mixed it that gives it that.

PAG E 8 0 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

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Too Far Gone has a real big epic feel to it.

Interview

it doesn’t really seem honest.

Yes, that’s probably my favourite, I am a sucker for that kinda blues. I love the way the horns come in and I was going for a Luther Allison feel there.

Another guy from that same era and place. So many of today’s players ignore that, they are either too rock or too purified blues. They miss out on that urban blues.

I think it’s very hard to write a song that’s very personal but also allows the listener to connect to it too.

Yes, that’s true. With that one I kept it so bare that I wanted you to feel like you were intruding on a private conversation. I wanted it to make people feel uncomfortable.

For me it’s great. I think you should listen to as much as you can. Absorb it all in and let it come out however it does, organically. I’m an avid collector, my house is full of box sets, vinyls, CDs and books. That’s my hobby, so if I’m not on the road that’s what I do. People ask me what are my hobbies? And I say what I do for a living is my hobby as well. Those Hill County Blues guys often get overlooked and it’s hard to play that stuff.

The other personal one is Where The River Ends.

Nine Lives is another great track, the whole big band and Stevie Watts on the Hammond doing his thing. There’s so many tracks looking down the list that are going to be brilliant live.

It’s a very concise album. I think the first four tracks sit together as a very powerful opening which is very much what you’re about. And then breaking it up with Skin And Bone, it’s very well thought out.

Yes, I think so. We’ve just started putting together the set lists as we’re about to start touring and I’m doing just about every song off the album which I’ve never done before.

I probably won’t do the acoustic one as it’s gotta be a certain type of venue to go from a full nine-piece band to strip it down to one acoustic. Other than that, I think we’ll do them all.

Yeah, I’d done that a long time ago, but I wanted to give it another shot because I believed I could sing it better. You need to be very gentle with it and then you need to be very powerful. We always have a big ballad towards the end of the shows and I’m hoping this will slot into that. I wrote the song a long time ago but now I’ve added my extra experience on top of it.

Thanks. It’s been the easiest one in terms of deciding the running order. I usually hate that part.

You mentioned touring. I believe it’s the UK in October and Europe later in the year?

The Means Of Escape tour really starts in October touring the UK broken up with a festival in Spain. Then it’s Holland, then Germany and Switzerland with the big You’ve touched upon that, there are two very band. The only show in London is personal songs on the album. Skin And Dingwalls on 20th September, the Bone is one, it must have been tough to day of release. I’m looking forward record that? to playing Dingwalls as well, I’ve It was one of those that came quite RECENT RELEASES Means Of Escape 2019 never played it before. The release easily, I wanted an acoustic song, Revelation 2018 show will be the four-piece. I guess so we set up in the studio. After a Big, Live In Europe 2017 about a third of our shows now are couple of practice runs, we went Blood Money 2016 the big band, but it has to be the for it and recorded it, so it wasn’t Temperature Rising 2014 right venue. I enjoy both formats, particularly laboured. It breaks Hurricane 2013 the four-piece because we can jam the album up nicely and obviously out a bit more, the big band has to it’s a personal one, but we have all be more set arrangements because different subjects on there, and I the horn players are reading only write about stuff I know and charts. understand. They might not all have happened to me. I only want to write about things I’ve witnessed, or FOR MORE INFO, GO TO WWW.DANNYBRYANT.COM

DISCOGRAPHY

W W W.B LU E S MAT TE R S.C O M

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 81

Interview

DANNY BRYANT

DANNY BRYANT

tragic life really. But yes, I wanted it to sound squawky and authentic, you know that kinda cheap guitar feel. I was inspired to do that by seeing on YouTube Robert Nighthawk on Maxwell Street. It’s kinda dirty and messy in the right kind of way.

I think that’s an era of blues music that’s sadly overlooked a bit. People like Hound Dog Taylor and Robert Nighthawk playing that dirty driven blues.

Yes, it absolutely is. They knew no other way and they were playing with cheap instruments a lot of the time through amps that weren’t really big enough and getting very distorted. I’ve always liked that style of blues with that real edge on it.

I feel you really nail that vibe on Hurting Time.

That’s recorded live. We put the horns on afterwards, but the four-piece was live and a lot of fun. We’ll do that on the road, means I’ll have to carry another guitar set up for slide but, hey. ourselves in a job where we open ourselves to criticism. Which is fair enough, if you say I’m this person and I’m putting it out to the world you’ve got to be open to criticism otherwise you just keep your work in your house.

I have to say I really like this album. It’s definitely a Danny Bryant album. On a lot of the tracks I pick up a Texas blues almost Southern feel.

I think you’re right. I don’t think that was actually intentional, but they did come out like that, definitely. A track like Nine Lives is probably as Texas blues as I’ve done. I adore Stevie Ray Vaughan, but I’ve never been one of those guys turning up and trying to emulate that sound, but I guess that’s as close as I’ve got.

I suppose if you mention Texas blues SRV is who most people think of. For me Albert Collins springs to mind. I know from talks we’ve had previously that you’re a connoisseur, a fan and collector of blues music. The track Hurting Time reminds me a lot of that 70’s Chicago feel, the likes of Son Seals and Jimmy Dawkins.

I listen to a lot of Jimmy Dawkins and a lot of Son Seals actually. I watched a documentary on him recently. He had quite a strange and

I guess everyone will pick up the fact that you’ve produced the album this time. How did you feel about that and how did it come about?

Well Richard who produced Revelation lives in Canada now so timewise that didn’t work out. I had songs that I wanted a live feel and as a band we had toured together so I felt I would have a good sense of what was the best take. It wasn’t as daunting as it sounds because when I decided to do that, I wanted to surround myself with the best possible people.

So, I picked the studio that I really wanted to use, then Ian Dowling and then Eddie Spear to mix it. You know it’s a blues album but why shouldn’t it have the best sonic quality? You know Ian Dowling has a Grammy for working with Adele and Eddie Spear had just finished mixing a new U2 album right before he mixed mine. Just because it’s a blues album and kinda down and dirty doesn’t mean it can’t have the best sonic. Those guys were brilliant to work with. Eddie mixed a lot of The Rival Sons albums.

Rival Sons have that rocky blues Southern feel that we mentioned earlier too.

Yes, maybe it’s not so much the songs but the way he’s mixed it that gives it that.

PAG E 8 0 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

W W W.B LU E S MAT TE R S.C O M

Too Far Gone has a real big epic feel to it.

Interview

it doesn’t really seem honest.

Yes, that’s probably my favourite, I am a sucker for that kinda blues. I love the way the horns come in and I was going for a Luther Allison feel there.

Another guy from that same era and place. So many of today’s players ignore that, they are either too rock or too purified blues. They miss out on that urban blues.

I think it’s very hard to write a song that’s very personal but also allows the listener to connect to it too.

Yes, that’s true. With that one I kept it so bare that I wanted you to feel like you were intruding on a private conversation. I wanted it to make people feel uncomfortable.

For me it’s great. I think you should listen to as much as you can. Absorb it all in and let it come out however it does, organically. I’m an avid collector, my house is full of box sets, vinyls, CDs and books. That’s my hobby, so if I’m not on the road that’s what I do. People ask me what are my hobbies? And I say what I do for a living is my hobby as well. Those Hill County Blues guys often get overlooked and it’s hard to play that stuff.

The other personal one is Where The River Ends.

Nine Lives is another great track, the whole big band and Stevie Watts on the Hammond doing his thing. There’s so many tracks looking down the list that are going to be brilliant live.

It’s a very concise album. I think the first four tracks sit together as a very powerful opening which is very much what you’re about. And then breaking it up with Skin And Bone, it’s very well thought out.

Yes, I think so. We’ve just started putting together the set lists as we’re about to start touring and I’m doing just about every song off the album which I’ve never done before.

I probably won’t do the acoustic one as it’s gotta be a certain type of venue to go from a full nine-piece band to strip it down to one acoustic. Other than that, I think we’ll do them all.

Yeah, I’d done that a long time ago, but I wanted to give it another shot because I believed I could sing it better. You need to be very gentle with it and then you need to be very powerful. We always have a big ballad towards the end of the shows and I’m hoping this will slot into that. I wrote the song a long time ago but now I’ve added my extra experience on top of it.

Thanks. It’s been the easiest one in terms of deciding the running order. I usually hate that part.

You mentioned touring. I believe it’s the UK in October and Europe later in the year?

The Means Of Escape tour really starts in October touring the UK broken up with a festival in Spain. Then it’s Holland, then Germany and Switzerland with the big You’ve touched upon that, there are two very band. The only show in London is personal songs on the album. Skin And Dingwalls on 20th September, the Bone is one, it must have been tough to day of release. I’m looking forward record that? to playing Dingwalls as well, I’ve It was one of those that came quite RECENT RELEASES Means Of Escape 2019 never played it before. The release easily, I wanted an acoustic song, Revelation 2018 show will be the four-piece. I guess so we set up in the studio. After a Big, Live In Europe 2017 about a third of our shows now are couple of practice runs, we went Blood Money 2016 the big band, but it has to be the for it and recorded it, so it wasn’t Temperature Rising 2014 right venue. I enjoy both formats, particularly laboured. It breaks Hurricane 2013 the four-piece because we can jam the album up nicely and obviously out a bit more, the big band has to it’s a personal one, but we have all be more set arrangements because different subjects on there, and I the horn players are reading only write about stuff I know and charts. understand. They might not all have happened to me. I only want to write about things I’ve witnessed, or FOR MORE INFO, GO TO WWW.DANNYBRYANT.COM

DISCOGRAPHY

W W W.B LU E S MAT TE R S.C O M

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 81

JAIMOE

Interview

IT’S MORE THAN JUST ROCK AND ROLL

JAIMOE

“I’D RATHER BE IN A GREAT ROCK BAND THAN A BAD JAZZ BAND,” SAYS BASS PLAYER DAVE STOLTZ. ACTUALLY, HE’S IN A GROUP THAT’S BOTH, JAIMOE’S JASSSZ BAND VE R BAL S: D O N WI LC O C K VI S UAL S: AR N I E G O O D MAN

F

irst formed in 2005, the group presents the best of both worlds. Jaimoe’s heritage goes back to the mid-’60s when he was a session musician at Muscle Shoals. When the late Duane Allman saw him playing together with another drummer in 1967 backing Otis Redding live in concert, he decided to put Jaimoe together with another drummer Butch Trucks in the fledgling Allman Brothers Band. This was even before Duane brought his brother Gregg Allman into the band.

“I play blues. I play jazz. It’s the Goddamn same thing,” say Jaimoe today. “When we (The Allman Brothers Band) stopped, supposedly everything (went) straight with me. What we did was, we stopped touring.

We stopped making records. A concert here, a concert there. We stopped touring with a touring band. That’s all, and then things went like they went, and it was good because it gave me more time with my band. It gave Gregory (Gregg Allman) a lot more time with his band which he needed because you can’t do two things. You can, but you had to look at what you’re able to do, what the laws are, what you’re dealing with, and there’s no problem. The only thing that happens there is “era.” The era of this, the era of that because it might influence what was going on that was supposedly more powerful than anything else in terms of backing people.”

Jaimoe is the last man standing from the original Allman Brothers Band. The Allman Brothers Band split up in 2014. Both Gregg and Butch died in 2017, one more chapter in

the career of a band that was defined as much by its tragedies as it was the hard driving music it created.

Jaimoe’s Jasssz Band is as eclectic as he is. Keyboardist and guitarist/vocalist, Junior Mack, has worked or shared the stage with the Allman Brothers Band, Derek Trucks, Robert Randolph, Dickey Betts, the late David Honeyboy Edwards and the Harlem Blues Project. Saxophonist and multi-wind artist, composer and arranger Kris Jensen has played with Maynard Ferguson, the Allman Brothers Band, Gregg Allman and Friends, Dickey Betts and Great Southern.

Trumpet player Reggie Pittman holds a bachelor’s degree in music education and a masters on music technology. He has worked with Babyface, Lionel Hampton and his own bands for a total of more than 30 years.

Dave Stoltz first met Jaimoe in 2000 and has been playing with him since The Jasssz Band first formed. He’s written a couple of songs for the band, “One song was called “Simple Songs” that we recorded on our studio CD, and that was just a duo between Junior and me.” Stoltz has also worked with Ellen McIlwaine, members of the Byrds, Eddie Henderson, Houston Person, and Grayson Hugh.

Stoltz became Dickey Betts’ best new friend when he joined Dickey’s band and says it was Betts’ relationship with the late Butch Trucks that got him fired from the Allman Brothers. “He and Butch I think were kinda CONTINUES OVER

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W W W.B LU E S MAT TE R S.C O M

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 8 3

JAIMOE

Interview

IT’S MORE THAN JUST ROCK AND ROLL

JAIMOE

“I’D RATHER BE IN A GREAT ROCK BAND THAN A BAD JAZZ BAND,” SAYS BASS PLAYER DAVE STOLTZ. ACTUALLY, HE’S IN A GROUP THAT’S BOTH, JAIMOE’S JASSSZ BAND VE R BAL S: D O N WI LC O C K VI S UAL S: AR N I E G O O D MAN

F

irst formed in 2005, the group presents the best of both worlds. Jaimoe’s heritage goes back to the mid-’60s when he was a session musician at Muscle Shoals. When the late Duane Allman saw him playing together with another drummer in 1967 backing Otis Redding live in concert, he decided to put Jaimoe together with another drummer Butch Trucks in the fledgling Allman Brothers Band. This was even before Duane brought his brother Gregg Allman into the band.

“I play blues. I play jazz. It’s the Goddamn same thing,” say Jaimoe today. “When we (The Allman Brothers Band) stopped, supposedly everything (went) straight with me. What we did was, we stopped touring.

We stopped making records. A concert here, a concert there. We stopped touring with a touring band. That’s all, and then things went like they went, and it was good because it gave me more time with my band. It gave Gregory (Gregg Allman) a lot more time with his band which he needed because you can’t do two things. You can, but you had to look at what you’re able to do, what the laws are, what you’re dealing with, and there’s no problem. The only thing that happens there is “era.” The era of this, the era of that because it might influence what was going on that was supposedly more powerful than anything else in terms of backing people.”

Jaimoe is the last man standing from the original Allman Brothers Band. The Allman Brothers Band split up in 2014. Both Gregg and Butch died in 2017, one more chapter in

the career of a band that was defined as much by its tragedies as it was the hard driving music it created.

Jaimoe’s Jasssz Band is as eclectic as he is. Keyboardist and guitarist/vocalist, Junior Mack, has worked or shared the stage with the Allman Brothers Band, Derek Trucks, Robert Randolph, Dickey Betts, the late David Honeyboy Edwards and the Harlem Blues Project. Saxophonist and multi-wind artist, composer and arranger Kris Jensen has played with Maynard Ferguson, the Allman Brothers Band, Gregg Allman and Friends, Dickey Betts and Great Southern.

Trumpet player Reggie Pittman holds a bachelor’s degree in music education and a masters on music technology. He has worked with Babyface, Lionel Hampton and his own bands for a total of more than 30 years.

Dave Stoltz first met Jaimoe in 2000 and has been playing with him since The Jasssz Band first formed. He’s written a couple of songs for the band, “One song was called “Simple Songs” that we recorded on our studio CD, and that was just a duo between Junior and me.” Stoltz has also worked with Ellen McIlwaine, members of the Byrds, Eddie Henderson, Houston Person, and Grayson Hugh.

Stoltz became Dickey Betts’ best new friend when he joined Dickey’s band and says it was Betts’ relationship with the late Butch Trucks that got him fired from the Allman Brothers. “He and Butch I think were kinda CONTINUES OVER

PAG E 8 2 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

W W W.B LU E S MAT TE R S.C O M

W W W.B LU E S MAT TE R S.C O M

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 8 3

JAIMOE

Interview

“Little did I know this would continue for another 29 years and counting” like Road Runner and Cayote, and he prided himself on it.”

As iconic as the Allman Brothers were, Jaimoe is enjoying the freedom of playing with his own more eclectic band. “If you’re not careful, all your influences overshadow you,” he says.

As far as the Allman Brothers were concerned, he loved the experience and he just may be a little surprised that he’s the last (original) member of that band left standing.

“We were fucked up on wine, pot and what the fuck else. If we were that good after what we had been putting in our bodies, I say, what would it have sounded like if we hadn’t been in that situation? I finally came to the conclusion (whether or not we were on drugs) it’s just about even because we damn sure didn’t not try to do our best. It would have just gone in another direction.

Not direction maybe, but it would have done something that it didn’t do.”

Jaimoe often listens to CDs on earphones while he plays. “I bang away. I still do that. I do that right today. People say, ‘What do you do?’ I play with anybody I want to. Get a CD. Stick it on that thing, and fire it up. I love playing drums, man. People say, ‘I used to do that, but I can’t keep it up.’ I say, ‘If you’re serious about it, you’ll keep it up.’

“There’s a song that we do that we never recorded, but we have performed many times called “Jaimoe’s Groove,” says Stoltz. “I wrote it based on the drumbeat that he played. It’s my snapshot of how he plays, how amazingly relaxed he is and distinctive. He blew my mind. I met him on a Sunday morning, and we played together that night at an open mic at this biker bar in New Britain, and right from the first downbeat he was amazing at what he did. Just the way everything fell.

He’s got an amazing way about how he makes a drum kit sound. The sticks he uses are like Boonville Sluggers, bigger than anyone else’s. Just amazing. Blew my mind.

university of texas press

GUI

TA R

K IN

G

utexaspress.com

M IC B LO H A E L L IF O M F D A VE IN T HIE L D ’S ID D E B L A N N UE S

Guitar King Michael Bloomfield’s Life in the Blues

BY DAVID DANN

This first comprehensive biography of the late, great Michael Bloomfield brings to life a dazzling electric-guitar virtuoso who transformed rock ’n’ roll in the 1960s and made a lasting impact on the blues genre.

Hardcover $39.95

PAG E 8 4 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

W W W.B LU E S MAT TE R S.C O M

W W W.B LU E S MAT TE R S.C O M

But, God, this is great. Little did I know this would continue for another 29 years and counting.”

At 75, Jaimoe has a clear picture of where he fits in American music history.

“To, me, Don, that (Allman Brothers sound) ain’t nothing but recycling. There are my licks and so and so’s licks, so and so and me and nobody else on that music. That music belongs to whoever can perform it and you were chosen to perform it. So, it’s no joke about that.

“Eventually, I tell these guys, you need to be up on your shit because we are the masters that we looked up to when we were coming along. Now that’s us because just about all of ’em are dead, and we can’t keep fucking around. When you go up on the stage to play, man, it’s like it’s the last time you’re ever gonna play, So, the music has to be that inspiring. If somebody is not putting in what needs to be put in, it falls short.”

At 75, how long is Jaimoe going to keep playing drums? “Oh, until you can’t go anymore, man. Until you can’t play anymore, because when you can’t go anymore, you might as well be dead.”

FOR MORE INFORMATION, GO TO HTTPS://JAIMOE.COM

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 8 5

JAIMOE

Interview

“Little did I know this would continue for another 29 years and counting” like Road Runner and Cayote, and he prided himself on it.”

As iconic as the Allman Brothers were, Jaimoe is enjoying the freedom of playing with his own more eclectic band. “If you’re not careful, all your influences overshadow you,” he says.

As far as the Allman Brothers were concerned, he loved the experience and he just may be a little surprised that he’s the last (original) member of that band left standing.

“We were fucked up on wine, pot and what the fuck else. If we were that good after what we had been putting in our bodies, I say, what would it have sounded like if we hadn’t been in that situation? I finally came to the conclusion (whether or not we were on drugs) it’s just about even because we damn sure didn’t not try to do our best. It would have just gone in another direction.

Not direction maybe, but it would have done something that it didn’t do.”

Jaimoe often listens to CDs on earphones while he plays. “I bang away. I still do that. I do that right today. People say, ‘What do you do?’ I play with anybody I want to. Get a CD. Stick it on that thing, and fire it up. I love playing drums, man. People say, ‘I used to do that, but I can’t keep it up.’ I say, ‘If you’re serious about it, you’ll keep it up.’

“There’s a song that we do that we never recorded, but we have performed many times called “Jaimoe’s Groove,” says Stoltz. “I wrote it based on the drumbeat that he played. It’s my snapshot of how he plays, how amazingly relaxed he is and distinctive. He blew my mind. I met him on a Sunday morning, and we played together that night at an open mic at this biker bar in New Britain, and right from the first downbeat he was amazing at what he did. Just the way everything fell.

He’s got an amazing way about how he makes a drum kit sound. The sticks he uses are like Boonville Sluggers, bigger than anyone else’s. Just amazing. Blew my mind.

university of texas press

GUI

TA R

K IN

G

utexaspress.com

M IC B LO H A E L L IF O M F D A VE IN T HIE L D ’S ID D E B L A N N UE S

Guitar King Michael Bloomfield’s Life in the Blues

BY DAVID DANN

This first comprehensive biography of the late, great Michael Bloomfield brings to life a dazzling electric-guitar virtuoso who transformed rock ’n’ roll in the 1960s and made a lasting impact on the blues genre.

Hardcover $39.95

PAG E 8 4 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

W W W.B LU E S MAT TE R S.C O M

W W W.B LU E S MAT TE R S.C O M

But, God, this is great. Little did I know this would continue for another 29 years and counting.”

At 75, Jaimoe has a clear picture of where he fits in American music history.

“To, me, Don, that (Allman Brothers sound) ain’t nothing but recycling. There are my licks and so and so’s licks, so and so and me and nobody else on that music. That music belongs to whoever can perform it and you were chosen to perform it. So, it’s no joke about that.

“Eventually, I tell these guys, you need to be up on your shit because we are the masters that we looked up to when we were coming along. Now that’s us because just about all of ’em are dead, and we can’t keep fucking around. When you go up on the stage to play, man, it’s like it’s the last time you’re ever gonna play, So, the music has to be that inspiring. If somebody is not putting in what needs to be put in, it falls short.”

At 75, how long is Jaimoe going to keep playing drums? “Oh, until you can’t go anymore, man. Until you can’t play anymore, because when you can’t go anymore, you might as well be dead.”

FOR MORE INFORMATION, GO TO HTTPS://JAIMOE.COM

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 8 5

KRIS BARRAS

Interview

NO HOLDS BARRED

KRIS BARRAS

THE RISE OF THE KRIS BARRAS BAND CONTINUES A PACE WITH A NEW ALBUM, LIGHT IT UP, SOLD OUT TOURS, AND HEADLINING FESTIVALS. BLUES MATTERS! MANAGED TO CATCH UP WITH (FORMER CONTRIBUTOR) KRIS RECENTLY. VE R BALS: COLI N CAM PB E LL VISUALS: ROB B LACKHAM, AN DR EW KNOWLES

Thanks for taking time out of your unbelievably hectic schedule to talk to Blues Matters. Where are you just now?

I’m at home in Torquay! Very good to be home with the dogs.

What a year you have had since you last talked to us, you’ve just never stopped. Can you believe how successful things have been for you and the band?

Talk about some of your personal highlights.

It’s getting there, been busy for sure. I love it, playing live that’s what I do it for. Too many highlights to list. Every time we do a headline tour it blows my mind. Venues get bigger, and the crowds get bigger. We still continue to sell out fifty percent of the shows. Festivals such as the Rambling Man have been good ones for me, I’ve played there three times in three years, every year has been fantastic. Also got to do some amazing gigs with Supersonic Blues Machine and recorded a live album too.

I’m also doing the next studio album with them too.

In a recent interview with Fabrizio Grozzi for Blues Matters he mentioned you were a perfect lock in for the band, how does that make you feel?

Amazing. Fab is a great guy. There was a lot of pressure for me going into that situation. I was a fan of the band. It was funny, I set myself a goal when I signed with the Mascot Agency. This was; within three years I wanted to be asked to be a guest on one of Supersonics albums, and then within six months I was the frontman for the band taking over from Lance Lopez, it was crazy! I

went to L.A. to meet the band. Lance’s singing style is different from mine. at first, I tried to sing like him, but after sitting with Fab he said you need to be yourself. We flew you out here because we like YOU. From that point everything clicked. The tour we just finished was great. We all know each other now.

You have played with your heroes such as Billy Gibbons whilst on tour with Supersonic Blues Machine, what did that feel like? What tips did you get from Billy in particular, and advice?

Billy is such an inspirational guy to be around, he always comes out with nuggets of gold inspiration. To see him come up on stage, he just lights it up. He has a charisma and persona, it drives audiences crazy, and it’s amazing.

Take it you still enjoy touring? You give so much in a performance. What makes a good gig a brilliant one for you?

It’s very hard. Recently we played Norway and drove through the night to get to the next venue. These are the things people don’t see. It’s all worthwhile when you come on stage and play to the audience! Besides me being happy with my own performance at a gig, a lot comes down to the connection with the crowd. When the crowd hang onto every note I play, they are good gigs for me.

Music has always been part of your life since a very early age, why did you choose music as a career

PAG E 8 6 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

CONTINUES OVER

W W W.B LU E S MAT TE R S.C O M

W W W.B LU E S MAT TE R S.C O M

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 87

KRIS BARRAS

Interview

NO HOLDS BARRED

KRIS BARRAS

THE RISE OF THE KRIS BARRAS BAND CONTINUES A PACE WITH A NEW ALBUM, LIGHT IT UP, SOLD OUT TOURS, AND HEADLINING FESTIVALS. BLUES MATTERS! MANAGED TO CATCH UP WITH (FORMER CONTRIBUTOR) KRIS RECENTLY. VE R BALS: COLI N CAM PB E LL VISUALS: ROB B LACKHAM, AN DR EW KNOWLES

Thanks for taking time out of your unbelievably hectic schedule to talk to Blues Matters. Where are you just now?

I’m at home in Torquay! Very good to be home with the dogs.

What a year you have had since you last talked to us, you’ve just never stopped. Can you believe how successful things have been for you and the band?

Talk about some of your personal highlights.

It’s getting there, been busy for sure. I love it, playing live that’s what I do it for. Too many highlights to list. Every time we do a headline tour it blows my mind. Venues get bigger, and the crowds get bigger. We still continue to sell out fifty percent of the shows. Festivals such as the Rambling Man have been good ones for me, I’ve played there three times in three years, every year has been fantastic. Also got to do some amazing gigs with Supersonic Blues Machine and recorded a live album too.

I’m also doing the next studio album with them too.

In a recent interview with Fabrizio Grozzi for Blues Matters he mentioned you were a perfect lock in for the band, how does that make you feel?

Amazing. Fab is a great guy. There was a lot of pressure for me going into that situation. I was a fan of the band. It was funny, I set myself a goal when I signed with the Mascot Agency. This was; within three years I wanted to be asked to be a guest on one of Supersonics albums, and then within six months I was the frontman for the band taking over from Lance Lopez, it was crazy! I

went to L.A. to meet the band. Lance’s singing style is different from mine. at first, I tried to sing like him, but after sitting with Fab he said you need to be yourself. We flew you out here because we like YOU. From that point everything clicked. The tour we just finished was great. We all know each other now.

You have played with your heroes such as Billy Gibbons whilst on tour with Supersonic Blues Machine, what did that feel like? What tips did you get from Billy in particular, and advice?

Billy is such an inspirational guy to be around, he always comes out with nuggets of gold inspiration. To see him come up on stage, he just lights it up. He has a charisma and persona, it drives audiences crazy, and it’s amazing.

Take it you still enjoy touring? You give so much in a performance. What makes a good gig a brilliant one for you?

It’s very hard. Recently we played Norway and drove through the night to get to the next venue. These are the things people don’t see. It’s all worthwhile when you come on stage and play to the audience! Besides me being happy with my own performance at a gig, a lot comes down to the connection with the crowd. When the crowd hang onto every note I play, they are good gigs for me.

Music has always been part of your life since a very early age, why did you choose music as a career

PAG E 8 6 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

CONTINUES OVER

W W W.B LU E S MAT TE R S.C O M

W W W.B LU E S MAT TE R S.C O M

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 87

KRIS BARRAS

and who influenced this decision?

I didn’t choose it as a career, it just happened.

I think if you choose music as a career, you’ll probably end up disappointed. I finished with the fighting, and doing the training, and I was earning a decent wage but there was something missing. I started writing songs and did it for my own satisfaction to do some small festivals and to play my songs to people who wanted to hear them. It’s spiralled. About fourteen months ago it got to the stage where I was so busy with the music and stuff, so I had a conversation with my business partner at the gym and said I would have to step down as Director and move on.

What’s the best advice you have been given professionally and personally in your life?

Not sure, a lot of things I have worked out myself. I’ve been involved with several businesses and that has helped me a lot with dealing with the music business. You have to treat it as a business, it’s not good enough to have talent and play guitar and sing some okay songs because the money is not there in the industry any more, and record labels are not making money. If that is so, then it means it’s not getting passed to the artists. One lovely piece of advice that Billy Gibbons gave me and sticks with me on the times I’m tired was “We don’t have to do it, we gets to do it” That’s my mantra now, kind of.

How did you get the present Kris Barras band together, any tales from the road you want to share?

The biggest change has been Josiah J Manning on keyboards. He is the Producer and did The Divine and Dirty album, he is my right-hand man.

Would you say your persona on stage is the same as off stage?

No. I’m quite a quiet person with a small circle of friends. I have a lot of acquaintances. A lot of people get surprised. They think that when I’m bolshie on stage or whatever that’s what I’m like. That’s not me. When I get on stage with a guitar in my hand, I love going mad – the same feeling I got as a fighter.

When do you find time to reflect and do you get the chance to relax and wind down or do you enjoy the

adrenaline-filled, full-on life on the road?

I’m back home for two weeks but still doing interviews and videos and stuff. I’m at a critical point in my career and I know I have to work hard. If I make enough money in next few years, I might be able to ease off the schedule a bit but at this stage I need to be constantly touring. It is how it is just now.

You have been playing a lot of new tracks live how do you think these have gone down with your fans and the band?

I first started playing them for the new album, Light it Up. I just hope that people like it. I’m proud of what I have done, and I’ve not conformed to any type of genre as such. It will hopefully open us up to a wider audience due to a bit more ambiguity. It will appeal to the much larger audience in the rock world. Recent success has been due in part to breaking into that. We were the most played band on Planet Rock for six weeks, this has helped. We’ve played about three in past twelve months. We knew from when we first played them people were digging it. I was getting a lot of good comments.

We released Ignite as the first single; it has a catchy chorus people have latched onto.

Crowds were singing along straight away that’s always a good sign.

The new album is more blues-rock. You’ve never been a pure blues man anyway really?

Exactly! People say, how have you moved away from the blues? I say my music is influenced by the blues genre. I’m influenced

by Gary Moore and The Rolling Stones. I liked Deep Purple, Thunder and bands like Boston.

On this album I didn’t want to conform to a blues album and have the ‘Blues Police’ coming after me. I didn’t care. I just wanted to write good songs, catchy melodies and some decent guitar melodies. I’ve achieved that.

Talk about the new album - how long did it take to make, what was the production method and how it all came together?

We were in the studio for three or four weeks.

It’s the first proper album I have done. The others have been mostly self-funded; I could not afford to pay for a studio for a month when doing the last album. It’s a little-known

PAG E 8 8 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

W W W.B LU E S MAT TE R S.C O M

Interview

fact that I used two different bands for The Divine and Dirty. We had a lot of preproduction done. Experimented with drum kits and amps and the whole production.

Is there a theme to the new album?

Not really. The songs were written at different times within an eighteen-month period. Some are about my experiences. I don’t feel it’s a concept album.

Let The River Run is particularly poignant, care to discuss?

It’s a song about dealing with everyday problems like depression. Being in the music industry is tough, the tough times and how people cope with becoming depressed.

Do you have a particular song writing technique?

What comes first the song or the melody? Am thinking particularly of 6AM here how did that come about?

I tend to write my songs in the middle of the night. 6AM is about holding on for the sunlight. To do this you have to go through sleepless nights. Metaphorically 6AM is the sunrise. I used to write a riff like a typical guitarist. But as I have developed as a songwriter that was limiting and will make a song sound a certain way. They start as poems sometimes.

I try to write the chorus first now as that is the hook. That’s what people listen to. Vegas Sun, I wrote the vocal melody first then found a pacey guitar riff, it’s my favourite guitar riff on the album. I like Ignite, it’s different. I like the feel. On the other side of that I like Rain, it is personal to me. It only took half an hour to make.

Small intimate venues such as Voodoo Rooms, Edinburgh as opposed to big festivals stages such as The Rambling Man. What do you prefer and what challenges lie in differing venues?

I like being close to the people at smaller venues, but the sound system can be dodgy. My performances are visual and there’s a lot of movement. In a smaller venue I can’t put on the same level of show that I can when running

W W W.B LU E S MAT TE R S.C O M

around a big stage, at say, Rambling Man Festival.

What’s it like to play the guitar in big concert halls as opposed to the feeling you got when you entered a ring to do martial arts?

Adrenaline is a big factor, and doing a gig is a lot less painful. I don’t get any injuries. The feeling before, the flight and flight effect when I’m pumped up and it all depends how you deal with it.

What do your fans not know about you that you could tell Blues Matters?

Probably that I’m a private guy, and I don’t like crowds.

What are your future plans and projects, where do you see yourself?

I’ve no idea, I didn’t think I’d get this far!

Hopefully, still playing music. In January I will be out with Supersonics.

DISCOGRAPHY RECENT RELEASES Light it Up Divine & Dirty Lucky 13

2019 2018 2016

How would you sum up your interpretation of what the blues music genre means to you?

It’s a passion. It doesn’t have to be conformed to. It is a feeling and energy. It is responsible for most guitar playing styles for me.

Well keep on doing the things you enjoy, catch you next time, thanks.

FOR A FULL REVIEW OF LIGHT IT UP, GO TO OUR REVIEWS SECTION ON PAGE 113

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 8 9

KRIS BARRAS

and who influenced this decision?

I didn’t choose it as a career, it just happened.

I think if you choose music as a career, you’ll probably end up disappointed. I finished with the fighting, and doing the training, and I was earning a decent wage but there was something missing. I started writing songs and did it for my own satisfaction to do some small festivals and to play my songs to people who wanted to hear them. It’s spiralled. About fourteen months ago it got to the stage where I was so busy with the music and stuff, so I had a conversation with my business partner at the gym and said I would have to step down as Director and move on.

What’s the best advice you have been given professionally and personally in your life?

Not sure, a lot of things I have worked out myself. I’ve been involved with several businesses and that has helped me a lot with dealing with the music business. You have to treat it as a business, it’s not good enough to have talent and play guitar and sing some okay songs because the money is not there in the industry any more, and record labels are not making money. If that is so, then it means it’s not getting passed to the artists. One lovely piece of advice that Billy Gibbons gave me and sticks with me on the times I’m tired was “We don’t have to do it, we gets to do it” That’s my mantra now, kind of.

How did you get the present Kris Barras band together, any tales from the road you want to share?

The biggest change has been Josiah J Manning on keyboards. He is the Producer and did The Divine and Dirty album, he is my right-hand man.

Would you say your persona on stage is the same as off stage?

No. I’m quite a quiet person with a small circle of friends. I have a lot of acquaintances. A lot of people get surprised. They think that when I’m bolshie on stage or whatever that’s what I’m like. That’s not me. When I get on stage with a guitar in my hand, I love going mad – the same feeling I got as a fighter.

When do you find time to reflect and do you get the chance to relax and wind down or do you enjoy the

adrenaline-filled, full-on life on the road?

I’m back home for two weeks but still doing interviews and videos and stuff. I’m at a critical point in my career and I know I have to work hard. If I make enough money in next few years, I might be able to ease off the schedule a bit but at this stage I need to be constantly touring. It is how it is just now.

You have been playing a lot of new tracks live how do you think these have gone down with your fans and the band?

I first started playing them for the new album, Light it Up. I just hope that people like it. I’m proud of what I have done, and I’ve not conformed to any type of genre as such. It will hopefully open us up to a wider audience due to a bit more ambiguity. It will appeal to the much larger audience in the rock world. Recent success has been due in part to breaking into that. We were the most played band on Planet Rock for six weeks, this has helped. We’ve played about three in past twelve months. We knew from when we first played them people were digging it. I was getting a lot of good comments.

We released Ignite as the first single; it has a catchy chorus people have latched onto.

Crowds were singing along straight away that’s always a good sign.

The new album is more blues-rock. You’ve never been a pure blues man anyway really?

Exactly! People say, how have you moved away from the blues? I say my music is influenced by the blues genre. I’m influenced

by Gary Moore and The Rolling Stones. I liked Deep Purple, Thunder and bands like Boston.

On this album I didn’t want to conform to a blues album and have the ‘Blues Police’ coming after me. I didn’t care. I just wanted to write good songs, catchy melodies and some decent guitar melodies. I’ve achieved that.

Talk about the new album - how long did it take to make, what was the production method and how it all came together?

We were in the studio for three or four weeks.

It’s the first proper album I have done. The others have been mostly self-funded; I could not afford to pay for a studio for a month when doing the last album. It’s a little-known

PAG E 8 8 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

W W W.B LU E S MAT TE R S.C O M

Interview

fact that I used two different bands for The Divine and Dirty. We had a lot of preproduction done. Experimented with drum kits and amps and the whole production.

Is there a theme to the new album?

Not really. The songs were written at different times within an eighteen-month period. Some are about my experiences. I don’t feel it’s a concept album.

Let The River Run is particularly poignant, care to discuss?

It’s a song about dealing with everyday problems like depression. Being in the music industry is tough, the tough times and how people cope with becoming depressed.

Do you have a particular song writing technique?

What comes first the song or the melody? Am thinking particularly of 6AM here how did that come about?

I tend to write my songs in the middle of the night. 6AM is about holding on for the sunlight. To do this you have to go through sleepless nights. Metaphorically 6AM is the sunrise. I used to write a riff like a typical guitarist. But as I have developed as a songwriter that was limiting and will make a song sound a certain way. They start as poems sometimes.

I try to write the chorus first now as that is the hook. That’s what people listen to. Vegas Sun, I wrote the vocal melody first then found a pacey guitar riff, it’s my favourite guitar riff on the album. I like Ignite, it’s different. I like the feel. On the other side of that I like Rain, it is personal to me. It only took half an hour to make.

Small intimate venues such as Voodoo Rooms, Edinburgh as opposed to big festivals stages such as The Rambling Man. What do you prefer and what challenges lie in differing venues?

I like being close to the people at smaller venues, but the sound system can be dodgy. My performances are visual and there’s a lot of movement. In a smaller venue I can’t put on the same level of show that I can when running

W W W.B LU E S MAT TE R S.C O M

around a big stage, at say, Rambling Man Festival.

What’s it like to play the guitar in big concert halls as opposed to the feeling you got when you entered a ring to do martial arts?

Adrenaline is a big factor, and doing a gig is a lot less painful. I don’t get any injuries. The feeling before, the flight and flight effect when I’m pumped up and it all depends how you deal with it.

What do your fans not know about you that you could tell Blues Matters?

Probably that I’m a private guy, and I don’t like crowds.

What are your future plans and projects, where do you see yourself?

I’ve no idea, I didn’t think I’d get this far!

Hopefully, still playing music. In January I will be out with Supersonics.

DISCOGRAPHY RECENT RELEASES Light it Up Divine & Dirty Lucky 13

2019 2018 2016

How would you sum up your interpretation of what the blues music genre means to you?

It’s a passion. It doesn’t have to be conformed to. It is a feeling and energy. It is responsible for most guitar playing styles for me.

Well keep on doing the things you enjoy, catch you next time, thanks.

FOR A FULL REVIEW OF LIGHT IT UP, GO TO OUR REVIEWS SECTION ON PAGE 113

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 8 9

LEO LYONS

Interview

THE MAN WHO PLAYED WOODSTOCK

LEO LYONS

THE FORMER TEN YEARS AFTER CO-FOUNDER AND BASSIST HAS BEEN A PROFESSIONAL MUSICIAN FOR 60 YEARS. HE FOUND FAME AND FORTUNE AFTER A SHOW STOPPING PERFORMANCE AT THE LEGENDARY WOODSTOCK FESTIVAL VE R BALS: TH E B ISHOP VISUALS: AR N I E GOODMAN

L

eo lived in Nashville for 15 years, working as a staff songwriter for a music company and now resides in Wales. He is touring Europe with his latest band Hundred Seventy Split but took time out to talk about his early influences, Woodstock, his career, his music, and Alvin Lee. “My current European tour with Hundred Seventy Split is going well. We’re playing festivals this summer, lots of fields, mostly in Germany, Belgium and Holland. Some are large events and others less than a few thousand people. In October/November we do an extended club/theatre tour all over Europe.

Normally we’d have a support band but because of the Woodstock golden anniversary year we are on our own and do two sets of one hour each. The first set is all our own material and the second set is the 1969 45 minutes Woodstock set plus three more Ten Years After songs from that period to make up the hour.

CHILDHOOD AND EARLY CAREER

“My aunt and uncle had a wind up gramophone and from the age or around eight I was listening to whatever records they had.

The first guitar record I recall ever hearing was the Jimmy Rogers song He’s In The Jailhouse Now. They also had a copy of the Lead Belly version of Goodnight Irene. That got me interested in playing a stringed instrument.

I started out on an old banjo that used to belong to my grandfather. When the skiffle boom hit the UK in the mid 50s, a mixture of roots, blues, bluegrass and folk, I desperately

wanted a guitar. I first tried making one out of an old cigar box but by eleven years old I’d saved up the money to buy an old acoustic. I took guitar lessons with local teacher Frank Woolley. He introduced me to some of his other students and we formed a group; we called ourselves ‘Paul Dennis And The Phantoms and we rehearsed twice a week, performing once or twice a year mostly at weddings. We played the popular songs of the day. Initially I played the bass parts on my 6-string guitar but eventually bought a bass guitar. When ‘The Phantoms’ entered a local talent contest held in between the A and B movies at the Granada cinema in my home town Mansfield I was spotted by the manager of top local band The Atomites. He told me the band intended to turn professional and asked me to join them, which I did.

My first influence on bass was Bill Black the American musician who was the bassist in Elvis Presley’s early trio. I tried to emulate that rockabilly style of playing on bass guitar, which was not easy if not impossible. Later I discovered jazz listening to Scott LaFaro who played with The Bill Evans Trio. A big influence was also the legendary bass player Ray Brown who worked extensively with Oscar Peterson and Ella Fitzgerald. I tried playing upright bass on some songs with Ten Years After but my bass was always getting damaged. I wasn’t very proficient on it anyway so I concentrated on bass guitar.

Nowadays I do occasionally play upright with Hundred Seventy Split. American blues is also

PAG E 9 0 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

CONTINUES OVER

W W W.B LU E S MAT TE R S.C O M

W W W.B LU E S MAT TE R S.C O M

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 91

LEO LYONS

Interview

THE MAN WHO PLAYED WOODSTOCK

LEO LYONS

THE FORMER TEN YEARS AFTER CO-FOUNDER AND BASSIST HAS BEEN A PROFESSIONAL MUSICIAN FOR 60 YEARS. HE FOUND FAME AND FORTUNE AFTER A SHOW STOPPING PERFORMANCE AT THE LEGENDARY WOODSTOCK FESTIVAL VE R BALS: TH E B ISHOP VISUALS: AR N I E GOODMAN

L

eo lived in Nashville for 15 years, working as a staff songwriter for a music company and now resides in Wales. He is touring Europe with his latest band Hundred Seventy Split but took time out to talk about his early influences, Woodstock, his career, his music, and Alvin Lee. “My current European tour with Hundred Seventy Split is going well. We’re playing festivals this summer, lots of fields, mostly in Germany, Belgium and Holland. Some are large events and others less than a few thousand people. In October/November we do an extended club/theatre tour all over Europe.

Normally we’d have a support band but because of the Woodstock golden anniversary year we are on our own and do two sets of one hour each. The first set is all our own material and the second set is the 1969 45 minutes Woodstock set plus three more Ten Years After songs from that period to make up the hour.

CHILDHOOD AND EARLY CAREER

“My aunt and uncle had a wind up gramophone and from the age or around eight I was listening to whatever records they had.

The first guitar record I recall ever hearing was the Jimmy Rogers song He’s In The Jailhouse Now. They also had a copy of the Lead Belly version of Goodnight Irene. That got me interested in playing a stringed instrument.

I started out on an old banjo that used to belong to my grandfather. When the skiffle boom hit the UK in the mid 50s, a mixture of roots, blues, bluegrass and folk, I desperately

wanted a guitar. I first tried making one out of an old cigar box but by eleven years old I’d saved up the money to buy an old acoustic. I took guitar lessons with local teacher Frank Woolley. He introduced me to some of his other students and we formed a group; we called ourselves ‘Paul Dennis And The Phantoms and we rehearsed twice a week, performing once or twice a year mostly at weddings. We played the popular songs of the day. Initially I played the bass parts on my 6-string guitar but eventually bought a bass guitar. When ‘The Phantoms’ entered a local talent contest held in between the A and B movies at the Granada cinema in my home town Mansfield I was spotted by the manager of top local band The Atomites. He told me the band intended to turn professional and asked me to join them, which I did.

My first influence on bass was Bill Black the American musician who was the bassist in Elvis Presley’s early trio. I tried to emulate that rockabilly style of playing on bass guitar, which was not easy if not impossible. Later I discovered jazz listening to Scott LaFaro who played with The Bill Evans Trio. A big influence was also the legendary bass player Ray Brown who worked extensively with Oscar Peterson and Ella Fitzgerald. I tried playing upright bass on some songs with Ten Years After but my bass was always getting damaged. I wasn’t very proficient on it anyway so I concentrated on bass guitar.

Nowadays I do occasionally play upright with Hundred Seventy Split. American blues is also

PAG E 9 0 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

CONTINUES OVER

W W W.B LU E S MAT TE R S.C O M

W W W.B LU E S MAT TE R S.C O M

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 91

Interview

LEO LYONS

LEO LYONS

a great influence and of course is the basis of everything I do. I paid tribute to Muddy Waters on the last HSS studio album.

The 1960s were good days for music and it was a lively scene in the UK. I grew up with Alvin of course, we were like brothers, and his dad, Sam Barnes, had an extensive collection of blues. I couldn’t afford a record player but Sam would play a lot of stuff. Alvin and I had similar tastes, Alvin like Scotty Moore and I was into the style of Bill Black so it was a perfect match.

WOODSTOCK AND BEYOND

“At Woodstock, because of the rainstorm and subsequent humidity, we had tuning problems. We stopped Good Morning Little Schoolgirl three times to tune up. In 1969 there were no guitar tuners only a tuning fork or a piano to use as a reference. That is

why we included the drum solo The Hobbit in the set to give us more time to get in tune.

At one point Alvin broke a string and I’m left talking to the audience to give him time to fit a replacement. Overall, playing Woodstock in 1969 was a great experience and had a massive impact on Ten Years After. We had struggled for years to realise the dream of being famous but when the reality came about it was something that we had not expected. I enjoyed it because it was a new experience but musically it could be very frustrating. In the mega stadia where we performed to tens of thousands you couldn’t hear yourself play and the fans were just reacting to your movements on stage, as they couldn’t hear much either.

For a time we were the biggest grossing touring band in America, bigger than even the Stones. After around 30 US tours, Alvin didn’t like it at all and asked our manager to de-escalate us so we took a year off. Looking back, I can appreciate why he couldn’t handle it, it was just too much pressure on him.

Probably the happiest times were when we played to around 3000 people but suddenly, we couldn’t do that anymore as you would have to turn fans away which would lead to trouble or increase significantly the admission prices and then it becomes unaffordable.

I moved to Nashville in the late nineties to work as a staff songwriter for Hayes Street Music. It was an inspirational city to live in.

All the best writers and players at some time in their careers live or pass through Nashville.

I’d had some commercial success in the midseventies as a record producer notably with the band UFO and that was when I first learnt to engineer. So whilst living in Nashville, aside from songwriting, I supplemented my income by engineering a few projects. During my fifteen years there I believe I learned to be a better songwriter and musician.

When Ten Years After re-formed at the start of the millennium, Alvin did not want to be part of it. He and I were like brothers from the age of 15 and 16 and collectively went through more than any one else ever has, spending more time together than with wives and girlfriends. Being in Ten Years After was like a marriage to three people at the same time.

Alvin and I fought and we argued, but we had similar ideas, so we worked it out.

PAG E 9 2 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

W W W.B LU E S MAT TE R S.C O M

Interview

HUNDRED SEVENTY SPLIT

gamut of music.

Currently, my band plays around 60 gigs a “I am lucky to have both Joe Gooch and year mainly in Europe which with travelling Damon Sawyer in my band. I have known Joe amounts to around 180 days away from since he was about two years old because he home. Last week we travelled for 15 hours to is a friend of my son Tom. Joe moved to Wales the venue and a further 15 hours to the next around the time I moved to America and when place. In France and Italy the audiences are Ten Years After were looking to replace Alvin, quite young. Life on the road is pretty much Tom suggested him. I thought he needed more the same as it was when I started out as a experience but Tom said that if no one gave musician. I have spent nearly 60 years of my him a chance he wouldn’t get any experience. life in a van. I’ve gone from vans to limousines Joe sent a tape to Ric Lee the drummer and to planes, tour buses and back to vans again. he was offered the job. Joe is a brilliant player, With Hundred Seventy Split it is like starting one of the best guitarists around though he again but this van has luxury seats, two won’t admit it and, above all, one hell of a nice televisions, and air conditioning so it is more guy. He has blossomed into a great singer and like a comfortable bus. Whichever way you guitarist in his own right now rather being look at it, travelling is not much fun, its what regarded as Alvin’s replacement which is what happens when you get there. Being on stage is we wanted to happen. what keeps me going.

We include a few Ten Years After songs in When I write a song it hopefully comes out our set because a lot of Hundred Seventy Split of the air or from an idea, a book or a film or fans want to hear them but we play most of personal experience or a line from a song or our own material. Even with Alvin’s songs I some other context. I have kept a book of ideas only wanted Joe to capture the original fire for years and then usually get together every as I didn’t want him to play like Alvin as he is so often to share them with Joe and a friend from a different generation. As Joe explains: in Nashville who I have collaborated with “I like playing the TYA classics from a previously. I might come up with something I generation of music which really inspired me. wrote years ago, and thought was average but I had a video of the Woodstock film and used Joe listens to it and maybe thinks it’s good, so to watch it over and over. I do play things we develop it further and put a song together differently and genuinely jam and make stuff which Joe feels comfortable about singing. I up so it is different every night and these have had singing lessons so can get my point variations bring freshness to the music.” over too. As far as the future is concerned, if Damon has taught percussion, worked your health holds out you have to hope that in theatres, orchestras, he is a recording your audiences are likely to hold out too. I hope engineer, an aspiring record producer and that I’m improving in what I do rather than he has a recording studio and he is a hell sitting back riding on past glories which is sad. of a nice guy as well. That is so important Guitarist Joe Gooch gives this because as they say in Nashville, assessment of his bandleader: “I what a great player but what is he have played with Leo for about like on the bus? I only want to play 15 years and he is an amazing with people I get on great with and RECENT RELEASES character, very positive and Woodstock 69 – Live 2019 can spend six weeks on the road Tracks 2016 passionate about what he does with. We have written seven songs The Road – Live 2015 and an unstoppable force. He has towards the next studio album and I Hundred Seventy Split 2014 the same relentless energy and said to Joe the other day we can do The World Won’t Stop 2010 enthusiasm he had 50 years ago anything we like we don’t need to but off stage the way he pushes be stuck in any particular genre. If in a business sense and a writing we want to do a ballad or a country sense, Leo is a very good motivator. song, if we like it we can do it. We I feel very privileged to be playing still play some rock but the sound is in his band as it is on an upward progressing, it’s different, without trajectory.” restrictions and includes a broad

DISCOGRAPHY

W W W.B LU E S MAT TE R S.C O M

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 9 3

Interview

LEO LYONS

LEO LYONS

a great influence and of course is the basis of everything I do. I paid tribute to Muddy Waters on the last HSS studio album.

The 1960s were good days for music and it was a lively scene in the UK. I grew up with Alvin of course, we were like brothers, and his dad, Sam Barnes, had an extensive collection of blues. I couldn’t afford a record player but Sam would play a lot of stuff. Alvin and I had similar tastes, Alvin like Scotty Moore and I was into the style of Bill Black so it was a perfect match.

WOODSTOCK AND BEYOND

“At Woodstock, because of the rainstorm and subsequent humidity, we had tuning problems. We stopped Good Morning Little Schoolgirl three times to tune up. In 1969 there were no guitar tuners only a tuning fork or a piano to use as a reference. That is

why we included the drum solo The Hobbit in the set to give us more time to get in tune.

At one point Alvin broke a string and I’m left talking to the audience to give him time to fit a replacement. Overall, playing Woodstock in 1969 was a great experience and had a massive impact on Ten Years After. We had struggled for years to realise the dream of being famous but when the reality came about it was something that we had not expected. I enjoyed it because it was a new experience but musically it could be very frustrating. In the mega stadia where we performed to tens of thousands you couldn’t hear yourself play and the fans were just reacting to your movements on stage, as they couldn’t hear much either.

For a time we were the biggest grossing touring band in America, bigger than even the Stones. After around 30 US tours, Alvin didn’t like it at all and asked our manager to de-escalate us so we took a year off. Looking back, I can appreciate why he couldn’t handle it, it was just too much pressure on him.

Probably the happiest times were when we played to around 3000 people but suddenly, we couldn’t do that anymore as you would have to turn fans away which would lead to trouble or increase significantly the admission prices and then it becomes unaffordable.

I moved to Nashville in the late nineties to work as a staff songwriter for Hayes Street Music. It was an inspirational city to live in.

All the best writers and players at some time in their careers live or pass through Nashville.

I’d had some commercial success in the midseventies as a record producer notably with the band UFO and that was when I first learnt to engineer. So whilst living in Nashville, aside from songwriting, I supplemented my income by engineering a few projects. During my fifteen years there I believe I learned to be a better songwriter and musician.

When Ten Years After re-formed at the start of the millennium, Alvin did not want to be part of it. He and I were like brothers from the age of 15 and 16 and collectively went through more than any one else ever has, spending more time together than with wives and girlfriends. Being in Ten Years After was like a marriage to three people at the same time.

Alvin and I fought and we argued, but we had similar ideas, so we worked it out.

PAG E 9 2 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

W W W.B LU E S MAT TE R S.C O M

Interview

HUNDRED SEVENTY SPLIT

gamut of music.

Currently, my band plays around 60 gigs a “I am lucky to have both Joe Gooch and year mainly in Europe which with travelling Damon Sawyer in my band. I have known Joe amounts to around 180 days away from since he was about two years old because he home. Last week we travelled for 15 hours to is a friend of my son Tom. Joe moved to Wales the venue and a further 15 hours to the next around the time I moved to America and when place. In France and Italy the audiences are Ten Years After were looking to replace Alvin, quite young. Life on the road is pretty much Tom suggested him. I thought he needed more the same as it was when I started out as a experience but Tom said that if no one gave musician. I have spent nearly 60 years of my him a chance he wouldn’t get any experience. life in a van. I’ve gone from vans to limousines Joe sent a tape to Ric Lee the drummer and to planes, tour buses and back to vans again. he was offered the job. Joe is a brilliant player, With Hundred Seventy Split it is like starting one of the best guitarists around though he again but this van has luxury seats, two won’t admit it and, above all, one hell of a nice televisions, and air conditioning so it is more guy. He has blossomed into a great singer and like a comfortable bus. Whichever way you guitarist in his own right now rather being look at it, travelling is not much fun, its what regarded as Alvin’s replacement which is what happens when you get there. Being on stage is we wanted to happen. what keeps me going.

We include a few Ten Years After songs in When I write a song it hopefully comes out our set because a lot of Hundred Seventy Split of the air or from an idea, a book or a film or fans want to hear them but we play most of personal experience or a line from a song or our own material. Even with Alvin’s songs I some other context. I have kept a book of ideas only wanted Joe to capture the original fire for years and then usually get together every as I didn’t want him to play like Alvin as he is so often to share them with Joe and a friend from a different generation. As Joe explains: in Nashville who I have collaborated with “I like playing the TYA classics from a previously. I might come up with something I generation of music which really inspired me. wrote years ago, and thought was average but I had a video of the Woodstock film and used Joe listens to it and maybe thinks it’s good, so to watch it over and over. I do play things we develop it further and put a song together differently and genuinely jam and make stuff which Joe feels comfortable about singing. I up so it is different every night and these have had singing lessons so can get my point variations bring freshness to the music.” over too. As far as the future is concerned, if Damon has taught percussion, worked your health holds out you have to hope that in theatres, orchestras, he is a recording your audiences are likely to hold out too. I hope engineer, an aspiring record producer and that I’m improving in what I do rather than he has a recording studio and he is a hell sitting back riding on past glories which is sad. of a nice guy as well. That is so important Guitarist Joe Gooch gives this because as they say in Nashville, assessment of his bandleader: “I what a great player but what is he have played with Leo for about like on the bus? I only want to play 15 years and he is an amazing with people I get on great with and RECENT RELEASES character, very positive and Woodstock 69 – Live 2019 can spend six weeks on the road Tracks 2016 passionate about what he does with. We have written seven songs The Road – Live 2015 and an unstoppable force. He has towards the next studio album and I Hundred Seventy Split 2014 the same relentless energy and said to Joe the other day we can do The World Won’t Stop 2010 enthusiasm he had 50 years ago anything we like we don’t need to but off stage the way he pushes be stuck in any particular genre. If in a business sense and a writing we want to do a ballad or a country sense, Leo is a very good motivator. song, if we like it we can do it. We I feel very privileged to be playing still play some rock but the sound is in his band as it is on an upward progressing, it’s different, without trajectory.” restrictions and includes a broad

DISCOGRAPHY

W W W.B LU E S MAT TE R S.C O M

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 9 3

SAMANTHA FISH

Interview

HAVE GUITARS, WILL TRAVEL

SAMANTHA FISH

THE BLUES-ROCK GUITARIST SAMANTHA FISH IS CERTAINLY A BUSY WOMAN WITH A NEW RECORD LABEL HOME, A BRAND-NEW ALBUM ENTITLED ‘KILL OR BE KIND’ SET FOR RELEASE AND A FEBRUARY/MARCH 2020 HEADLINE UK TOUR. PETE SAT DOWN WITH SAMANTHA TO LEARN MORE ABOUT HER CURRENT MUSIC DIRECTION V E R B A L S : P E T E S A R G E A N T V I S U A L S : A LY S S E G A F K J E N ( T H I S P A G E ) E D Y TA K R Z E S A K

Where are you right now Samantha?

I am on my way to Memphis where we have a show this evening.

Okay. Looking way back, I first saw you play when I was MC-ing a show at the Boom Boom Club in Sutton and you were in Dani Wilde’s band. I bet you don’t remember that?

(Remembers) Oh! Yeah, the Girls with Guitars.

It was fun introducing you and it was a very good night.

Yeah, that was always a fun story. That was one of my first big breaks and we were having such a ball.

I think what the benefit to me was; the three of you had different styles and approaches. By the end of the evening you almost felt like you had a nice meal.

Yeah, man. Everybody had their own genre of blues, so to speak. The whole point of that was to showcase three individual artists like the Blues Caravan have done many times before.

We made a good show out of it and like I said, it was one of my first big breaks and I felt we did a pretty good job of that.

One thing about you is (these are the extremes) – Popa Chubby makes guitars look tiny and you make guitars look huge!

(Laughs) Well I play big guitars!

and he loved the range of guitars that you were using. Could you tell me about the Cigar Box?

Yeah, the Cigar Box I picked that up probably back in 2013. I mean, I remember when I was like 17/18 years old and I went down and saw guys in Arkansas playing them and I thought: ‘Man, those strings sound like the craziest tone!’ They sound super heavy almost like a chainsaw. Then a few years later, I kind of came across one and I started to play around with it, and I was like, ‘Damn, this thing is pretty nasty!’ It made its way into the set and people won’t let it leave basically. The fans request it and it has such a gnarly tone. I only really use it maybe once or twice a night, but it has such a different texture to it. It is pretty aggressive.

When we can play guitar, we have to have these things in our armoury. I’ve got a Baritone with six strings tuned A to A and my band call it ‘The Bad Boy’ and every now and again they come up with a song and that’s what they want. The only thing with a Baritone is, you have to play it with some tremolo.

Yeah, definitely.

Then you get that Glen Campbell kind of lonesome tone. On guitars, do you ever play a Fender Thinline?

Thinline Telecasters?

Yeah.

My son went to see you at The Garage in London, PAG E 9 4 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

CONTINUES OVER

W W W.B LU E S MAT TE R S.C O M

W W W.B LU E S MAT TE R S.C O M

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 9 5

SAMANTHA FISH

Interview

HAVE GUITARS, WILL TRAVEL

SAMANTHA FISH

THE BLUES-ROCK GUITARIST SAMANTHA FISH IS CERTAINLY A BUSY WOMAN WITH A NEW RECORD LABEL HOME, A BRAND-NEW ALBUM ENTITLED ‘KILL OR BE KIND’ SET FOR RELEASE AND A FEBRUARY/MARCH 2020 HEADLINE UK TOUR. PETE SAT DOWN WITH SAMANTHA TO LEARN MORE ABOUT HER CURRENT MUSIC DIRECTION V E R B A L S : P E T E S A R G E A N T V I S U A L S : A LY S S E G A F K J E N ( T H I S P A G E ) E D Y TA K R Z E S A K

Where are you right now Samantha?

I am on my way to Memphis where we have a show this evening.

Okay. Looking way back, I first saw you play when I was MC-ing a show at the Boom Boom Club in Sutton and you were in Dani Wilde’s band. I bet you don’t remember that?

(Remembers) Oh! Yeah, the Girls with Guitars.

It was fun introducing you and it was a very good night.

Yeah, that was always a fun story. That was one of my first big breaks and we were having such a ball.

I think what the benefit to me was; the three of you had different styles and approaches. By the end of the evening you almost felt like you had a nice meal.

Yeah, man. Everybody had their own genre of blues, so to speak. The whole point of that was to showcase three individual artists like the Blues Caravan have done many times before.

We made a good show out of it and like I said, it was one of my first big breaks and I felt we did a pretty good job of that.

One thing about you is (these are the extremes) – Popa Chubby makes guitars look tiny and you make guitars look huge!

(Laughs) Well I play big guitars!

and he loved the range of guitars that you were using. Could you tell me about the Cigar Box?

Yeah, the Cigar Box I picked that up probably back in 2013. I mean, I remember when I was like 17/18 years old and I went down and saw guys in Arkansas playing them and I thought: ‘Man, those strings sound like the craziest tone!’ They sound super heavy almost like a chainsaw. Then a few years later, I kind of came across one and I started to play around with it, and I was like, ‘Damn, this thing is pretty nasty!’ It made its way into the set and people won’t let it leave basically. The fans request it and it has such a gnarly tone. I only really use it maybe once or twice a night, but it has such a different texture to it. It is pretty aggressive.

When we can play guitar, we have to have these things in our armoury. I’ve got a Baritone with six strings tuned A to A and my band call it ‘The Bad Boy’ and every now and again they come up with a song and that’s what they want. The only thing with a Baritone is, you have to play it with some tremolo.

Yeah, definitely.

Then you get that Glen Campbell kind of lonesome tone. On guitars, do you ever play a Fender Thinline?

Thinline Telecasters?

Yeah.

My son went to see you at The Garage in London, PAG E 9 4 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

CONTINUES OVER

W W W.B LU E S MAT TE R S.C O M

W W W.B LU E S MAT TE R S.C O M

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 9 5

Interview

SAMANTHA FISH

SAMANTHA FISH

twenty-five pictures of a cat. I would rather see what that artist has chosen to depict. Somehow you get a much deeper appreciation of an artist that way.

I had a guy in a company that I have been working with for a long time and he made me a Signature Model guitar that was somewhat loosely modelled off a Thinline Fender Telecaster. I love the sound of Tele’s because they are so versatile. The Thinline is even more versatile than a solid body Telecaster, I feel. The old-school ones are perfectly twangy for country music but there’s something about making it semi-hollow and you get a starker sounding instrument. Back when I was only playing one or two guitars, I really needed something to be able to cover a wide variety of sounds. Now I travel with more and I have specialised guitars that specifically cater for certain things. But I always feel that the Thinline Tele was one of those workhorses.

I think everybody really is multi-faceted. Our set is usually ninety minutes which isn’t a lot of time to show people everything you are. It is a showcase of a bunch of different things and you are trying to show so many sides in a short amount of time, if that makes any sense.

It does to me. All of the records I love like Buffalo Springfield, Jefferson Airplane, Taj Mahal, they ring the changes and therefore anyone doing that I immediately take to as a music fan. Can we talk about some songs because you’ve got this ‘Kill or Be Kind’ album out? Tell me about ‘Love Letters’ because my son loved that.

Thank you. That was a really fun one to record because I got to lay down so many different guitar textures. Lyrically and storywise it really is just a love song. Drowning in your emotions essentially. It is not reciprocated on the other end, but I think everybody has been kind of lovesick before.

It’s a pretty relatable feeling.

Dead right. The other thing I like to dig out occasionally is a Dan Electro.

Yeah, they’re awesome. I actually have a Dan Electro Baritone at home as I just picked one up recently and it is a lot of fun.

Excellent. It is difficult to decide what to take out to a show isn’t it? I end up wanting to take three guitars and end up with five but all that says to me is that the material is leading me that way.

PAG E 9 6 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

‘Kill or Be Kind’ the title track, why did you settle on that for the main title?

I thought it had such a cool edgy feel and the message in that song is really about the duality of relationships and love and I have

W W W.B LU E S MAT TE R S.C O M

There is a track on Kenny Wayne Shepherd’s new album ‘The Traveler’ and it is pure David Lynch. It is dark and dense, and I’ve known him a long time and he can do that. He knows he is being a bit brave, but he wanted to get that song down and out of his system.

Of course. I guess if I do read, I love poets like Tom Waits, I think he captured it perfectly and he can really paint a picture of something very simple.

What are your overall thoughts on the new album?

What makes Samantha Fish happy?

That is one I co-wrote with Parker Millsap and that is really just a song about not getting used as a doormat anymore. Whatever that situation might be, taking your power back, I guess.

The way I look at it, I would not want to walk into an art gallery even by a brilliant top painter and see

Yeah, that is covering a pretty dark subject matter. When you are feeling like the depths of something as eternally awful as love gone wrong in descriptive novels.

I thought there was a hint of The Pretenders.

Okay. The song ‘She Don’t Live Around Here,’ what inspired that?

Well a lot of it is for me too. I like changing it up, personally if I have to do the same songs at every show, I get bored for them (the audience) and for me. It is fun to switch it up and try new textures. Lyrically and conceptually with the songs, everything is just an honest emotion and wherever the song came from. The way I write is not really thinking, ‘This is gonna please this type of fan.’

Do you ever read detective stories? I ask because a lot of big music figures I find out are really hooked on detective fiction and it creeps into their lyrics.

Yes, people like the late Rory Gallagher absolutely loved that stuff and I think they draw inspiration from it when they are writing shadowy songs.

I wasn’t really sure, you know, because it has a punk-rock fun really hyper type of feel to it.

It is pretty straight-forward.

You know, I just wanted to write something really upbeat and rock and roll and that’s what came out.

Your trump card is (without making a big statement) that you seem to be saying to you audience ‘Don’t box me in. I can do a few different things.’

always been fascinated by that.

I’ve always wanted to branch out and reach as many people as possible. Just being able to connect with people on an emotional level and have them really relate to these songs which is an important thing to do. They are personal songs they are storyteller songs.

‘Love Your Lies’ – that’s an addictive kind of song.

Yeah, of course. It is just like a hammer in a toolbox, it is a different tool for a different job. Every song has a different personality and approach. We are lucky we get so many options to cater to in the set, I guess.

Interview

W W W.B LU E S MAT TE R S.C O M

I have a cat. That is probably about it. I’m on the road all of the time so when I am not playing music, I am a tourist. See something new and try something far out. My whole world is really revolved around this.

I love spending time with family and friends when I get the opportunity too.

RECENT RELEASES

DISCOGRAPHY Wild Heart – Chills & Fever Belle of the West Chills & Fever Kill or Be Kind

2015 2017 2017 2017 2019

Right, well thank you for your time Samantha and it was great to talk. I will see you when you are next over in the UK.

Thanks for the chat Pete. Take care and I will see you when we come back next year.

FOR A FULL REVIEW OF ‘KILL OR BE KIND’, GO TO OUR REVIEWS SECTION ON PAGE 11?????

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 97

Interview

SAMANTHA FISH

SAMANTHA FISH

twenty-five pictures of a cat. I would rather see what that artist has chosen to depict. Somehow you get a much deeper appreciation of an artist that way.

I had a guy in a company that I have been working with for a long time and he made me a Signature Model guitar that was somewhat loosely modelled off a Thinline Fender Telecaster. I love the sound of Tele’s because they are so versatile. The Thinline is even more versatile than a solid body Telecaster, I feel. The old-school ones are perfectly twangy for country music but there’s something about making it semi-hollow and you get a starker sounding instrument. Back when I was only playing one or two guitars, I really needed something to be able to cover a wide variety of sounds. Now I travel with more and I have specialised guitars that specifically cater for certain things. But I always feel that the Thinline Tele was one of those workhorses.

I think everybody really is multi-faceted. Our set is usually ninety minutes which isn’t a lot of time to show people everything you are. It is a showcase of a bunch of different things and you are trying to show so many sides in a short amount of time, if that makes any sense.

It does to me. All of the records I love like Buffalo Springfield, Jefferson Airplane, Taj Mahal, they ring the changes and therefore anyone doing that I immediately take to as a music fan. Can we talk about some songs because you’ve got this ‘Kill or Be Kind’ album out? Tell me about ‘Love Letters’ because my son loved that.

Thank you. That was a really fun one to record because I got to lay down so many different guitar textures. Lyrically and storywise it really is just a love song. Drowning in your emotions essentially. It is not reciprocated on the other end, but I think everybody has been kind of lovesick before.

It’s a pretty relatable feeling.

Dead right. The other thing I like to dig out occasionally is a Dan Electro.

Yeah, they’re awesome. I actually have a Dan Electro Baritone at home as I just picked one up recently and it is a lot of fun.

Excellent. It is difficult to decide what to take out to a show isn’t it? I end up wanting to take three guitars and end up with five but all that says to me is that the material is leading me that way.

PAG E 9 6 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

‘Kill or Be Kind’ the title track, why did you settle on that for the main title?

I thought it had such a cool edgy feel and the message in that song is really about the duality of relationships and love and I have

W W W.B LU E S MAT TE R S.C O M

There is a track on Kenny Wayne Shepherd’s new album ‘The Traveler’ and it is pure David Lynch. It is dark and dense, and I’ve known him a long time and he can do that. He knows he is being a bit brave, but he wanted to get that song down and out of his system.

Of course. I guess if I do read, I love poets like Tom Waits, I think he captured it perfectly and he can really paint a picture of something very simple.

What are your overall thoughts on the new album?

What makes Samantha Fish happy?

That is one I co-wrote with Parker Millsap and that is really just a song about not getting used as a doormat anymore. Whatever that situation might be, taking your power back, I guess.

The way I look at it, I would not want to walk into an art gallery even by a brilliant top painter and see

Yeah, that is covering a pretty dark subject matter. When you are feeling like the depths of something as eternally awful as love gone wrong in descriptive novels.

I thought there was a hint of The Pretenders.

Okay. The song ‘She Don’t Live Around Here,’ what inspired that?

Well a lot of it is for me too. I like changing it up, personally if I have to do the same songs at every show, I get bored for them (the audience) and for me. It is fun to switch it up and try new textures. Lyrically and conceptually with the songs, everything is just an honest emotion and wherever the song came from. The way I write is not really thinking, ‘This is gonna please this type of fan.’

Do you ever read detective stories? I ask because a lot of big music figures I find out are really hooked on detective fiction and it creeps into their lyrics.

Yes, people like the late Rory Gallagher absolutely loved that stuff and I think they draw inspiration from it when they are writing shadowy songs.

I wasn’t really sure, you know, because it has a punk-rock fun really hyper type of feel to it.

It is pretty straight-forward.

You know, I just wanted to write something really upbeat and rock and roll and that’s what came out.

Your trump card is (without making a big statement) that you seem to be saying to you audience ‘Don’t box me in. I can do a few different things.’

always been fascinated by that.

I’ve always wanted to branch out and reach as many people as possible. Just being able to connect with people on an emotional level and have them really relate to these songs which is an important thing to do. They are personal songs they are storyteller songs.

‘Love Your Lies’ – that’s an addictive kind of song.

Yeah, of course. It is just like a hammer in a toolbox, it is a different tool for a different job. Every song has a different personality and approach. We are lucky we get so many options to cater to in the set, I guess.

Interview

W W W.B LU E S MAT TE R S.C O M

I have a cat. That is probably about it. I’m on the road all of the time so when I am not playing music, I am a tourist. See something new and try something far out. My whole world is really revolved around this.

I love spending time with family and friends when I get the opportunity too.

RECENT RELEASES

DISCOGRAPHY Wild Heart – Chills & Fever Belle of the West Chills & Fever Kill or Be Kind

2015 2017 2017 2017 2019

Right, well thank you for your time Samantha and it was great to talk. I will see you when you are next over in the UK.

Thanks for the chat Pete. Take care and I will see you when we come back next year.

FOR A FULL REVIEW OF ‘KILL OR BE KIND’, GO TO OUR REVIEWS SECTION ON PAGE 11?????

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 97

THE ACHIEVERS

Interview

IT’S ALL ABOUT ACHIEVING

THE ACHIEVERS

IT’S A SUNNY SUMMER’S EVENING AND WE ARE DRIVING TO A GIG. THE ROOF IS DOWN AS THE VINTAGE MG ROARS THROATILY THROUGH THE CHESHIRE COUNTRYSIDE…UNFORTUNATELY THAT IS SOMEONE ELSE’S CAR, BUT NO MATTER, GOD IS IN HIS HEAVEN AND WE’VE GOT THE NEW ALBUM BY THE ACHIEVERS TO LISTEN TO, AND A FINE ALBUM IT IS, TOO! IF YOU ARE LOOKING FOR LENGTHY GUITAR SOLOS, AND BLUES ANGST, YOU WON’T FIND THEM HERE…AND PROBABLY THE ACHIEVERS WON’T FALL INTO YOUR BAG, BUT I LIKE THEM…A LOT! V E R B A L S : R O W L A N D J O N E S V I S U A L S : T I M TA P H O U S E

first heard the band on the Blues Matters!

Stage in Jak’s at Skegness back in January. The first thing that struck me was their attitude – they were bubbling with enthusiasm from the moment they hit the stage (and before, in fact) and pretty soon the audience were bubbling, too! Interesting, well-arranged songs, great rapport with the audience, great harmonies and all delivered as real fun. The Achievers are definitely not a conventional blues band – as Steve put it ‘If you drew a Venn diagram of our influences and interests then where they overlap would be R&B. That was our starting point when we got together- our common language’ The band is made up of Steve Ferbrache - guitar, Robert Holmes - guitar, Rufus Fry - harmonicas, Jack Thomas – bass, and Aron Attwood – drums, and, of course, they all sing. The band came together over a period of time starting from a point where Steve was gigging in a pub in Stroud and Rufus and Aron started sitting in with him, jamming on songs they loved. Rufus had cut his teeth busking, playing anything and everything from blues to folk, bluegrass to reggae and pop music, and cites as his influences as Little Walter, Junior Wells and Adam Gussow. Drummer Aron had completed a songwriting diploma at Bristol and had been playing in a ‘jangly

harmony indie band’ but also, he brings with him a love of Latin music having been weaned on Santana’s Abraxas! Jack on bass was influenced by nineties’ funk and grunge, and bands such as Rage Against The Machine, and SoundGarden. The most recent addition to the band is Robert Holmes who had moved back to the UK after a successful career in the US in particular as part of ‘Til Tuesday’ as guitarist and cowriter with Tori Amos. It is quite clear that it is the variety of their backgrounds which gives The Achievers a unique sound – each member brings their experience, influences and tastes to the table and the music they write, and record is testimony to the fact that it works, it really does!

‘The Lost Arc’ is their second album filled with interesting material which though well arranged with catchy hooks, still retains a very ‘live feel’. Front man Steve Ferbrache explained their writing method ‘The songs are always a team effort that develop from an initial idea which usually comes from me or Aron. We spent a long time editing and arranging these songs in a sort of workshop before going into the studio‘.

The process is democratic, says Jack.

Aron describes it in more organic terms: ‘we germinate the seed of an idea together

PAG E 9 8 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

CONTINUES OVER

W W W.B LU E S MAT TE R S.C O M

W W W.B LU E S MAT TE R S.C O M

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 9 9

THE ACHIEVERS

Interview

IT’S ALL ABOUT ACHIEVING

THE ACHIEVERS

IT’S A SUNNY SUMMER’S EVENING AND WE ARE DRIVING TO A GIG. THE ROOF IS DOWN AS THE VINTAGE MG ROARS THROATILY THROUGH THE CHESHIRE COUNTRYSIDE…UNFORTUNATELY THAT IS SOMEONE ELSE’S CAR, BUT NO MATTER, GOD IS IN HIS HEAVEN AND WE’VE GOT THE NEW ALBUM BY THE ACHIEVERS TO LISTEN TO, AND A FINE ALBUM IT IS, TOO! IF YOU ARE LOOKING FOR LENGTHY GUITAR SOLOS, AND BLUES ANGST, YOU WON’T FIND THEM HERE…AND PROBABLY THE ACHIEVERS WON’T FALL INTO YOUR BAG, BUT I LIKE THEM…A LOT! V E R B A L S : R O W L A N D J O N E S V I S U A L S : T I M TA P H O U S E

first heard the band on the Blues Matters!

Stage in Jak’s at Skegness back in January. The first thing that struck me was their attitude – they were bubbling with enthusiasm from the moment they hit the stage (and before, in fact) and pretty soon the audience were bubbling, too! Interesting, well-arranged songs, great rapport with the audience, great harmonies and all delivered as real fun. The Achievers are definitely not a conventional blues band – as Steve put it ‘If you drew a Venn diagram of our influences and interests then where they overlap would be R&B. That was our starting point when we got together- our common language’ The band is made up of Steve Ferbrache - guitar, Robert Holmes - guitar, Rufus Fry - harmonicas, Jack Thomas – bass, and Aron Attwood – drums, and, of course, they all sing. The band came together over a period of time starting from a point where Steve was gigging in a pub in Stroud and Rufus and Aron started sitting in with him, jamming on songs they loved. Rufus had cut his teeth busking, playing anything and everything from blues to folk, bluegrass to reggae and pop music, and cites as his influences as Little Walter, Junior Wells and Adam Gussow. Drummer Aron had completed a songwriting diploma at Bristol and had been playing in a ‘jangly

harmony indie band’ but also, he brings with him a love of Latin music having been weaned on Santana’s Abraxas! Jack on bass was influenced by nineties’ funk and grunge, and bands such as Rage Against The Machine, and SoundGarden. The most recent addition to the band is Robert Holmes who had moved back to the UK after a successful career in the US in particular as part of ‘Til Tuesday’ as guitarist and cowriter with Tori Amos. It is quite clear that it is the variety of their backgrounds which gives The Achievers a unique sound – each member brings their experience, influences and tastes to the table and the music they write, and record is testimony to the fact that it works, it really does!

‘The Lost Arc’ is their second album filled with interesting material which though well arranged with catchy hooks, still retains a very ‘live feel’. Front man Steve Ferbrache explained their writing method ‘The songs are always a team effort that develop from an initial idea which usually comes from me or Aron. We spent a long time editing and arranging these songs in a sort of workshop before going into the studio‘.

The process is democratic, says Jack.

Aron describes it in more organic terms: ‘we germinate the seed of an idea together

PAG E 9 8 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

CONTINUES OVER

W W W.B LU E S MAT TE R S.C O M

W W W.B LU E S MAT TE R S.C O M

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 9 9

THE ACHIEVERS

Interview

is happening today to retain a sense of authenticity in the same way that the ‘blues singers of old’ were singing about their lives then.

However, within that there is still considerable scope for humour, as Steve confesses ‘I can’t speak a single paragraph without wisecracking so why would I write a song without a bit of humour?! I am not a serious person – I am serious about certain things but I also often see the irony’ Citing the track entitled ‘Ever Lovin’ Mess’, Steve explained ‘The song was a reaction to me feeling like I was burning the candle at both ends, drinking too much, partying too much etc., but I came to this conclusion sat on the sofa with a glass of Pinot Noir watching Countryfile!’

For me that kind of sums up The Achievers, great musicians performing songs with a sense of humour, and the album reflects just that. It opens with solo harp which glides smoothly into a Southern groove reminiscent of Little Feat with some lovely slide from Robert. The album is eclectic, but it all sits well under ‘The - we all water and fertilize them till they Achievers umbrella of influence’. ‘Careful are ready to harvest. Essentially, we are Sabrina’ tells the tale how a German woman musical farmers’ he added with, I thought, offered to seduce the entire band. ‘Good a sense of satisfaction. The writing process news’ is an upbeat call for positivity with is an integral part of the band’s life, and an infectious call and response hook. ‘Turn they all exude a sense of satisfaction with Around’ is a Stax tinged celebration of how it works and what they produce. Rufus having a good time. The album ends with described it as the ‘dream team’ where each ‘See me back, Jesus’ (about Steve’s nextof them has a role to play, adding ‘Robbie is door neighbour, in case you’re wondering…) particularly good at ideas for arrangements which for me offers more than a cursory nod and trimming off the fat’ but in the end, of respect to Jimmy Mack. as Aron puts it ’none of the songs would Jack sums it up nicely: ‘the music we sound how they do without everybody’s create is wholesome. It comes from a place input.’ This attention to detail is reflected of love that we collectively feel as a band. in the end result, 39 minutes of well-crafted It’s uplifting music that makes us feel good songs from a bunch of great musicians who when we play, hopefully making confess to being ‘Disciples of pop whoever’s listening feel good, too’ music’ I have to say it works for me! Nice Lyrically, The Achievers have Live at The SVA 2018 one, guys! a delicate touch, Steve insists Lost Arc 2019 that from his standpoint he has to ‘sing in his own voice’ in terms AS WE GO TO PRESS WE LEARN THAT THE ACHIEVERS HAVE of performing Blues in the 21st JUST PICKED UP THE UK BLUES FEDERATION AWARD, 2019, century, he feels that it has to AND WILL BE REPRESENTING THE UK AT THE FORTHCOMING retain a sense of modern reality.

IBC IN MEMPHIS. WE WISH THEM EVERY SUCCESS. As a band they agree that the lyrics have to talk about what FOR FURTHER INFORMATION: WWW.THEACHIEVERSUK.COM

DISCOGRAPHY

PAG E 10 0 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

W W W.B LU E S MAT TE R S.C O M

W W W.B LU E S MAT TE R S.C O M

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 101

THE ACHIEVERS

Interview

is happening today to retain a sense of authenticity in the same way that the ‘blues singers of old’ were singing about their lives then.

However, within that there is still considerable scope for humour, as Steve confesses ‘I can’t speak a single paragraph without wisecracking so why would I write a song without a bit of humour?! I am not a serious person – I am serious about certain things but I also often see the irony’ Citing the track entitled ‘Ever Lovin’ Mess’, Steve explained ‘The song was a reaction to me feeling like I was burning the candle at both ends, drinking too much, partying too much etc., but I came to this conclusion sat on the sofa with a glass of Pinot Noir watching Countryfile!’

For me that kind of sums up The Achievers, great musicians performing songs with a sense of humour, and the album reflects just that. It opens with solo harp which glides smoothly into a Southern groove reminiscent of Little Feat with some lovely slide from Robert. The album is eclectic, but it all sits well under ‘The - we all water and fertilize them till they Achievers umbrella of influence’. ‘Careful are ready to harvest. Essentially, we are Sabrina’ tells the tale how a German woman musical farmers’ he added with, I thought, offered to seduce the entire band. ‘Good a sense of satisfaction. The writing process news’ is an upbeat call for positivity with is an integral part of the band’s life, and an infectious call and response hook. ‘Turn they all exude a sense of satisfaction with Around’ is a Stax tinged celebration of how it works and what they produce. Rufus having a good time. The album ends with described it as the ‘dream team’ where each ‘See me back, Jesus’ (about Steve’s nextof them has a role to play, adding ‘Robbie is door neighbour, in case you’re wondering…) particularly good at ideas for arrangements which for me offers more than a cursory nod and trimming off the fat’ but in the end, of respect to Jimmy Mack. as Aron puts it ’none of the songs would Jack sums it up nicely: ‘the music we sound how they do without everybody’s create is wholesome. It comes from a place input.’ This attention to detail is reflected of love that we collectively feel as a band. in the end result, 39 minutes of well-crafted It’s uplifting music that makes us feel good songs from a bunch of great musicians who when we play, hopefully making confess to being ‘Disciples of pop whoever’s listening feel good, too’ music’ I have to say it works for me! Nice Lyrically, The Achievers have Live at The SVA 2018 one, guys! a delicate touch, Steve insists Lost Arc 2019 that from his standpoint he has to ‘sing in his own voice’ in terms AS WE GO TO PRESS WE LEARN THAT THE ACHIEVERS HAVE of performing Blues in the 21st JUST PICKED UP THE UK BLUES FEDERATION AWARD, 2019, century, he feels that it has to AND WILL BE REPRESENTING THE UK AT THE FORTHCOMING retain a sense of modern reality.

IBC IN MEMPHIS. WE WISH THEM EVERY SUCCESS. As a band they agree that the lyrics have to talk about what FOR FURTHER INFORMATION: WWW.THEACHIEVERSUK.COM

DISCOGRAPHY

PAG E 10 0 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

W W W.B LU E S MAT TE R S.C O M

W W W.B LU E S MAT TE R S.C O M

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 101

Blues Top 50

Position Artist

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40

AUGUST 2019

REVIEWS

Albums

IBBA TOP 40

COCO MONTOYA SAMANTHA FISH ALTERED FIVE BLUES BAND THE MOONSHINE SOCIETY MARTIN MCNEILL THE ACHIEVERS NICK MOSS BAND FEAT. DENNIS GRUENLING LAURENCE JONES BAND DANNY BRYANT MINDI ABAIR & THE BONESHAKERS JOHN LEE HOOKER DAN BURNETT SUGAR QUEEN & THE STRAIGHT BLUES BAND HEATHER NEWMAN DELBERT MCCLINTON & SELF MADE MEN THE BIG WOLF BAND FEAT. ZOE GREEN VENEESE THOMAS BOBBY RUSH SEAN WEBSTER BAND THE CHARLIE WOOTON PROJECT PROFESSOR LOUIE & THE CROWMATIX DUDLEY TAFT PAUL GILLINGS BLUES BOY KINGS GILES ROBSON MARCUS LAZARUS RORY GALLAGHER LLOYD SPIEGEL THE ALLMAN BETTS BAND J. P. SOARS MARK CAMERON ELLES BAILEY BILLY BRANCH & THE SONS OF BLUES BRUCE KATZ JERSEY SWAMP CATS HANNAH WICKLUND & THE STEPPIN STONES SHAUN MURPHY DEEP BLUE SEA RICK ESTRIN & THE NIGHTCATS EMMA WILSON

Album

COMING IN HOT KILL OR BE KIND TEN THOUSAND WATTS SWEET THING CAT SQUIRREL THE LOST ARC LUCKY GUY! LAURENCE JONES BAND MEANS OF ESCAPE NO GOOD DEED ANTHOLOGY FLYING SOLO LIVE RISE FROM THE FLAMES TALL, DARK & HANDSOME BE FREE DOWN YONDER SITTING ON TOP OF THE BLUES THREE NIGHTS LIVE BLUE BASSO MILES OF BLUES SIMPLE LIFE YOU DON’T EVEN KNOW BACK ON THE BLUES DON’T GIVE UP ON THE BLUES DON’T MENTION THE WAH PART 2 BLUES CUT & RUN DOWN TO THE RIVER LET GO OF THE REINS ON A ROLL ROAD I CALL HOME ROOTS & BRANCHES: THE SONGS OF LITTLE WALTER SOLO RIDE GO CAT GO! HANNAH WICKLUND & THE STEPPIN STONES REASON TO TRY STRANGE WAYS CONTEMPORARY LIVE & ACOUSTIC

THE BIG BLUES REVIEWS GUIDE – ACCEPT NO SUBSTITUTE!

BIG JACK REYNOLDS

THAT’S A GOOD WAY TO GET TO HEAVEN Third Street Cigar Records

A very smartly packaged gatefold sleeve contains not only a CD but an 80-minute DVD production covering Big Jack’s life. Perhaps the name Big Jack Reynolds hasn’t cropped up on our blues radar very often, but as the director of the DVD Glen Burris tells us, Reynolds was “a gifted and mysterious bluesman. Hearing his music, you know he could have been a great star if he’d ever caught a break. Sadly, Reynolds died aged 72 back in 1993, so the assembling of this touching tribute by John Henry and Ohio’s Third Street Cigar Records demonstrates that passion for the heritage of the blues and ensures such a life is not forgotten. Harp player, drummer and distinctive vocalist, Reynolds reveals a versatile package of blues which began in Ohio and grew to maturity in Detroit where he played the blues scene in the late 50s with some success. There’s classic urban deliveries with Honest I Do and Shame, Shame, Shame, and a stirring version of Going Down Slow which has echoes of Howlin’ Wolf. The accompanying DVD gives a full picture of the life of a true bluesman, complete with hitherto unseen recordings of performances and reminiscences of those who knew Big Jack, a man whose name ought to be up there with the legends we still revere, artists who had better breaks, better publicity and better luck. If there’s a blues heaven and you’re up there, Jack, rest assured we know you now and the blues is all the better for it.

ROY BAINTON.

BETH HART

WAR IN MY MIND MASCOT/PROVOGUE

Bad Woman Blues kicks off the album with strong gutsy vocals from Beth, as we have come to expect over the years. This is more of a piano/vocal album as opposed to a fullon band album but it’s equally as powerful.

In the background are beautiful backing vocals that ooze class. This is the opener for a story that reaches into the very depths PAG E 10 2 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

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of her life, warts and all. War On My Mind being the title track basically tells you what this album is all about. Reminiscing about her struggles with depression and being diagnosed as bi-polar this is where we encounter the struggle that has produced this blues icon. As the song builds to a crescendo you can feel the strength of character that has shaped her career. If you have never heard a Beth Hart album before then this is the perfect introduction

as to what blues is all about. Without Words In The Way is another step down the road of life that Beth is taking us on. Sweet, meaningful piano playing that fits the lyrics so well. Telling her story through song is her way of dealing with the demons that have plagued her so much but also have shaped and moulded her song-writing skills into a blues artist that not only has the best female voice I’ve ever heard but also a complete all-rounder as an artist. Sister Dear is an extension of her song Sister Heroine that dealt with the loss of her sibling a few years ago. Such emotion and touching lyrics that come straight from the heart on top of wonderful melodies and arrangement. This is a tear-jerker but such a beautiful song.

Rub Me For Luck is the standout track on a standout album. Melancholy, dark powerful, words almost fail me at how good this is. Beth Hart at her best. And Beth at her best is the best on the planet. Simply stunning. Sugar Shack has more of a drum influence that quickens the tempo making it a bit more uplifting whilst still retaining the powerful lyrics that make this an awesome album. Thankful sees Beth pull back from the abyss. Telling us how she survived with beautiful lyrics. I Need A Hero closes the album. I’ve followed Beth’s career from the beginning. If she needs a hero, she needs to look no further than the mirror.

STEPHEN HARRISON

BLACK STONE CHERRY

BLACK TO BLUES VOL2 MASCOT RECORDS

This is the follow up to the Black To Blues EP released in 2017, and like that CONTINUES OVER...

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 10 3

Blues Top 50

Position Artist

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40

AUGUST 2019

REVIEWS

Albums

IBBA TOP 40

COCO MONTOYA SAMANTHA FISH ALTERED FIVE BLUES BAND THE MOONSHINE SOCIETY MARTIN MCNEILL THE ACHIEVERS NICK MOSS BAND FEAT. DENNIS GRUENLING LAURENCE JONES BAND DANNY BRYANT MINDI ABAIR & THE BONESHAKERS JOHN LEE HOOKER DAN BURNETT SUGAR QUEEN & THE STRAIGHT BLUES BAND HEATHER NEWMAN DELBERT MCCLINTON & SELF MADE MEN THE BIG WOLF BAND FEAT. ZOE GREEN VENEESE THOMAS BOBBY RUSH SEAN WEBSTER BAND THE CHARLIE WOOTON PROJECT PROFESSOR LOUIE & THE CROWMATIX DUDLEY TAFT PAUL GILLINGS BLUES BOY KINGS GILES ROBSON MARCUS LAZARUS RORY GALLAGHER LLOYD SPIEGEL THE ALLMAN BETTS BAND J. P. SOARS MARK CAMERON ELLES BAILEY BILLY BRANCH & THE SONS OF BLUES BRUCE KATZ JERSEY SWAMP CATS HANNAH WICKLUND & THE STEPPIN STONES SHAUN MURPHY DEEP BLUE SEA RICK ESTRIN & THE NIGHTCATS EMMA WILSON

Album

COMING IN HOT KILL OR BE KIND TEN THOUSAND WATTS SWEET THING CAT SQUIRREL THE LOST ARC LUCKY GUY! LAURENCE JONES BAND MEANS OF ESCAPE NO GOOD DEED ANTHOLOGY FLYING SOLO LIVE RISE FROM THE FLAMES TALL, DARK & HANDSOME BE FREE DOWN YONDER SITTING ON TOP OF THE BLUES THREE NIGHTS LIVE BLUE BASSO MILES OF BLUES SIMPLE LIFE YOU DON’T EVEN KNOW BACK ON THE BLUES DON’T GIVE UP ON THE BLUES DON’T MENTION THE WAH PART 2 BLUES CUT & RUN DOWN TO THE RIVER LET GO OF THE REINS ON A ROLL ROAD I CALL HOME ROOTS & BRANCHES: THE SONGS OF LITTLE WALTER SOLO RIDE GO CAT GO! HANNAH WICKLUND & THE STEPPIN STONES REASON TO TRY STRANGE WAYS CONTEMPORARY LIVE & ACOUSTIC

THE BIG BLUES REVIEWS GUIDE – ACCEPT NO SUBSTITUTE!

BIG JACK REYNOLDS

THAT’S A GOOD WAY TO GET TO HEAVEN Third Street Cigar Records

A very smartly packaged gatefold sleeve contains not only a CD but an 80-minute DVD production covering Big Jack’s life. Perhaps the name Big Jack Reynolds hasn’t cropped up on our blues radar very often, but as the director of the DVD Glen Burris tells us, Reynolds was “a gifted and mysterious bluesman. Hearing his music, you know he could have been a great star if he’d ever caught a break. Sadly, Reynolds died aged 72 back in 1993, so the assembling of this touching tribute by John Henry and Ohio’s Third Street Cigar Records demonstrates that passion for the heritage of the blues and ensures such a life is not forgotten. Harp player, drummer and distinctive vocalist, Reynolds reveals a versatile package of blues which began in Ohio and grew to maturity in Detroit where he played the blues scene in the late 50s with some success. There’s classic urban deliveries with Honest I Do and Shame, Shame, Shame, and a stirring version of Going Down Slow which has echoes of Howlin’ Wolf. The accompanying DVD gives a full picture of the life of a true bluesman, complete with hitherto unseen recordings of performances and reminiscences of those who knew Big Jack, a man whose name ought to be up there with the legends we still revere, artists who had better breaks, better publicity and better luck. If there’s a blues heaven and you’re up there, Jack, rest assured we know you now and the blues is all the better for it.

ROY BAINTON.

BETH HART

WAR IN MY MIND MASCOT/PROVOGUE

Bad Woman Blues kicks off the album with strong gutsy vocals from Beth, as we have come to expect over the years. This is more of a piano/vocal album as opposed to a fullon band album but it’s equally as powerful.

In the background are beautiful backing vocals that ooze class. This is the opener for a story that reaches into the very depths PAG E 10 2 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

W W W.B LU E S MAT TE R S.C O M

W W W.B LU E S MAT TE R S.C O M

of her life, warts and all. War On My Mind being the title track basically tells you what this album is all about. Reminiscing about her struggles with depression and being diagnosed as bi-polar this is where we encounter the struggle that has produced this blues icon. As the song builds to a crescendo you can feel the strength of character that has shaped her career. If you have never heard a Beth Hart album before then this is the perfect introduction

as to what blues is all about. Without Words In The Way is another step down the road of life that Beth is taking us on. Sweet, meaningful piano playing that fits the lyrics so well. Telling her story through song is her way of dealing with the demons that have plagued her so much but also have shaped and moulded her song-writing skills into a blues artist that not only has the best female voice I’ve ever heard but also a complete all-rounder as an artist. Sister Dear is an extension of her song Sister Heroine that dealt with the loss of her sibling a few years ago. Such emotion and touching lyrics that come straight from the heart on top of wonderful melodies and arrangement. This is a tear-jerker but such a beautiful song.

Rub Me For Luck is the standout track on a standout album. Melancholy, dark powerful, words almost fail me at how good this is. Beth Hart at her best. And Beth at her best is the best on the planet. Simply stunning. Sugar Shack has more of a drum influence that quickens the tempo making it a bit more uplifting whilst still retaining the powerful lyrics that make this an awesome album. Thankful sees Beth pull back from the abyss. Telling us how she survived with beautiful lyrics. I Need A Hero closes the album. I’ve followed Beth’s career from the beginning. If she needs a hero, she needs to look no further than the mirror.

STEPHEN HARRISON

BLACK STONE CHERRY

BLACK TO BLUES VOL2 MASCOT RECORDS

This is the follow up to the Black To Blues EP released in 2017, and like that CONTINUES OVER...

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 10 3

Albums

REVIEWS

hugely successful record contains half a dozen classic blues tracks given the Black Stone Cherry treatment. The four young guys in the band are augmented throughout by the even younger Yates McKendree on keys who has made such a big impression that he is now touring with the band. His presence is instantly felt on the ass kicking version of Freddie King’s Big Legged Woman that sets the pace for the whole project. His intro lays down the foundation for the tasteful guitar interplay between Chris Robertson and Ben Wells. Robertson treats the vocals with respect but not too much, and by the time first Yates and then Ben solos over the bedrock rhythm we could easily forget this isn’t a bang up to date Black Stone Cherry composition. Robert Johnson’s Me And The Devil is up next, given an appropriately creepy muffled vocal intro before the band jam their way around the haunting lyrics. Chris Robertson never tries to imitate the originals and stamps his own personality into the songs without ever losing the believability of the stories they tell. All Your Love by Otis Rush is a great choice to include and the Southern rockers retain the Chicago West Side authenticity. Howlin’ Wolf number Down In The Bottom follows on perfectly. Wolf always carried menace in his vocals and Chris does a great job here and young Yates on keys takes it into another place entirely. I admire the fact that in choosing an Elmore James tune to include the band passed on the obvious choices like Dust My Broom, The Sky Is Crying etc, going instead for Early One Morning.

Chris slides it like the devil himself, hopefully this will have the youngsters digging into Elmore’s back catalogue searching for more hidden gems. The EP closes with Death Letter Blues which has been a mainstay of the bands live set for a few years now. They take their time and stretch it out obviously having a ton of fun with it. Having interviewed Ben Wells about this release it became clear how genuinely knowledgeable and passionate these guys are about the blues, this is no clinical marketing ploy. In their own way

REVIEWS

they are breathing life into the music we all love and passing the flame along, long may it continue.

STEVE YOURGLIVCH

BLUE MOON MARQUEE

BARE KNUCKLES AND BRAWN BLUE MOON MARQUEE MUSIC

If, like me you study band or artist images before playing the music, you will be keen to hear that Blue Moon Marquee sound as cool as they look in their picture. On the basis of this collection, you will be far from disappointed. For this turnout, the duo of A.W. Cardinal and Jasmine Colette have brought a full band set-up into the studio, and everything benefits.

Mr Cardinal’s voice comes right from the very best smoky juke joints, a combination of Louis Armstrong and Tom Waits that winds sinuously over the vocal lines of this immaculate collection of songs. His Django-esque guitar rhythms and perfect little solos add aural icing everywhere they appear Ms. Collette contrasts perfectly with her own achingly soulful vocal inputs, cream to his strong coffee. This album was put together in just three days using vintage recording equipment for the authentic warm sound of times gone by.

The Django influence is in full swing, on High Noon, and it’s just joyous, perfectly played with the band just swinging right away behind. The Red Devil Himself is just a pure swing blast with a singalong chorus line. Big Smoke is cool blues, and by now this record has absolutely earned its place in my in-car entertainment selection. The band underline every sublime phrase sung by Ms. Colette through 52nd Street Strut, and Wayward opens with some of that beautifully understated guitar that he sprinkles throughout the record. There is a delightful piano solo from Darcy Phillips to counterpoint his underpinning Hammond, and the vocal is a genuinely emotional appeal to another in a series of feckless women which populate blues songs the world over. The last song in this divine collection is Lost And Wild, and Mr Cardinal lets his voice crack just enough for the pain

PAG E 10 4 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

to shine through, before he is soothed by the piano of Mr Phillips. No album is ever perfect, but this one comes as close as makes no difference. .

ANDY HUGHES

BRETT SPAULDING & THE PSYCHIC SPIES LIVIN’ TO PLAY MAPL

Brett Spaulding has been around the Canadian Blues scene for years. A perfect example, in my opinion, of the talented and quality musician that builds a local following but never quite translates it into major success. Shame because this is actually a very good album and while the opening track, the title track, is fairly standard heavy Blues fare, the album shows some real songwriting skills and excellent band playing. Spaulding wears his influences clearly on his sleeve, Stevie Ray Vaughan, Beatles, Foo Fighters & Kenny Wayne Shepherd can all be seen in different tracks but he really attacks the use of harmonies and different time signatures particularly well. The Ride as an example is ideal; the track features his vocal prowess over keening harmonies and jangling guitar lines with a driving drumbeat forcing the track along at pace. There are echoes of the Beatles in the harmonies, Foo Fighters in the pop/rock feel of the track but then the breakdown at the end could almost come from Hawkwind (!). City Walls is powerful and complex, stepping way away from the Blues but gathering the band together to make the chopping and changing rhythms feel completely natural. The Psychic Spies themselves are no slouches. You really couldn’t do this without a band whose talents are the match of the lead with co-songwriter Chad Holtzman on bass, Brent Wright on slide guitar and backing vox, Stephen Fletcher on keyboards and Emmet Van Etten on drums. They combine to form much more than a backing band.

It’s an excellent album, full of changes and I hope they can be enticed over here for a few shows because their reputation as a live band precedes them.

ANDY SNIPPER W W W.B LU E S MAT TE R S.C O M

BILLIE WILLIAMS HELL TO PAY

FR Radio Promotions

On the heels of Billie’s self-titled debut album, which received critical praise and worldwide airplay, Hell To Pay offers a collection of eleven new originals that showcase Williams’ song writing and vocal prowess, is how the flier introduces Billie’s album and pretty much hits the nail on the head. The title track Hell To Pay is a nicely crafted anthem to indifference and an indictment of those who ignore the problems which surround them. It starts in a slow blues style with a hint of Tina Turner vocals and develops into a faster, more powerful track, with the full backing of some great brass and a nice bit of harmonica, giving it a bluesy feel, just before a change of beat. The opening track Damn is another slow blues number, has a hint of Free’s Mr. Big,

BRUCE KATZ SOLO RIDE

AMERICAN SHOW PLACE MUSIC

Solo Ride from Bruce Katz is a first in his career, he has now recorded a solo piano album. Eleven of the dozen tracks are Bruce Katz originals exhibiting the depth and breadth of his playing and composition skills. Bruce has played with Gregg Allman, Delbert McClinton, John Hammond, Ronnie Earl and the list goes on. Now he is in the studio on his own well, he has his Grand Piano for company. His fingers explore the tonal diversity of the black & White keys as he plays boogie woogie, a country waltz and jazz to gospel influenced sounds. It is this depth of tones and tempo that prevents this album, that has its sole focus on the piano, from being repetitive. That said, and I love the piano, I did at times miss the addition of a different textural tone to augment his immense piano playing. The acoustic sound of the piano gives the tone an authenticity that links many aspects of the blues from Juke Joint to Concert Hall and spans the sound that has shaped the blues across W W W.B LU E S MAT TE R S.C O M

Albums

and features some dominant keyboards from Jeremy Mage and searing guitar work from Stew Cutler. Cold November has an insistent piano riff, which pervades the ballad, which is about being left alone in NYC. Start All Over is a soul influenced track about mistakes that were made, and wanting another chance to put things right, showcasing Billie’s strengths as a lyricist. The track You is a lighter song, with a more upbeat message and some great backing vocals. Hour By Hour is a bluesier track, which is another lament about lost love. Billie’s vocals, whilst putting her words across with feeling are crystal clear at all times. Drink From My Cup is a bluesy song, which might or might not contain several dubious metaphors. Lost in the Wilderness is a poppier tune, which gives the album a bit of a lift. My Everything and Take These Dreams are more cabaret-style songs, which are more on the soul side. The final track Ten Million Sisters is a chant in support of women’s rights. (The video on Billie’s website leaves you in no doubt about this.)

This CD is not one for Blues purists, but if you like meaningful lyrics sung with clarity, it might well be worth giving this a listen STEVE BANKS

the generations. The album has the feel of a classical piece of work and would sound fantastic in a concert hall; it would be a welcome addition in my opinion to the BBC Proms to celebrate this branch of American popular music the Blues so often overlooked by Jazz and the musicals. If you are a fan of instrumentals, piano and love Bruce Katz style then this is an album that would be played often and a superb addition to your collection.

LIZ AIKEN

CHEYENNE JAMES BURN IT UP

INDEPENDENT

If you start your debut album with a cover of Grits Ain’t Groceries then you’re well on your way to some brownie points from me. Granted it’s hard to live up too Little Milton or Wet Willie but it certainly gives Cheyenne James the opportunity to let rip. So, you know she can sing. Then it’s on to the first of the original songs (there are four of those and six covers). Gypsy Mama is a harmonica drenched shuffle that

gets the feet tapping. So, she can write as well. This is shaping up to be a bit of a treat. And so, it proves as Ms James and her band, guitarists Dave Carter and Mark May, bassist Rock Romano, harmonica player Steve Krase, keyboardist Randy Wall, drummer Jim Brady and the horn section of saxophonist Eric Demmer and Lamar Boulet on trumpet and flugelhorn lay down a really enjoyable set of tunes. Not everything glitters as not even the greatest of vocalists could rescue the Van Morrison cover, Steal My Heart Away. Of the other originals the jazzy slow blues of What Does It Mean is magnificent while the closing cover of You Know You Love Me Baby is just full of cheek and sass. It’s a well-produced and expertly performed set of songs that is a great introduction to a real talent.

STUART A HAMILTON

CLIFF STEVENS NOBODY BUT YOU RED FLAGG

CONTINUES OVER...

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 10 5

Albums

REVIEWS

hugely successful record contains half a dozen classic blues tracks given the Black Stone Cherry treatment. The four young guys in the band are augmented throughout by the even younger Yates McKendree on keys who has made such a big impression that he is now touring with the band. His presence is instantly felt on the ass kicking version of Freddie King’s Big Legged Woman that sets the pace for the whole project. His intro lays down the foundation for the tasteful guitar interplay between Chris Robertson and Ben Wells. Robertson treats the vocals with respect but not too much, and by the time first Yates and then Ben solos over the bedrock rhythm we could easily forget this isn’t a bang up to date Black Stone Cherry composition. Robert Johnson’s Me And The Devil is up next, given an appropriately creepy muffled vocal intro before the band jam their way around the haunting lyrics. Chris Robertson never tries to imitate the originals and stamps his own personality into the songs without ever losing the believability of the stories they tell. All Your Love by Otis Rush is a great choice to include and the Southern rockers retain the Chicago West Side authenticity. Howlin’ Wolf number Down In The Bottom follows on perfectly. Wolf always carried menace in his vocals and Chris does a great job here and young Yates on keys takes it into another place entirely. I admire the fact that in choosing an Elmore James tune to include the band passed on the obvious choices like Dust My Broom, The Sky Is Crying etc, going instead for Early One Morning.

Chris slides it like the devil himself, hopefully this will have the youngsters digging into Elmore’s back catalogue searching for more hidden gems. The EP closes with Death Letter Blues which has been a mainstay of the bands live set for a few years now. They take their time and stretch it out obviously having a ton of fun with it. Having interviewed Ben Wells about this release it became clear how genuinely knowledgeable and passionate these guys are about the blues, this is no clinical marketing ploy. In their own way

REVIEWS

they are breathing life into the music we all love and passing the flame along, long may it continue.

STEVE YOURGLIVCH

BLUE MOON MARQUEE

BARE KNUCKLES AND BRAWN BLUE MOON MARQUEE MUSIC

If, like me you study band or artist images before playing the music, you will be keen to hear that Blue Moon Marquee sound as cool as they look in their picture. On the basis of this collection, you will be far from disappointed. For this turnout, the duo of A.W. Cardinal and Jasmine Colette have brought a full band set-up into the studio, and everything benefits.

Mr Cardinal’s voice comes right from the very best smoky juke joints, a combination of Louis Armstrong and Tom Waits that winds sinuously over the vocal lines of this immaculate collection of songs. His Django-esque guitar rhythms and perfect little solos add aural icing everywhere they appear Ms. Collette contrasts perfectly with her own achingly soulful vocal inputs, cream to his strong coffee. This album was put together in just three days using vintage recording equipment for the authentic warm sound of times gone by.

The Django influence is in full swing, on High Noon, and it’s just joyous, perfectly played with the band just swinging right away behind. The Red Devil Himself is just a pure swing blast with a singalong chorus line. Big Smoke is cool blues, and by now this record has absolutely earned its place in my in-car entertainment selection. The band underline every sublime phrase sung by Ms. Colette through 52nd Street Strut, and Wayward opens with some of that beautifully understated guitar that he sprinkles throughout the record. There is a delightful piano solo from Darcy Phillips to counterpoint his underpinning Hammond, and the vocal is a genuinely emotional appeal to another in a series of feckless women which populate blues songs the world over. The last song in this divine collection is Lost And Wild, and Mr Cardinal lets his voice crack just enough for the pain

PAG E 10 4 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

to shine through, before he is soothed by the piano of Mr Phillips. No album is ever perfect, but this one comes as close as makes no difference. .

ANDY HUGHES

BRETT SPAULDING & THE PSYCHIC SPIES LIVIN’ TO PLAY MAPL

Brett Spaulding has been around the Canadian Blues scene for years. A perfect example, in my opinion, of the talented and quality musician that builds a local following but never quite translates it into major success. Shame because this is actually a very good album and while the opening track, the title track, is fairly standard heavy Blues fare, the album shows some real songwriting skills and excellent band playing. Spaulding wears his influences clearly on his sleeve, Stevie Ray Vaughan, Beatles, Foo Fighters & Kenny Wayne Shepherd can all be seen in different tracks but he really attacks the use of harmonies and different time signatures particularly well. The Ride as an example is ideal; the track features his vocal prowess over keening harmonies and jangling guitar lines with a driving drumbeat forcing the track along at pace. There are echoes of the Beatles in the harmonies, Foo Fighters in the pop/rock feel of the track but then the breakdown at the end could almost come from Hawkwind (!). City Walls is powerful and complex, stepping way away from the Blues but gathering the band together to make the chopping and changing rhythms feel completely natural. The Psychic Spies themselves are no slouches. You really couldn’t do this without a band whose talents are the match of the lead with co-songwriter Chad Holtzman on bass, Brent Wright on slide guitar and backing vox, Stephen Fletcher on keyboards and Emmet Van Etten on drums. They combine to form much more than a backing band.

It’s an excellent album, full of changes and I hope they can be enticed over here for a few shows because their reputation as a live band precedes them.

ANDY SNIPPER W W W.B LU E S MAT TE R S.C O M

BILLIE WILLIAMS HELL TO PAY

FR Radio Promotions

On the heels of Billie’s self-titled debut album, which received critical praise and worldwide airplay, Hell To Pay offers a collection of eleven new originals that showcase Williams’ song writing and vocal prowess, is how the flier introduces Billie’s album and pretty much hits the nail on the head. The title track Hell To Pay is a nicely crafted anthem to indifference and an indictment of those who ignore the problems which surround them. It starts in a slow blues style with a hint of Tina Turner vocals and develops into a faster, more powerful track, with the full backing of some great brass and a nice bit of harmonica, giving it a bluesy feel, just before a change of beat. The opening track Damn is another slow blues number, has a hint of Free’s Mr. Big,

BRUCE KATZ SOLO RIDE

AMERICAN SHOW PLACE MUSIC

Solo Ride from Bruce Katz is a first in his career, he has now recorded a solo piano album. Eleven of the dozen tracks are Bruce Katz originals exhibiting the depth and breadth of his playing and composition skills. Bruce has played with Gregg Allman, Delbert McClinton, John Hammond, Ronnie Earl and the list goes on. Now he is in the studio on his own well, he has his Grand Piano for company. His fingers explore the tonal diversity of the black & White keys as he plays boogie woogie, a country waltz and jazz to gospel influenced sounds. It is this depth of tones and tempo that prevents this album, that has its sole focus on the piano, from being repetitive. That said, and I love the piano, I did at times miss the addition of a different textural tone to augment his immense piano playing. The acoustic sound of the piano gives the tone an authenticity that links many aspects of the blues from Juke Joint to Concert Hall and spans the sound that has shaped the blues across W W W.B LU E S MAT TE R S.C O M

Albums

and features some dominant keyboards from Jeremy Mage and searing guitar work from Stew Cutler. Cold November has an insistent piano riff, which pervades the ballad, which is about being left alone in NYC. Start All Over is a soul influenced track about mistakes that were made, and wanting another chance to put things right, showcasing Billie’s strengths as a lyricist. The track You is a lighter song, with a more upbeat message and some great backing vocals. Hour By Hour is a bluesier track, which is another lament about lost love. Billie’s vocals, whilst putting her words across with feeling are crystal clear at all times. Drink From My Cup is a bluesy song, which might or might not contain several dubious metaphors. Lost in the Wilderness is a poppier tune, which gives the album a bit of a lift. My Everything and Take These Dreams are more cabaret-style songs, which are more on the soul side. The final track Ten Million Sisters is a chant in support of women’s rights. (The video on Billie’s website leaves you in no doubt about this.)

This CD is not one for Blues purists, but if you like meaningful lyrics sung with clarity, it might well be worth giving this a listen STEVE BANKS

the generations. The album has the feel of a classical piece of work and would sound fantastic in a concert hall; it would be a welcome addition in my opinion to the BBC Proms to celebrate this branch of American popular music the Blues so often overlooked by Jazz and the musicals. If you are a fan of instrumentals, piano and love Bruce Katz style then this is an album that would be played often and a superb addition to your collection.

LIZ AIKEN

CHEYENNE JAMES BURN IT UP

INDEPENDENT

If you start your debut album with a cover of Grits Ain’t Groceries then you’re well on your way to some brownie points from me. Granted it’s hard to live up too Little Milton or Wet Willie but it certainly gives Cheyenne James the opportunity to let rip. So, you know she can sing. Then it’s on to the first of the original songs (there are four of those and six covers). Gypsy Mama is a harmonica drenched shuffle that

gets the feet tapping. So, she can write as well. This is shaping up to be a bit of a treat. And so, it proves as Ms James and her band, guitarists Dave Carter and Mark May, bassist Rock Romano, harmonica player Steve Krase, keyboardist Randy Wall, drummer Jim Brady and the horn section of saxophonist Eric Demmer and Lamar Boulet on trumpet and flugelhorn lay down a really enjoyable set of tunes. Not everything glitters as not even the greatest of vocalists could rescue the Van Morrison cover, Steal My Heart Away. Of the other originals the jazzy slow blues of What Does It Mean is magnificent while the closing cover of You Know You Love Me Baby is just full of cheek and sass. It’s a well-produced and expertly performed set of songs that is a great introduction to a real talent.

STUART A HAMILTON

CLIFF STEVENS NOBODY BUT YOU RED FLAGG

CONTINUES OVER...

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 10 5

Albums

REVIEWS

If you like the guitar playing of Eric Clapton, or Stevie Ray Vaughan, you are bound to appreciate the musicianship that is on display on this album. All of the songs, written by Cliff Stevens include soulful vocals, and some fine playing, with a cracking rhythm section of bassist Dominic Romanelli, drummer Sam Harrison and Organ and piano player Eric Sauve, add in the gospel backing vocals of Kim Feeney and you have a heady stew of sounds.

Starting with the 12-bar swagger of How Long, or the funky swagger Say What You Mean, and the steady rolling title track, Nobody but You this is music that aims for the foot. The incendiary wah wah guitar of Cry Baby imagines the template of Green Onions revisited by Jimi Hendrix, Steve Winwood, and Stevie Ray Vaughan, and contains the prime guitar work on the album. World of Worry is a slower song, that adds harmonica to Blind Willie McTell, or Traffic like soundscape, and Come Back is a hard rocking, slide guitar filled song that starts as it means to go on, taking no prisoners. If you like your music to be spirited and hard rocking, this could be a new find for you. It is Cliff Steven’s fourth album and is a fine addition to an already very impressive body of work.

BEN MCNAIR

CHRIS WRAGG & GREG COPELAND DEEP IN THE BLOOD HONEY BEE RECORDS

Twelve track debut album from these two, Chris all the way from the great Blues town of Sheffield and Portsmouth (Virginia not Hampshire!) Eleven of the songs are written by the boys apart from the well-known Eddy Boyd song Five Long Years. Guest appearances too from Greg Guy on guitar (Buddy’s son) and vocals on two numbers from the daughter of BB King, Shirley, and what a great voice she has too! Together with Greg’s pipes. Chris takes centre stage for his killer guitar work and it is fair to say that Jimi Hendrix is alive in Sheffield and it shows with a couple of great nods to the man! Once again this is a record that doesn’t stick to one sound or style, but

REVIEWS

BLIND LEMON JAZZ AFTER HOURS Ofeh Records

Well this came as a surprise. I’ve followed the career of Jim Byfield a.k.a. Blind Lemon Pledge since he came onto the scene about ten years ago and his previous albums were a bluesy amalgam of Americana, Cajun and roots. His role in this project is as writer, arranger and producer although he does provide guitar and vocals on the closing track Blue Heartbreak. The rest of the album is dominated by the lovely vocals of Marisa Malvino wonderfully supported by a jazzy trio comprising Ben Flint on the keys, Peter Grenell on bass and drummer Joe Keiner. The music is inspired by the late-night jazz and swing of American 30’s and 40’s era sounds. This won’t appeal to everyone but if you’re willing to give it a try, I think you’ll be pleasantly surprised. Blind Lemon’s writing is a master class, it’s hard to believe these are all new originals and not dyed in the wool classics from that time. Although mostly ballads there is variation in tempo and the delivery from Marisa is perfection in every case. Opening track After Hours evokes the early swing of Harlem, How Can I Still Love You is a bluesy jazzy waltz, and theirs some gospel tinged playing too, most notably on You Can’t Get There From Here. These are just a few highlights. I wasn’t aware of Malisa Malvino prior to this album but I’m certainly going to explore what else she has worked on. I recommend giving this a listen, open your mind and your ears, you might just be surprised too.

passionate vocals with memorable songs, delivering the blues’ hardest truths. He earned his status as a master guitarist and soul-powered vocalist through years of paying his dues as a sideman with Collins (first as a drummer) and then with John Mayall’s Bluesbreakers, before launching his solo career in 1993. Five years of constant touring with Collins and ten years with Mayall turned him into a monster player and dynamic performer. Montoya has released eight solo albums—including three for Alligator between 2000 and 2007—and has played at clubs, concert halls and major festivals all over the world.

Guitar Player says Montoya plays “stunning, powerhouse blues with a searing tone, emotional soloing, and energetic, unforced vocals. Returning to Alligator with his new album, Hard Truth, Montoya delivers one career-topping performance after another, the music immediately ranking among the best he’s ever recorded. The album features eleven songs, each delivering a hard truth of its own ROY BAINTON.

DAVE PEABODY TRIO FLEA BITING BLUES

STEVE YOURGLIVCH

INDEPENDENT

still manages to stay firmly lodged in the Blues and some great blues too, closing with a beautiful slow acoustic Blues called Trouble, well you guys can call in and trouble me anytime you like. Keep up the great blues and come to see us soon.

DAVE STONE

COCO MONTOYA COMING IN HOT

ALLIGATOR RECORDS

Fiery, punchy, energetic, emotional. What more could you ask from the blues? Here’s a man with a legendary past. Ten years with John Mayall’s Bluesbreakers and five years with Telecaster master Albert Collins (first as drummer) were enough to inspire any sideman to higher things, and judging by this stunning powerhouse collection, he’s way up there headlining with the world’s finest. This album was produced

PAG E 10 6 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

by drummer Tony Braunagel, who has worked with Eric Burdon, Taj Mahal and Bonnie Raitt. Good Man Gone and Coming in Hot are solid blues delivered with skill and conviction. There are moments of introspective emotion, too, such as the beautiful, slow What Am I? with its fine guitar solo. In addition to Montoya’s vocal clarity and precise guitar playing, the fivepiece band is on fire on every track. There’s stirring piano work on Stone Survivor, and the album climaxes with a rolling, urban blues, Water to Wine. When it comes to wondering where the blues is in the 21st century, then wonder no more: it’s here in the confident grip of world renowned guitarist and vocalist Coco Montoya.

Taught by the “Master of the Telecaster,” Collins, but with a hard-edged sound and style all his own, Montoya mixes his forceful, melodic guitar playing and W W W.B LU E S MAT TE R S.C O M

Here we have an album that sounds familiar and pleasing as soon as the first notes roll out of the speakers with Too Many Drivers.

Lovely barrelhouse piano from Tim Penn, driving acoustic guitar from Dave Peabody and wailing blues harp from Alan Glen.

The audience at the Bull’s Head in Barnes took to these three seasoned performers immediately and lapped up Drifting Blues and a jaunty Statesboro Blues. Vocals are shared between Peabody and Penn and the trio perform in an authentic, straight ahead, no frills manner and to my ears provide welcome relief from the torrent of rock/ blues currently dominating the blues scene.

I treasure my copy of Cyril Davies’ harp spectacular Country Line Special and Alan Glen gives it a good seeing to here before another old favourite Sleepy John Estes wonderful Floating Bridge stomps by. The material is mostly old chestnuts but there are a couple of originals here including the W W W.B LU E S MAT TE R S.C O M

charming title track Flea Biting Blues and the pleading slow blues Let’s Try To Get Along both written by Dave Peabody. Tim Penn’s piano lights up Whenever You’re Lonesome and the oft covered Look On Yonder Wall is a right rave up! The album closes with Lieber & Stoller’s romping K C Lovin’ and a good time was had by all.

I wish I’d been there on the night but am pleased to have this lovely album which features all of this trio’s collective talent, experience and ability to communicate this joyous music to the listener.

DAVE DRURY

BILLY BRANCH AND THE SONS OF BLUES ROOTS AND BRANCHES ALLIGATOR

Although sub-titled ‘The Songs Of Little Walter’, this is no covers album rather a heartfelt tribute to the 1950s harp genius.

My Babe typifies the way in which Little Walter Jacobs’ vocals, improvisations and melodies are taken in new directions whilst retaining their integrity and indomitable spirit. The jazzy vibe of Juke is another prime example of an innovative take on Little Walter’s classic instrumental. Nobody But You with its carefully crafted guitar, piano and harp solos typifies the master class techniques of Giles Corey, Ariyo Ariyoshi and Branch respectively. It is Marvin Little’s driving bass which stands out on Willie Dixon’s Mellow Down Easy, Billy’s mellifluous vocals complementing superlative harp interludes. Serious students of the harmonica will love the fast moving Roller Coaster, Branch wailing and chugging along effortlessly. The dark and moody Blue And Lonesome is a chromatic tour de force whilst the tempo and temperature rise with Hate To See You Go. Last Night proves that Branch can sing as powerfully as any bluesman to convey a message, his soulful vocals and dynamic harp playing merging seamlessly. One More Chance With You and Blues With A Feeling are both enhanced by the brilliant, intricate piano keys of Ariyo. On every track, Branch justifies his moniker of ‘Chicago Blues Harmonica Master’ and growing reputation

Albums

as one of the greatest contemporary blues harp players. This is not surprising given that his mentors included James Cotton, Junior Wells and Carey Bell. What is a surprise is the extent to which Branch and his Sons Of Blues have re-interpreted and re-energized Little Walter’s songs making this a ‘must buy’ album.

THE BISHOP

DELBERT MCCLINTON AND SELF-MADE MEN + DANA

TALL, DARK, & HANDSOME HOT SHOT RECORDS

Have you ever finished listening to an album and all you wanted to do was just sit there quietly and absorb what you have just heard? Have you then gone back and played that thing all over again because it was just so good? This is very true of the 26th album from Delbert McClinton. His stunning voice is full of raspy soul and you can hear a rich life etched into every tone.

The songs lean into refreshingly unrelated genres such as gypsy jazz in No Chicken On The Bone, big band swing in Mr Smith and a tango in Gone To Mexico. Somehow, he makes the different styles flow cohesively. It is easy to be drawn into the storytelling of the songs as they are so very relatable. Such as in Lulu, so many of us have had that bad penny in our lives that we just can’t seem to shake off. We have also all had that one intelligent friend that just can’t seem to make sensible comments, such as in Loud Mouth. Mostly humorous, the album takes a dark turn with the last two songs. Temporarily Insane is a disturbing song and gives voice to a true questioning of reality. The dissonant tones used pull you further and further into a feeling of deep unease. The album ends with The Poem and appears to be bleak commentary on some of the people that the writers have encountered. Delbert is supported by the Self-Made Men, a group of phenomenal musicians gathered together for a previous album. Various members of the Self-Made CONTINUES OVER...

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 107

Albums

REVIEWS

If you like the guitar playing of Eric Clapton, or Stevie Ray Vaughan, you are bound to appreciate the musicianship that is on display on this album. All of the songs, written by Cliff Stevens include soulful vocals, and some fine playing, with a cracking rhythm section of bassist Dominic Romanelli, drummer Sam Harrison and Organ and piano player Eric Sauve, add in the gospel backing vocals of Kim Feeney and you have a heady stew of sounds.

Starting with the 12-bar swagger of How Long, or the funky swagger Say What You Mean, and the steady rolling title track, Nobody but You this is music that aims for the foot. The incendiary wah wah guitar of Cry Baby imagines the template of Green Onions revisited by Jimi Hendrix, Steve Winwood, and Stevie Ray Vaughan, and contains the prime guitar work on the album. World of Worry is a slower song, that adds harmonica to Blind Willie McTell, or Traffic like soundscape, and Come Back is a hard rocking, slide guitar filled song that starts as it means to go on, taking no prisoners. If you like your music to be spirited and hard rocking, this could be a new find for you. It is Cliff Steven’s fourth album and is a fine addition to an already very impressive body of work.

BEN MCNAIR

CHRIS WRAGG & GREG COPELAND DEEP IN THE BLOOD HONEY BEE RECORDS

Twelve track debut album from these two, Chris all the way from the great Blues town of Sheffield and Portsmouth (Virginia not Hampshire!) Eleven of the songs are written by the boys apart from the well-known Eddy Boyd song Five Long Years. Guest appearances too from Greg Guy on guitar (Buddy’s son) and vocals on two numbers from the daughter of BB King, Shirley, and what a great voice she has too! Together with Greg’s pipes. Chris takes centre stage for his killer guitar work and it is fair to say that Jimi Hendrix is alive in Sheffield and it shows with a couple of great nods to the man! Once again this is a record that doesn’t stick to one sound or style, but

REVIEWS

BLIND LEMON JAZZ AFTER HOURS Ofeh Records

Well this came as a surprise. I’ve followed the career of Jim Byfield a.k.a. Blind Lemon Pledge since he came onto the scene about ten years ago and his previous albums were a bluesy amalgam of Americana, Cajun and roots. His role in this project is as writer, arranger and producer although he does provide guitar and vocals on the closing track Blue Heartbreak. The rest of the album is dominated by the lovely vocals of Marisa Malvino wonderfully supported by a jazzy trio comprising Ben Flint on the keys, Peter Grenell on bass and drummer Joe Keiner. The music is inspired by the late-night jazz and swing of American 30’s and 40’s era sounds. This won’t appeal to everyone but if you’re willing to give it a try, I think you’ll be pleasantly surprised. Blind Lemon’s writing is a master class, it’s hard to believe these are all new originals and not dyed in the wool classics from that time. Although mostly ballads there is variation in tempo and the delivery from Marisa is perfection in every case. Opening track After Hours evokes the early swing of Harlem, How Can I Still Love You is a bluesy jazzy waltz, and theirs some gospel tinged playing too, most notably on You Can’t Get There From Here. These are just a few highlights. I wasn’t aware of Malisa Malvino prior to this album but I’m certainly going to explore what else she has worked on. I recommend giving this a listen, open your mind and your ears, you might just be surprised too.

passionate vocals with memorable songs, delivering the blues’ hardest truths. He earned his status as a master guitarist and soul-powered vocalist through years of paying his dues as a sideman with Collins (first as a drummer) and then with John Mayall’s Bluesbreakers, before launching his solo career in 1993. Five years of constant touring with Collins and ten years with Mayall turned him into a monster player and dynamic performer. Montoya has released eight solo albums—including three for Alligator between 2000 and 2007—and has played at clubs, concert halls and major festivals all over the world.

Guitar Player says Montoya plays “stunning, powerhouse blues with a searing tone, emotional soloing, and energetic, unforced vocals. Returning to Alligator with his new album, Hard Truth, Montoya delivers one career-topping performance after another, the music immediately ranking among the best he’s ever recorded. The album features eleven songs, each delivering a hard truth of its own ROY BAINTON.

DAVE PEABODY TRIO FLEA BITING BLUES

STEVE YOURGLIVCH

INDEPENDENT

still manages to stay firmly lodged in the Blues and some great blues too, closing with a beautiful slow acoustic Blues called Trouble, well you guys can call in and trouble me anytime you like. Keep up the great blues and come to see us soon.

DAVE STONE

COCO MONTOYA COMING IN HOT

ALLIGATOR RECORDS

Fiery, punchy, energetic, emotional. What more could you ask from the blues? Here’s a man with a legendary past. Ten years with John Mayall’s Bluesbreakers and five years with Telecaster master Albert Collins (first as drummer) were enough to inspire any sideman to higher things, and judging by this stunning powerhouse collection, he’s way up there headlining with the world’s finest. This album was produced

PAG E 10 6 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

by drummer Tony Braunagel, who has worked with Eric Burdon, Taj Mahal and Bonnie Raitt. Good Man Gone and Coming in Hot are solid blues delivered with skill and conviction. There are moments of introspective emotion, too, such as the beautiful, slow What Am I? with its fine guitar solo. In addition to Montoya’s vocal clarity and precise guitar playing, the fivepiece band is on fire on every track. There’s stirring piano work on Stone Survivor, and the album climaxes with a rolling, urban blues, Water to Wine. When it comes to wondering where the blues is in the 21st century, then wonder no more: it’s here in the confident grip of world renowned guitarist and vocalist Coco Montoya.

Taught by the “Master of the Telecaster,” Collins, but with a hard-edged sound and style all his own, Montoya mixes his forceful, melodic guitar playing and W W W.B LU E S MAT TE R S.C O M

Here we have an album that sounds familiar and pleasing as soon as the first notes roll out of the speakers with Too Many Drivers.

Lovely barrelhouse piano from Tim Penn, driving acoustic guitar from Dave Peabody and wailing blues harp from Alan Glen.

The audience at the Bull’s Head in Barnes took to these three seasoned performers immediately and lapped up Drifting Blues and a jaunty Statesboro Blues. Vocals are shared between Peabody and Penn and the trio perform in an authentic, straight ahead, no frills manner and to my ears provide welcome relief from the torrent of rock/ blues currently dominating the blues scene.

I treasure my copy of Cyril Davies’ harp spectacular Country Line Special and Alan Glen gives it a good seeing to here before another old favourite Sleepy John Estes wonderful Floating Bridge stomps by. The material is mostly old chestnuts but there are a couple of originals here including the W W W.B LU E S MAT TE R S.C O M

charming title track Flea Biting Blues and the pleading slow blues Let’s Try To Get Along both written by Dave Peabody. Tim Penn’s piano lights up Whenever You’re Lonesome and the oft covered Look On Yonder Wall is a right rave up! The album closes with Lieber & Stoller’s romping K C Lovin’ and a good time was had by all.

I wish I’d been there on the night but am pleased to have this lovely album which features all of this trio’s collective talent, experience and ability to communicate this joyous music to the listener.

DAVE DRURY

BILLY BRANCH AND THE SONS OF BLUES ROOTS AND BRANCHES ALLIGATOR

Although sub-titled ‘The Songs Of Little Walter’, this is no covers album rather a heartfelt tribute to the 1950s harp genius.

My Babe typifies the way in which Little Walter Jacobs’ vocals, improvisations and melodies are taken in new directions whilst retaining their integrity and indomitable spirit. The jazzy vibe of Juke is another prime example of an innovative take on Little Walter’s classic instrumental. Nobody But You with its carefully crafted guitar, piano and harp solos typifies the master class techniques of Giles Corey, Ariyo Ariyoshi and Branch respectively. It is Marvin Little’s driving bass which stands out on Willie Dixon’s Mellow Down Easy, Billy’s mellifluous vocals complementing superlative harp interludes. Serious students of the harmonica will love the fast moving Roller Coaster, Branch wailing and chugging along effortlessly. The dark and moody Blue And Lonesome is a chromatic tour de force whilst the tempo and temperature rise with Hate To See You Go. Last Night proves that Branch can sing as powerfully as any bluesman to convey a message, his soulful vocals and dynamic harp playing merging seamlessly. One More Chance With You and Blues With A Feeling are both enhanced by the brilliant, intricate piano keys of Ariyo. On every track, Branch justifies his moniker of ‘Chicago Blues Harmonica Master’ and growing reputation

Albums

as one of the greatest contemporary blues harp players. This is not surprising given that his mentors included James Cotton, Junior Wells and Carey Bell. What is a surprise is the extent to which Branch and his Sons Of Blues have re-interpreted and re-energized Little Walter’s songs making this a ‘must buy’ album.

THE BISHOP

DELBERT MCCLINTON AND SELF-MADE MEN + DANA

TALL, DARK, & HANDSOME HOT SHOT RECORDS

Have you ever finished listening to an album and all you wanted to do was just sit there quietly and absorb what you have just heard? Have you then gone back and played that thing all over again because it was just so good? This is very true of the 26th album from Delbert McClinton. His stunning voice is full of raspy soul and you can hear a rich life etched into every tone.

The songs lean into refreshingly unrelated genres such as gypsy jazz in No Chicken On The Bone, big band swing in Mr Smith and a tango in Gone To Mexico. Somehow, he makes the different styles flow cohesively. It is easy to be drawn into the storytelling of the songs as they are so very relatable. Such as in Lulu, so many of us have had that bad penny in our lives that we just can’t seem to shake off. We have also all had that one intelligent friend that just can’t seem to make sensible comments, such as in Loud Mouth. Mostly humorous, the album takes a dark turn with the last two songs. Temporarily Insane is a disturbing song and gives voice to a true questioning of reality. The dissonant tones used pull you further and further into a feeling of deep unease. The album ends with The Poem and appears to be bleak commentary on some of the people that the writers have encountered. Delbert is supported by the Self-Made Men, a group of phenomenal musicians gathered together for a previous album. Various members of the Self-Made CONTINUES OVER...

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 107

Albums

REVIEWS

Men co-wrote ten of the tracks on the album. Dana Robbins joins to provide smooth saxophone on two tracks. Together they have created a piece of art that is hard to stop listening to and harder to forget.

DIANNE DODSWORTH

MARK CAMERON ON A ROLL

COP RECORDS

The first immediate positive is that Mark Cameron’s Minnesota band include a full time Harmonica player, namely Rick Miller who excels throughout the album but getting ahead of myself here, Mark Cameron leads the band on Guitar & Vocals and besides the harmonica the other members cover Drums, Bass and Saxophone respectively, the sound they create is solid rocking Blues. All fourteen tracks have been written by Mark Cameron and included are some really outstanding songs, I particularly liked Riding The Rails which has a strong likeness to Canned Heat’s On The Road Again with Sheri Cameron swopping the Saxophone for flute and Rick Miller does Alan “Blind Owl” Wilson proud with his Harp playing, the other material covers a broad Delta Blues style. Mark Cameron is an excellent strong vocalist who handles all the material expertly from the spoken vocal on the jump blues of Dicey to the harder driving rock of On Your Way To The Top, his guitar playing is unspectacular in a positive way, there is no fancy extended soling just solid lead guitar work with a discreet soulful touch.

This album was recorded over a twelve month period and appears to have been done meticulously as it flows so well and has been expertly self-produced to give a complete feel to it, while Mark Cameron’s name is used as the artist name it is truly a band release as the members work tirelessly and all have the opportunity to take centre stage throughout the album.

Mark has been in the music industry for over thirty years and I’m sure this album is the pinnacle of his career to date; it is an excellent Blues album highlighting fine musicianship and song writing.

ADRIAN BLACKLEE

REVIEWS

JP & THE RAZORS

THE DEVILS MAKE/ ANY TIME ANY PLACE ANY WHERE INDEPENDENT

All but one of the tracks on The Devils Make are original songs. The opening track There’s Something Going Wrong starts with wonderful vocals and harmonica. A good steady groove leads you into what is a really good blues album. As you listen to the album you get the feeling of the influences that the band have and that is evident on The Waiting. A bit of a sixties feel here blending in with the core roots of blues. Brilliant lead guitar from Jake Poole along with his writing skills that show what a talented guy he is. Most of the songs on the album are short and to the point.

Most are less than three minutes long and that’s one of the things that I really like about this band. A perfect example of this is Love Disfigured Me. No lengthy solos or extended lyrics just good solid blues with a meaningful message. Nadine is the only cover on this album. And it just happens to be my favourite Chuck Berry number. Slightly different than the original but it still packs a punch. The title track The Devils Make is a brilliant tune. A bunch of musicians that are tight, matching great playing and great vocals. This album has it all. The Pedlar is probably the least bluesy song on the album but nonetheless it’s a really good song. Fine acoustic guitar makes it a very enjoyable song. You’re On My Mind is the final track. Bit of a blues/ rocker that ends what is really a very good album. I can’t wait to catch these guy’s live.

The other album by this band is entitled Any Time Any Place Any Where and is mainly a blues covers album. While some may not like a predominately covers album, I’m of the opinion that if a couple of your own songs can sit alongside blues classics then you are doing something right. Kicking off with You Can’t Judge A Book by Willie Dixon this shows what this band can really do. Continuing with Who Do You Love this is a very enjoyable trip down memory lane.

So In Love Part 1 is one of the bands original songs on the album. An up-tempo tune that has the bands DNA all over it. Someone

PAG E 10 8 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

New finishes the album and is another original song by these guys.. All in all, a very good album by a very good band.

STEPHEN HARRISON

MISTY BLUES PICKLED & AGED INDEPENDENT

This album is an absolute cracker. Having said that it’s a bit on the unusual spectrum insofar that it is a band that is driven and founded by a real blues doyen, Gina Coleman! This lady is the very epitome of blues music with hints of jazz, soul and the occasional sprinkling of gospel. Additionally, she has obviously served her time musically as the quality shows both vocally and instrumentally. No shrinking violet here, Gina is sassy, a bit visceral and every inch a singer with soul and heart. At its core, the Misty Blues Band pays homage to the classic female blues singers throughout musical history: Bessie Smith, Billie Holiday, Big Mama Thornton. The track that didn’t feature any vocals was “It’s A Jungle Out There” and this is equally bluesy with both Bill Patriquin and Aaron Dean giving us their brass magic. This is promptly followed up

by Gina back on vocals and the strangely named cigar box guitar with “Take A Long Ride” thereby further demonstrating her all round talent. It has to mean something when you’ve been heading up a Blues Band for some twenty years especially when you are originally from a state like Massachusetts as it is hardly a hot-bed of the original genre. It appears that Gina was also an actress and of all things a Rugby coach. This last nugget of information had me open mouthed with incredulity. This lady is definitely something else. This album is frankly superb and one for my car as opposed to the collection. Get it if you can.

TOM WALKER

DIANA REIN

QUEEN OF MY CASTLE GULF COAST RECORDS

Mike Vito and Guy Hale’s new label continues to bring attention to some excellent if previously unheralded artists.

Singer and guitarist Diana Rein moved W W W.B LU E S MAT TE R S.C O M

to the USA aged three and is based in southern California these days, having started playing in blues clubs at the age of eight, in Chicago, no less, as she details on the opening number, indisputably-titled Yes, I Sing The Blues. Although she lists as her influences the likes of Stevie Ray Vaughan, Philip Sayce and Prince, much of this set betrays a nicely traditional sound, though she certainly has a modern blues approach. Try a number like the Otis Rush styled Latin inflected My Love, or the Albert King influenced I Can’t Quit You – an original, by the way – with her strong, confident vocals (as they are throughout the set, but do take a listen to Chill Of The Night form an outstanding performance), biting guitar playing and a spot-on rhythm section; producer and co-writer Michael Leasure is also responsible for the crisp drumming on all tracks. Walking Along is undoubtedly a blues, though musically it also tends towards an early 60s R’n’B sound, and Pure Soul also has a tendency towards a slightly rockier and pop like sound, though nothing to alarm any readers here; they merely add variety to an already fine album. Occasionally the influence of the aforementioned Stevie Ray Vaughan comes into play, sometimes in a guitar rhythm or riff, as on It’s You, which is a nice counterpoint to the almost Motown sound of the backing vocal, or Time Ticking Away, which also has Hendrix influences. Heat is an out-and-out, top-notch blues-rocker. So yes, this is a nice individual set this one..

NORMAN DARWEN

SETH JAMES GOOD LIFE

CHERRY BOMB / TINY ASS

Sometimes an album comes along that, you just know from the very first notes, will sit so perfectly upon your aural receptors benefiting from constant rotation. Of course it always helps when you have an opening cut, Brother, which pays homage to one of the all time great bands Little Feat. Yes, it has a similar rolling lazy gait as say Dixie Chicken. That’s How You Do It is ideal for getting up and doing some dad dancing to.

I joke of course but it really is. We follow on W W W.B LU E S MAT TE R S.C O M

with the title track which is upbeat in outlook coming out of darker experiences with lyrics including ‘get your head on straight, get your ducks in a row, a good woman by side, that’s what you need you know, if you wanna live a Good Life’. How absolutely true that is. In fact the whole album has clarity and focus on the better side of this often times complicated life we live. I guess that is certainly true for Ain’t Whatcha Eat But The Way How You Chew It and also for the slow blues From Way Behind. Both tracks tackle the difficult things that come up as we navigate our way forward. I like the fact that there is a definite happier side of life being explored. The Time I Love You The Most where taking every chance you can to be with the one you fancy or looking forward to coming off the road I’m Coming Home are

Albums

your targets. So twelve songs are gathered here to be enjoyed with a mix of Blues, Americana, Rock and Country Roots all designed to keep you entertained for a long time to come. A very good album indeed.

GRAEME SCOTT

REDFISH SOULS

INDEPENDENT

This is the debut release from Redfish, a band that just don’t stop reinventing and reinterpreting the rhythm and blues genre. These songs are given an added boost with horn section that includes Roz Sluman, on saxophone, on the wonderful track, For The Love Of The Wrong Woman.

CONTINUES OVER...

CARRYING ON THE LEGACY MUSIC BY CONTEMPARY PIEDMONT BLUES MUSICIANS Patuxent Music

Twenty tracks that Carry on the Legacy, played by various contemporary Piedmont Musicians.

The musicians are carrying on the legacy of the regional Washington, D.C. Piedmont sound and related blues. This is a song collection that captures the distinctively tonal lexicon of a region that is often overlooked. They also provide the sound track to the book “Sweet Bitter Blues, Washington Homemade Blues” by Phil Wiggins and Frank Matheis, University Press of Mississippi (out 2020). The album is crammed full of acoustic, homespun rootsy sound as traditional music is recorded to ensure the feel is heard as the guitar, harmonica and vocals are delivered with a clarity so the strength of the lyrics that tell a narrative having a poignancy on every track. Many of the musicians may be unknown to you and the songs overlooked once you have heard the album capturing a legacy steeped in tradition. Every song is an education which is delivered by exceptional singers and I never knew C.C. Rider was from Peidmont! It is impossible to pick out a couple from the collection as every number has something to offer to your collection as the sounds twist and turn with voices from women, men and the instruments all demanding your undivided attention.

This is for lovers of Blues tradition and historic authenticity delivered by skillful musicians who empathize with and feel the music they love to play. A definite for lovers of the acoustic tradition.

LIZ AIKEN

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 10 9

Albums

REVIEWS

Men co-wrote ten of the tracks on the album. Dana Robbins joins to provide smooth saxophone on two tracks. Together they have created a piece of art that is hard to stop listening to and harder to forget.

DIANNE DODSWORTH

MARK CAMERON ON A ROLL

COP RECORDS

The first immediate positive is that Mark Cameron’s Minnesota band include a full time Harmonica player, namely Rick Miller who excels throughout the album but getting ahead of myself here, Mark Cameron leads the band on Guitar & Vocals and besides the harmonica the other members cover Drums, Bass and Saxophone respectively, the sound they create is solid rocking Blues. All fourteen tracks have been written by Mark Cameron and included are some really outstanding songs, I particularly liked Riding The Rails which has a strong likeness to Canned Heat’s On The Road Again with Sheri Cameron swopping the Saxophone for flute and Rick Miller does Alan “Blind Owl” Wilson proud with his Harp playing, the other material covers a broad Delta Blues style. Mark Cameron is an excellent strong vocalist who handles all the material expertly from the spoken vocal on the jump blues of Dicey to the harder driving rock of On Your Way To The Top, his guitar playing is unspectacular in a positive way, there is no fancy extended soling just solid lead guitar work with a discreet soulful touch.

This album was recorded over a twelve month period and appears to have been done meticulously as it flows so well and has been expertly self-produced to give a complete feel to it, while Mark Cameron’s name is used as the artist name it is truly a band release as the members work tirelessly and all have the opportunity to take centre stage throughout the album.

Mark has been in the music industry for over thirty years and I’m sure this album is the pinnacle of his career to date; it is an excellent Blues album highlighting fine musicianship and song writing.

ADRIAN BLACKLEE

REVIEWS

JP & THE RAZORS

THE DEVILS MAKE/ ANY TIME ANY PLACE ANY WHERE INDEPENDENT

All but one of the tracks on The Devils Make are original songs. The opening track There’s Something Going Wrong starts with wonderful vocals and harmonica. A good steady groove leads you into what is a really good blues album. As you listen to the album you get the feeling of the influences that the band have and that is evident on The Waiting. A bit of a sixties feel here blending in with the core roots of blues. Brilliant lead guitar from Jake Poole along with his writing skills that show what a talented guy he is. Most of the songs on the album are short and to the point.

Most are less than three minutes long and that’s one of the things that I really like about this band. A perfect example of this is Love Disfigured Me. No lengthy solos or extended lyrics just good solid blues with a meaningful message. Nadine is the only cover on this album. And it just happens to be my favourite Chuck Berry number. Slightly different than the original but it still packs a punch. The title track The Devils Make is a brilliant tune. A bunch of musicians that are tight, matching great playing and great vocals. This album has it all. The Pedlar is probably the least bluesy song on the album but nonetheless it’s a really good song. Fine acoustic guitar makes it a very enjoyable song. You’re On My Mind is the final track. Bit of a blues/ rocker that ends what is really a very good album. I can’t wait to catch these guy’s live.

The other album by this band is entitled Any Time Any Place Any Where and is mainly a blues covers album. While some may not like a predominately covers album, I’m of the opinion that if a couple of your own songs can sit alongside blues classics then you are doing something right. Kicking off with You Can’t Judge A Book by Willie Dixon this shows what this band can really do. Continuing with Who Do You Love this is a very enjoyable trip down memory lane.

So In Love Part 1 is one of the bands original songs on the album. An up-tempo tune that has the bands DNA all over it. Someone

PAG E 10 8 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

New finishes the album and is another original song by these guys.. All in all, a very good album by a very good band.

STEPHEN HARRISON

MISTY BLUES PICKLED & AGED INDEPENDENT

This album is an absolute cracker. Having said that it’s a bit on the unusual spectrum insofar that it is a band that is driven and founded by a real blues doyen, Gina Coleman! This lady is the very epitome of blues music with hints of jazz, soul and the occasional sprinkling of gospel. Additionally, she has obviously served her time musically as the quality shows both vocally and instrumentally. No shrinking violet here, Gina is sassy, a bit visceral and every inch a singer with soul and heart. At its core, the Misty Blues Band pays homage to the classic female blues singers throughout musical history: Bessie Smith, Billie Holiday, Big Mama Thornton. The track that didn’t feature any vocals was “It’s A Jungle Out There” and this is equally bluesy with both Bill Patriquin and Aaron Dean giving us their brass magic. This is promptly followed up

by Gina back on vocals and the strangely named cigar box guitar with “Take A Long Ride” thereby further demonstrating her all round talent. It has to mean something when you’ve been heading up a Blues Band for some twenty years especially when you are originally from a state like Massachusetts as it is hardly a hot-bed of the original genre. It appears that Gina was also an actress and of all things a Rugby coach. This last nugget of information had me open mouthed with incredulity. This lady is definitely something else. This album is frankly superb and one for my car as opposed to the collection. Get it if you can.

TOM WALKER

DIANA REIN

QUEEN OF MY CASTLE GULF COAST RECORDS

Mike Vito and Guy Hale’s new label continues to bring attention to some excellent if previously unheralded artists.

Singer and guitarist Diana Rein moved W W W.B LU E S MAT TE R S.C O M

to the USA aged three and is based in southern California these days, having started playing in blues clubs at the age of eight, in Chicago, no less, as she details on the opening number, indisputably-titled Yes, I Sing The Blues. Although she lists as her influences the likes of Stevie Ray Vaughan, Philip Sayce and Prince, much of this set betrays a nicely traditional sound, though she certainly has a modern blues approach. Try a number like the Otis Rush styled Latin inflected My Love, or the Albert King influenced I Can’t Quit You – an original, by the way – with her strong, confident vocals (as they are throughout the set, but do take a listen to Chill Of The Night form an outstanding performance), biting guitar playing and a spot-on rhythm section; producer and co-writer Michael Leasure is also responsible for the crisp drumming on all tracks. Walking Along is undoubtedly a blues, though musically it also tends towards an early 60s R’n’B sound, and Pure Soul also has a tendency towards a slightly rockier and pop like sound, though nothing to alarm any readers here; they merely add variety to an already fine album. Occasionally the influence of the aforementioned Stevie Ray Vaughan comes into play, sometimes in a guitar rhythm or riff, as on It’s You, which is a nice counterpoint to the almost Motown sound of the backing vocal, or Time Ticking Away, which also has Hendrix influences. Heat is an out-and-out, top-notch blues-rocker. So yes, this is a nice individual set this one..

NORMAN DARWEN

SETH JAMES GOOD LIFE

CHERRY BOMB / TINY ASS

Sometimes an album comes along that, you just know from the very first notes, will sit so perfectly upon your aural receptors benefiting from constant rotation. Of course it always helps when you have an opening cut, Brother, which pays homage to one of the all time great bands Little Feat. Yes, it has a similar rolling lazy gait as say Dixie Chicken. That’s How You Do It is ideal for getting up and doing some dad dancing to.

I joke of course but it really is. We follow on W W W.B LU E S MAT TE R S.C O M

with the title track which is upbeat in outlook coming out of darker experiences with lyrics including ‘get your head on straight, get your ducks in a row, a good woman by side, that’s what you need you know, if you wanna live a Good Life’. How absolutely true that is. In fact the whole album has clarity and focus on the better side of this often times complicated life we live. I guess that is certainly true for Ain’t Whatcha Eat But The Way How You Chew It and also for the slow blues From Way Behind. Both tracks tackle the difficult things that come up as we navigate our way forward. I like the fact that there is a definite happier side of life being explored. The Time I Love You The Most where taking every chance you can to be with the one you fancy or looking forward to coming off the road I’m Coming Home are

Albums

your targets. So twelve songs are gathered here to be enjoyed with a mix of Blues, Americana, Rock and Country Roots all designed to keep you entertained for a long time to come. A very good album indeed.

GRAEME SCOTT

REDFISH SOULS

INDEPENDENT

This is the debut release from Redfish, a band that just don’t stop reinventing and reinterpreting the rhythm and blues genre. These songs are given an added boost with horn section that includes Roz Sluman, on saxophone, on the wonderful track, For The Love Of The Wrong Woman.

CONTINUES OVER...

CARRYING ON THE LEGACY MUSIC BY CONTEMPARY PIEDMONT BLUES MUSICIANS Patuxent Music

Twenty tracks that Carry on the Legacy, played by various contemporary Piedmont Musicians.

The musicians are carrying on the legacy of the regional Washington, D.C. Piedmont sound and related blues. This is a song collection that captures the distinctively tonal lexicon of a region that is often overlooked. They also provide the sound track to the book “Sweet Bitter Blues, Washington Homemade Blues” by Phil Wiggins and Frank Matheis, University Press of Mississippi (out 2020). The album is crammed full of acoustic, homespun rootsy sound as traditional music is recorded to ensure the feel is heard as the guitar, harmonica and vocals are delivered with a clarity so the strength of the lyrics that tell a narrative having a poignancy on every track. Many of the musicians may be unknown to you and the songs overlooked once you have heard the album capturing a legacy steeped in tradition. Every song is an education which is delivered by exceptional singers and I never knew C.C. Rider was from Peidmont! It is impossible to pick out a couple from the collection as every number has something to offer to your collection as the sounds twist and turn with voices from women, men and the instruments all demanding your undivided attention.

This is for lovers of Blues tradition and historic authenticity delivered by skillful musicians who empathize with and feel the music they love to play. A definite for lovers of the acoustic tradition.

LIZ AIKEN

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 10 9

Albums

REVIEWS

There are twelve original songs here, all co-written by the band and lyrics added by their frontman Stumblin’ Harris. This was produced in Dumfries at Circa 16 Sound Recording. The presentation sleeve artwork is by Neil Paterson and catches the vibe of pain and hope, a possible theme to this release. Live, this band is a joy to behold especially the keyboard player, Fraser Clark who is extremely energetic and through the album this energy continues. The bassline

by Rod McKay on the opener, There’s Nothing Else is heavy and swampy. Don’t Waste The Good Stuff, has a sublime slide guitar intro by Martin McDonald marrying stunning vocal range by Stumblin’ Harris.

Rakehells, is up-tempo with quirky lyrics and fabulous keyboard. Hell’s Delight keeps the vibe upwards with some fine drumming by Sandy Sweetman. Slow blues comes via Hate The Song But Love The Singer. One More Fight is laid back blues. Just Like Peggy Lee is a slow burner.

It’s A very Lonely Life, is another slow blues number sung with pure emotion and backing guitar is sublime. I Miss You So, has a swing feel and great brass section.

Shadow On My Soul changes the rhythm and encompasses the whole big band feeling, with many twists to this song. Last track is Hallelujah Road a kind of Gospel take to this. Great musicianship, a stunning quality band.

COLIN CAMPBELL

ZAC HARMON

MISSISSIPPI BARBQ CATFOOD

Zac Harmon’s debut on the Catfood label is a triumph and his best album to date. Zac recorded seven songs with The Rays, the Catfood house band, and the horn-drenched arrangements move Zac clearly into soul-blues on those cuts. Zac sings and plays lead guitar throughout and wrote five songs with label boss Bob Trenchard, reprised an older song of Bob’s and covered one by Sandy Carroll (who happens to be the wife of producer Jim Gaines). The other four tracks feature Zac’s touring band on three originals and one Dylan cover. Sandy’s Gypsy Road is a great

REVIEWS

track Black And White which employs a cool southern blues vibe. Brother From Another Planet has a definite Zeppelin vibe in its intro, and some nice echoey effects underpinning the tale of a visitor from elsewhere, an anthem for anyone different from the majority. If it’s a Jim Zeller record, there will be a stomping twelve-bar blues in the collection somewhere, and this time it’s Life Is Good, and it has some of Jim’s wonderful harmonica chops to remind everyone of what an excellent harpist he is. There is a salutary lesson for the upcoming wannabes who imagine you can be as good as this without actually putting in the mileage. There’s no such thing as a Facebook Rockstar advises Jim, with the worldly-wise rueful smile of an actual Rockstar shining through. Here in the real world of blues music, where creative and skilled musicians live and work, this message is taken as read, but it doesn’t hurt to construct a clever song out of it. I am pleased to hear more of Jim’s harmonica front and centre on this record, especially the way he plays on the French language (Jim is from Montreal Canada, where French is the first language) C’Est Long, a slow blues, all fuzzy guitar lines and bottomless bass and drums. It might not be easy to sing along with it, but the atmosphere makes it worth having a good go. The album moves into two new areas simultaneously, comedy and rockabilly, and it’s quirky and fun.

Suckers for a country blues love song, like me will lap up Violins Begin To Play which has a scorching solo from Jay Zee across it. Yet another departure is the instrumental finish Man With The Harmonica by film score maestro Ennio Morricone, a fine ending to a seriously fine album.

ANDY HUGHES

background drumbeat from Aron Attwood, solid bass work from Jack Thomas and crystal-clear, soulful vocals from the frontman Steve Ferbrache. The track conveys the sound of a band just having fun, which is exactly what they do. Next up, Easy Line, has a very sixties-style soulful sound to it, which is further enhanced by the background harmonies, another of the band’s strengths. Careful Sabrina has a bouncy feel to it and is a definite foot-tapper/ dance floor filler. (The background stories give the songs their meaning and add to their appeal.) Qualities has an early Fleetwood Mac feel to it, which in my book is about as high as the praise can get.

There’s also a guitar and harmonica break, which further enhance the FM similarity.

The hand clapping, which accompanies the lively track Good News, might help to clarify to the uninitiated exactly what “Dancefloor Gospel” is all about. (I can only concur with the band that it is definitely about time for some Good News!). Turn Around also has a dancing soul feel to it, with some lovely free-flowing bass work keeping it all together. Ever Lovin’ Mess opens in a more bluesy style, but yet still has the trademark Achievers vocal harmonies. The Load could well be an updated, upbeat spiritual, but, as with all the other tracks, it’s an Achievers’ original. The infectious No One Remembers could be a Chuck Berry number played in a country blues style at the local hop. You could be mistaken in thinking that See Me Back Jesus is a religious based song, but listening to the cleverly crafted lyrics we discover that it’s about the bloke across the road, who helps to get the band’s van out. A cheeky, upbeat number, which typifies what this great band is all about. .

STEVE BANKS

BLUES FROM ANOTHER PLANET

THE ACHIEVERS

THE ALLMAN BETTS BAND

PROPAGNDE RECORDS

FREEHOUSE RECORDS

A brand-new album from Jim Zeller is always something to get excited about.

Will the consistent levels of inventiveness in terms of composition and arrangement still be present and correct? Of course!

Setting the bar nice and high is the opening

It was an absolute pleasure to review this CD. The opening track, Spirit, encapsulates just what The Achievers are all about.

Wailing harmonica from Rufus Fry opens a powerful number, with great understated slide from Robert Holmes, a heavy,

FRANCESCA DE FAZI CRAFT SONGS Independent

Imagine the blues as a pungent culinary ingredient.

Bring in a handful of skilled European chefs to concoct a new recipe, something bursting with flavour, yet still reminiscent of the powerful old US dish. Well, here’s that menu. Eleven dishes laced with blues but also something you don’t hear too often; adventurous innovation. With 20 years in the music business, Italy’s Francesca De Fazi is a songwriter and guitarist. She’s been known as ‘the Roman Blues Woman’ ever since she recorded an album in New Orleans a few years ago. She has hours of studio and television recordings to her name as well as world-wide live appearances. She’s penned all of these eleven songs and both style and production wise the delivery is cutting edge. The opening song Making Miracles is a solid funk groove and by track three, the sultry, southern-flavoured Emergency, you realise just how versatile this woman is. Post Partum Blues is a seductive vamp of a song backed with musicians who instinctively know their way around genres, with Tom Newton’s harmonica accentuating all. The final track, Barbecue Blues, rattles along with Francesca’s voice going through a gamut of blues styles. I had to play this Italian collection several times to form an opinion, but believe me, I hope this superb EU blues stays with us once Brexit’s done its worst.

ROY BAINTON

opener with chugging rhythm guitar and Zac’s lead work; So Cold is another keeper with a terrific horn arrangement and a high soul quotient and Smoke And Mirrors brings a dash of funk to proceedings. We are introduced to the attractions of Mississippi BarBQ, the backing vocals adding to the gentle soulfulness of the song which Zac sings superbly. The up-tempo Desperate Love takes us to the darker side of the tracks where “a three-time loser” and a girl “with a past” find each other, Zac’s solo guitar cutting through the horns and B/ Vs to deliver a fine solo. Sunday Morning After Saturday Night explores the world of casual flings on a big band shuffle that BB King could have recorded and Lord Save Me From LA, issues a warning about the perils of the big city. The four songs with Zac’s road band include the funky Make A Dollar Out Of 15 Cents, a song about struggling to make ends meet, Honey Pleez, a classic blues with great piano

PAG E 110 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

and harp (Bob Corritore) and Since You Been Gone, a fine soul-blues tune with emotional guitar that reminds you of the late Michael Burks’ playing style – and that is a huge compliment! The world probably does not need another cover of Knockin’ On Heaven’s Door but it is dedicated to American servicemen (Zac has given concerts to serving troops in the past) and makes a rousing finale to the album.

Recommended.

JOHN MITCHELL

JIM ZELLER

W W W.B LU E S MAT TE R S.C O M

THE LOST ARC

W W W.B LU E S MAT TE R S.C O M

DOWN TO THE RIVER BMG

The Allman Betts Band Takes You Down To the River to explore their infectious brand of Southern sounds on their highly anticipated debut album. The baton has moved to the next generation with the collaboration

Albums

of Devon Allman & Duane Betts, playing Southern inspired sounds with an edge of modernity. The album Down To The River delivers nine tracks that lift you up, set your feet tapping and moments of thoughtful introspection that leave you wanting to hear more from a band that collectively conjures up a soundscape of musical delight. The album is a tonal and textural essay in moods, a study of the interaction of vocals and guitar the interconnection of instruments without losing the power of the words being sung, making the sound both modern and unique and at the same time recognisable.

The music created on Down To The River is timeless. Do The Allman Betts Band achieve this? Yes, they do, most definitely.

All that is left for you to do is add this album to your collection, listen to it late at night, during the day the music will shape your mood and burry itself deep in your musical soul. We are taken down to the river that flows with eddies and rapids and slow meandering pace captured on an album that will never gather dust in your collection but will be played with regularity lifting your mood and giving you space for reflection.

LIZ AIKEN

BATTLE OF THE BLUES CHICAGO VS OAKLAND VARIOUS ARTISTS

DELTA ROOTS RECORDS

This collection contains a useful thumbnail profile of each contributing artist, always helpful for tracking down other material from musicians whose contribution piques the interest. This is a labour of love from producer and musician Twist Turner who explains his urge to give an aural platform to deserving but lesser known blues musicians of his acquaintance. That’s a philosophy we here at BM can get right behind. Turner’s argument is that blues music is constantly evolving and bringing in new angles on established formats, and you’d expect a sampler album like this to reflect the diversity of blues today. And you would not be disappointed at all. Kicking off CONTINUES OVER...

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 111

Albums

REVIEWS

There are twelve original songs here, all co-written by the band and lyrics added by their frontman Stumblin’ Harris. This was produced in Dumfries at Circa 16 Sound Recording. The presentation sleeve artwork is by Neil Paterson and catches the vibe of pain and hope, a possible theme to this release. Live, this band is a joy to behold especially the keyboard player, Fraser Clark who is extremely energetic and through the album this energy continues. The bassline

by Rod McKay on the opener, There’s Nothing Else is heavy and swampy. Don’t Waste The Good Stuff, has a sublime slide guitar intro by Martin McDonald marrying stunning vocal range by Stumblin’ Harris.

Rakehells, is up-tempo with quirky lyrics and fabulous keyboard. Hell’s Delight keeps the vibe upwards with some fine drumming by Sandy Sweetman. Slow blues comes via Hate The Song But Love The Singer. One More Fight is laid back blues. Just Like Peggy Lee is a slow burner.

It’s A very Lonely Life, is another slow blues number sung with pure emotion and backing guitar is sublime. I Miss You So, has a swing feel and great brass section.

Shadow On My Soul changes the rhythm and encompasses the whole big band feeling, with many twists to this song. Last track is Hallelujah Road a kind of Gospel take to this. Great musicianship, a stunning quality band.

COLIN CAMPBELL

ZAC HARMON

MISSISSIPPI BARBQ CATFOOD

Zac Harmon’s debut on the Catfood label is a triumph and his best album to date. Zac recorded seven songs with The Rays, the Catfood house band, and the horn-drenched arrangements move Zac clearly into soul-blues on those cuts. Zac sings and plays lead guitar throughout and wrote five songs with label boss Bob Trenchard, reprised an older song of Bob’s and covered one by Sandy Carroll (who happens to be the wife of producer Jim Gaines). The other four tracks feature Zac’s touring band on three originals and one Dylan cover. Sandy’s Gypsy Road is a great

REVIEWS

track Black And White which employs a cool southern blues vibe. Brother From Another Planet has a definite Zeppelin vibe in its intro, and some nice echoey effects underpinning the tale of a visitor from elsewhere, an anthem for anyone different from the majority. If it’s a Jim Zeller record, there will be a stomping twelve-bar blues in the collection somewhere, and this time it’s Life Is Good, and it has some of Jim’s wonderful harmonica chops to remind everyone of what an excellent harpist he is. There is a salutary lesson for the upcoming wannabes who imagine you can be as good as this without actually putting in the mileage. There’s no such thing as a Facebook Rockstar advises Jim, with the worldly-wise rueful smile of an actual Rockstar shining through. Here in the real world of blues music, where creative and skilled musicians live and work, this message is taken as read, but it doesn’t hurt to construct a clever song out of it. I am pleased to hear more of Jim’s harmonica front and centre on this record, especially the way he plays on the French language (Jim is from Montreal Canada, where French is the first language) C’Est Long, a slow blues, all fuzzy guitar lines and bottomless bass and drums. It might not be easy to sing along with it, but the atmosphere makes it worth having a good go. The album moves into two new areas simultaneously, comedy and rockabilly, and it’s quirky and fun.

Suckers for a country blues love song, like me will lap up Violins Begin To Play which has a scorching solo from Jay Zee across it. Yet another departure is the instrumental finish Man With The Harmonica by film score maestro Ennio Morricone, a fine ending to a seriously fine album.

ANDY HUGHES

background drumbeat from Aron Attwood, solid bass work from Jack Thomas and crystal-clear, soulful vocals from the frontman Steve Ferbrache. The track conveys the sound of a band just having fun, which is exactly what they do. Next up, Easy Line, has a very sixties-style soulful sound to it, which is further enhanced by the background harmonies, another of the band’s strengths. Careful Sabrina has a bouncy feel to it and is a definite foot-tapper/ dance floor filler. (The background stories give the songs their meaning and add to their appeal.) Qualities has an early Fleetwood Mac feel to it, which in my book is about as high as the praise can get.

There’s also a guitar and harmonica break, which further enhance the FM similarity.

The hand clapping, which accompanies the lively track Good News, might help to clarify to the uninitiated exactly what “Dancefloor Gospel” is all about. (I can only concur with the band that it is definitely about time for some Good News!). Turn Around also has a dancing soul feel to it, with some lovely free-flowing bass work keeping it all together. Ever Lovin’ Mess opens in a more bluesy style, but yet still has the trademark Achievers vocal harmonies. The Load could well be an updated, upbeat spiritual, but, as with all the other tracks, it’s an Achievers’ original. The infectious No One Remembers could be a Chuck Berry number played in a country blues style at the local hop. You could be mistaken in thinking that See Me Back Jesus is a religious based song, but listening to the cleverly crafted lyrics we discover that it’s about the bloke across the road, who helps to get the band’s van out. A cheeky, upbeat number, which typifies what this great band is all about. .

STEVE BANKS

BLUES FROM ANOTHER PLANET

THE ACHIEVERS

THE ALLMAN BETTS BAND

PROPAGNDE RECORDS

FREEHOUSE RECORDS

A brand-new album from Jim Zeller is always something to get excited about.

Will the consistent levels of inventiveness in terms of composition and arrangement still be present and correct? Of course!

Setting the bar nice and high is the opening

It was an absolute pleasure to review this CD. The opening track, Spirit, encapsulates just what The Achievers are all about.

Wailing harmonica from Rufus Fry opens a powerful number, with great understated slide from Robert Holmes, a heavy,

FRANCESCA DE FAZI CRAFT SONGS Independent

Imagine the blues as a pungent culinary ingredient.

Bring in a handful of skilled European chefs to concoct a new recipe, something bursting with flavour, yet still reminiscent of the powerful old US dish. Well, here’s that menu. Eleven dishes laced with blues but also something you don’t hear too often; adventurous innovation. With 20 years in the music business, Italy’s Francesca De Fazi is a songwriter and guitarist. She’s been known as ‘the Roman Blues Woman’ ever since she recorded an album in New Orleans a few years ago. She has hours of studio and television recordings to her name as well as world-wide live appearances. She’s penned all of these eleven songs and both style and production wise the delivery is cutting edge. The opening song Making Miracles is a solid funk groove and by track three, the sultry, southern-flavoured Emergency, you realise just how versatile this woman is. Post Partum Blues is a seductive vamp of a song backed with musicians who instinctively know their way around genres, with Tom Newton’s harmonica accentuating all. The final track, Barbecue Blues, rattles along with Francesca’s voice going through a gamut of blues styles. I had to play this Italian collection several times to form an opinion, but believe me, I hope this superb EU blues stays with us once Brexit’s done its worst.

ROY BAINTON

opener with chugging rhythm guitar and Zac’s lead work; So Cold is another keeper with a terrific horn arrangement and a high soul quotient and Smoke And Mirrors brings a dash of funk to proceedings. We are introduced to the attractions of Mississippi BarBQ, the backing vocals adding to the gentle soulfulness of the song which Zac sings superbly. The up-tempo Desperate Love takes us to the darker side of the tracks where “a three-time loser” and a girl “with a past” find each other, Zac’s solo guitar cutting through the horns and B/ Vs to deliver a fine solo. Sunday Morning After Saturday Night explores the world of casual flings on a big band shuffle that BB King could have recorded and Lord Save Me From LA, issues a warning about the perils of the big city. The four songs with Zac’s road band include the funky Make A Dollar Out Of 15 Cents, a song about struggling to make ends meet, Honey Pleez, a classic blues with great piano

PAG E 110 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

and harp (Bob Corritore) and Since You Been Gone, a fine soul-blues tune with emotional guitar that reminds you of the late Michael Burks’ playing style – and that is a huge compliment! The world probably does not need another cover of Knockin’ On Heaven’s Door but it is dedicated to American servicemen (Zac has given concerts to serving troops in the past) and makes a rousing finale to the album.

Recommended.

JOHN MITCHELL

JIM ZELLER

W W W.B LU E S MAT TE R S.C O M

THE LOST ARC

W W W.B LU E S MAT TE R S.C O M

DOWN TO THE RIVER BMG

The Allman Betts Band Takes You Down To the River to explore their infectious brand of Southern sounds on their highly anticipated debut album. The baton has moved to the next generation with the collaboration

Albums

of Devon Allman & Duane Betts, playing Southern inspired sounds with an edge of modernity. The album Down To The River delivers nine tracks that lift you up, set your feet tapping and moments of thoughtful introspection that leave you wanting to hear more from a band that collectively conjures up a soundscape of musical delight. The album is a tonal and textural essay in moods, a study of the interaction of vocals and guitar the interconnection of instruments without losing the power of the words being sung, making the sound both modern and unique and at the same time recognisable.

The music created on Down To The River is timeless. Do The Allman Betts Band achieve this? Yes, they do, most definitely.

All that is left for you to do is add this album to your collection, listen to it late at night, during the day the music will shape your mood and burry itself deep in your musical soul. We are taken down to the river that flows with eddies and rapids and slow meandering pace captured on an album that will never gather dust in your collection but will be played with regularity lifting your mood and giving you space for reflection.

LIZ AIKEN

BATTLE OF THE BLUES CHICAGO VS OAKLAND VARIOUS ARTISTS

DELTA ROOTS RECORDS

This collection contains a useful thumbnail profile of each contributing artist, always helpful for tracking down other material from musicians whose contribution piques the interest. This is a labour of love from producer and musician Twist Turner who explains his urge to give an aural platform to deserving but lesser known blues musicians of his acquaintance. That’s a philosophy we here at BM can get right behind. Turner’s argument is that blues music is constantly evolving and bringing in new angles on established formats, and you’d expect a sampler album like this to reflect the diversity of blues today. And you would not be disappointed at all. Kicking off CONTINUES OVER...

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 111

Albums

REVIEWS

with Broke Ass Man, a liberated tale from Mz Sumac, the album showcases the smooth jazz/blues vocal of Aldwin London, with superlative sax support from John ‘Boom’ Brumbach. A change next, slide guitar is not a common instrument for blues bands, but from the showing here by the wonderfully monikered Freddie Roulette, maybe it should be getting some more attention. It’s a sad fact that the wonderful vocal skills of Emery Williams Jr. will no longer be produced, he passed away in 1996, but that’s no reason why his fabulous voice and guitar should not reach more converts, if Hurtin’ On You’ is representative of his skills. Another sad loss to the blues community is Country Pete McGill who sadly passed before the release of this album, but his voice lives on in his wonderful cut on here, Hoochie Coochie Mama which includes some spine-tingling slide. Last word goes to the late Emery Williams with an emotional Mama Don’t Weep. Virtually all the musicians featured here genuinely deserve a bigger shot at success and a wider audience, but the true star of the collection is Twist Turner, who wrote eleven of the thirteen cuts, and arranged horns, produced, and played drums on all of them. His versatility as a writer and a musician and producer is something genuinely awesome to hear. A fine intro to some under-rated talents.

ANDY HUGHES

JERSEY STRAY CATS GO CAT GO!

INDEPENDENT

Tootie Ma is not the only big fine thing on this album. There are nine tracks on this lively selection of jump blues classics and originals that are despatched tight on the beat. Right from the first song Jump, Jive and Wail, you are served with solid, polished rhythms and vintage vocals.

The bands four original songs take you from lamenting a somewhat wilful young woman in Cupcake, to swinging down to the motion in Dance All Night. And Shiny Gray Corvette will summon thoughts of hot summer days and long drives along the coast with the wind on your face. Sharing the disc space are five tracks that include

REVIEWS

covers of the Fats Domino classic Blue Monday, and a deep swampy version of the Albert Collins standard Too Tired. The sound is delivered by four artists who are most definitely locked into each other. The heartbeat of Chris Reardon on drums/vocals and Larry Ghiorsi on bass/vocals create the bedrock that Gerry Gladstone on piano/ vocals and Don Leich on guitar/vocals can lay their sound on. Guest appearances from Anthony Salimbene Jr. on tenor saxophone and Patrick Dudsik on trumpet make up a sparkling brass section that takes it up to 11.

This collection of jump blues will make you shimmy along all day and night.

DIANNE DODSWORTH

TERRY HANCK I STILL GET EXCITED VIZZTONE

Let the joy be unbounded. And it is. You can play this CD in the car, at a party, or even in the dark night when you might feel down.

The silver fox we see here, Terry Hanck, is a master of the tenor sax and a superb vocalist and composer. He’s another of those hugely respected performers who can gather the famous around him, here he’s produced by Norway’s Chris ‘Kid’ Andersen, harp man/pianist and fellow writer Rick Estrin and Jimmy Pugh, who’s played with Robert Cray, Etta James and Chris Isaak.

There’s also singer Tracy Nelson, among others. There are eleven uplifting tracks including a jazzy, swinging 8-minute version of Louis Jordan’s Early In The Morning, with brilliant guitar from Johnny ‘Cat’ Soubrand.

Hanck’s sax takes on a Mexican border feel with his lilting composition Here It Comes.

His rumbustious delivery of Howlin’ Wolf’s Howlin’ for my Darlin’ gives you a full flavour of what this band must be like on a live stage. This is a fine album packed with joy and infectious rhythm. Want get excited?

Here’s the answer.

ROY BAINTON

ELIZA NEALS SWEET OR MEAN INDEPENDENT

This is a six track EP that delivers raw blues in its finest form. Pawn Shop Blues

PAG E 112 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

is a straight throat punch type of song that opens the EP with such a bang. For someone who was operatically trained, Eliza Neals is blessed with a blues vocal to die for. Guitarist and producer, Popa Chubby (Ted Horowitz) is at the fore-front of this wonderfully tight bunch of musicians that support Eliza as if their very lives depend on it. If ever there was a way to open a blues EP then this is it. Blackfish Gray slows the pace down just a little. Not only does Eliza possess a brilliant blues vocal but she also has song-writing skills to match. This song has a sultrier feel to it lyrically, but still retains the core raw blues of a wonderful singer and terrific backing band. Bitten By The Blues has a killer lyric. ‘A rock and roll girl that’s been bitten by the blues’ sums up this entire EP perfectly. It really is what Eliza is all about.

Although there are only 6 tracks it has all the attributes of a full-blown album. Livin’ With Yo Mama does make you compare her voice with that of Janis Joplin or Etta James, as does the entire EP but there is something else within her DNA that helps stamp her own authority on all of her work.

Perhaps that has something to do with her opera training, but whatever it is it certainly fits well here. Knock Knock Knockin’ is the only acoustic track on here but it certainly packs a punch. Short sweet and mean, no pun intended, with raw vocals and brilliant acoustic playing from Popa Chubby highlights the versatility of Eliza Neals and her song-writing abilities. Pawn Shop Blues (Roadhouse) is the final track. A slightly different version to the opening track the (roadhouse) effect gives it a more live feel.

Talking of live feel, this writer cannot wait to catch a live performance of this brilliant blues artist. A must for every blues fan.

STEPHEN HARRISON

DAVINA AND THE VAGABONDS SUGAR DROPS

RED HOUSE RECORDS

This is the fourth CD from Davina and the Vagabonds and, having heard her for the first time, I was compelled to listen to her previous work. This 15 track Cd W W W.B LU E S MAT TE R S.C O M

is a slight departure from her previous releases in that, whilst still showing off her very strong vocals, it delves into other styles, rather than being anchored into a 1920’s New Orleans style. It certainly shows off her versatility and definitely tempts the listener to go out and see her live. The opening track, Bone Collection, is a brilliant example of what she does really well. It sounds like an old classic, which could well have been performed

by Billie Holiday. (The comparison is also made on her website, but it would do her a great injustice to suggest that she is a Billie Holiday impersonator. Etta James, Amy Winehouse and Janis Joplin also justifiably get a mention.) The next track I Can’t Believe I Let You Go conjures up Amy Winehouse, with some late-night brass in the background. Devil Horns hits a samba groove, has some very clever lyrics and some crazy trumpet playing, conjuring up a carnival atmosphere. Little Miss Moonshine could have been a Tom Waits song and again has well-constructed and finishes in a slightly Beatle-esque style, with the piano and horns complementing the beautiful vocals. The title track, Sugar Drops, starts off as a slow ballad and builds in intensity as it progresses. Another Lonely Day, the next track, is also given a slightly Lennon & McCartney treatment and has a great muted trumpet solo. No Matter Where We Are opens in a Janis Joplin style, and develops into a 20’s ragtime style and has a very jolly pedal steel guitar break. Violins open Mr Big Talker, the words to which sound as though they were written autobiographically and from bitter experience. By her own admission Davina went through a very dark period, addicted to heroin and homeless at one point.

Fortunately for music lovers she kicked the habit and got herself sorted. I hope this remains the case, so that she can produce many more CDs of this very high calibre.

STEVE BANKS

MICHAEL JEROME BROWNE THAT’S WHERE IT’S AT BOREALIS RECORDS

W W W.B LU E S MAT TE R S.C O M

This album is a stripped-down acoustic roots assortment of Blues and Soul music played and sung impeccably by Canadian Michael Jerome Browne. He includes five originals amongst his covers of songs from the 1960’s and beyond by artists like Lowell Fulson, Sam Cooke and Blind Willie Johnson. These songs provide evocative memories of the originals although as all the material sits so well together it is irrelevant who wrote the songs, the focus is on the performance. Michael is a multi-instrumentalist virtuoso who has also produced this album. The only support is drummer John McColgan and three guest vocalists on a couple of tracks, all add value especially Eric Bibb who is the most influential as there are similarities in the style of music, they both play. In fact, Michael produced and played on Eric’s recent album Migration Blues. There are several songs worth highlighting; the first is Pharaoh a traditional spiritual song that is very haunting with its fretless gourd Banjo intro also benefiting from additional vocalist Harrison Kennedy, which quite rightly gets repeated in a shortened version as the final track, secondly the Randy Newman song Louisiana 1927 which is a slow tempo lament relating to the Mississippi floods of 1927, highlighting Michael’s beautiful 12 string guitar dexterity, his vocal is also spot on in telling the songs devastating story.

This is such a refreshing album of stripped back acoustic blues by an artist who clearly has a passion for his music. He brings this 1960’s style material alive, in doing so making it relevant today. The CD cover has an endorsement by Eric Bibb which should be sufficient to warrant you searching out this album, a must have.

ADRIAN BLACKLEE

KRIS BARRASS BAND LIGHT IT UP

PROVOGUE RECORDS

The meteoric rise of this band has been phenomenal in the past eighteen months from the last highly acclaimed album The Divine And Dirty. They have had lots of sold out shows and toured with many acts such as Beth Hart, Jonny Lang and Walter

Albums

Trout. Kris has also played guitar and lead vocals on tour with Supersonic Blues Machine. This newest release sees Kris at his most expressive yet and his songwriting talent has risen like his fame. Here he has not conformed to any particular music genre although tending to be more blues rock than pure blues, but Kris’s style was influenced by blues but not necessarily full on in that genre. Three songs he has been playing live to great receptions by fans and musicians alike. Thirteen tracks here opening up with the anthemic, What You Get. Most songs he wrote at night, one favourite being 6AM, a contemplative tune. More rocky numbers are brought via, Wound Up, Counterfit People and Bullet.

He deals with raw emotions like depression on, Let The River Run Through You. He tends to hook on to a chorus when writing so it is no surprise that the title track Ignite (Light It Up) comes at the listener like lightening. The tunes have a connection but this is no concept album as such, Not Fading has a smooth groove with fine keyboards from Josiah J Manning who also helped produce this. A tight band overall and when let loose on stage they are a joy to behold. Rain is also a very good track with a slower vibe and some passionate vocals. Play it loud and take note of final track, Pride Is Forever, extremely catchy.

A sure fire winner, full of depth and tone, here’s to more success, the sky is the limit.

COLIN CAMPBELL

SAMANTHA FISH KILL OR BE KIND

ROUNDER RECORDS

This is Samantha’s sixth solo release and it pulls no punches. Produced by Grammy winner Scott Billington at Royal Studios in Memphis, this has it all musically sewn up. Expect to find her usual sassy vocals and awesome guitar shredding, mix in a bit of soul, Americana and good old rhythm and blues, all you need. Her live performances are mesmerising and on these eleven tracks there are some real crowd pleasers. Bulletproof starts things CONTINUES OVER...

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 113

Albums

REVIEWS

with Broke Ass Man, a liberated tale from Mz Sumac, the album showcases the smooth jazz/blues vocal of Aldwin London, with superlative sax support from John ‘Boom’ Brumbach. A change next, slide guitar is not a common instrument for blues bands, but from the showing here by the wonderfully monikered Freddie Roulette, maybe it should be getting some more attention. It’s a sad fact that the wonderful vocal skills of Emery Williams Jr. will no longer be produced, he passed away in 1996, but that’s no reason why his fabulous voice and guitar should not reach more converts, if Hurtin’ On You’ is representative of his skills. Another sad loss to the blues community is Country Pete McGill who sadly passed before the release of this album, but his voice lives on in his wonderful cut on here, Hoochie Coochie Mama which includes some spine-tingling slide. Last word goes to the late Emery Williams with an emotional Mama Don’t Weep. Virtually all the musicians featured here genuinely deserve a bigger shot at success and a wider audience, but the true star of the collection is Twist Turner, who wrote eleven of the thirteen cuts, and arranged horns, produced, and played drums on all of them. His versatility as a writer and a musician and producer is something genuinely awesome to hear. A fine intro to some under-rated talents.

ANDY HUGHES

JERSEY STRAY CATS GO CAT GO!

INDEPENDENT

Tootie Ma is not the only big fine thing on this album. There are nine tracks on this lively selection of jump blues classics and originals that are despatched tight on the beat. Right from the first song Jump, Jive and Wail, you are served with solid, polished rhythms and vintage vocals.

The bands four original songs take you from lamenting a somewhat wilful young woman in Cupcake, to swinging down to the motion in Dance All Night. And Shiny Gray Corvette will summon thoughts of hot summer days and long drives along the coast with the wind on your face. Sharing the disc space are five tracks that include

REVIEWS

covers of the Fats Domino classic Blue Monday, and a deep swampy version of the Albert Collins standard Too Tired. The sound is delivered by four artists who are most definitely locked into each other. The heartbeat of Chris Reardon on drums/vocals and Larry Ghiorsi on bass/vocals create the bedrock that Gerry Gladstone on piano/ vocals and Don Leich on guitar/vocals can lay their sound on. Guest appearances from Anthony Salimbene Jr. on tenor saxophone and Patrick Dudsik on trumpet make up a sparkling brass section that takes it up to 11.

This collection of jump blues will make you shimmy along all day and night.

DIANNE DODSWORTH

TERRY HANCK I STILL GET EXCITED VIZZTONE

Let the joy be unbounded. And it is. You can play this CD in the car, at a party, or even in the dark night when you might feel down.

The silver fox we see here, Terry Hanck, is a master of the tenor sax and a superb vocalist and composer. He’s another of those hugely respected performers who can gather the famous around him, here he’s produced by Norway’s Chris ‘Kid’ Andersen, harp man/pianist and fellow writer Rick Estrin and Jimmy Pugh, who’s played with Robert Cray, Etta James and Chris Isaak.

There’s also singer Tracy Nelson, among others. There are eleven uplifting tracks including a jazzy, swinging 8-minute version of Louis Jordan’s Early In The Morning, with brilliant guitar from Johnny ‘Cat’ Soubrand.

Hanck’s sax takes on a Mexican border feel with his lilting composition Here It Comes.

His rumbustious delivery of Howlin’ Wolf’s Howlin’ for my Darlin’ gives you a full flavour of what this band must be like on a live stage. This is a fine album packed with joy and infectious rhythm. Want get excited?

Here’s the answer.

ROY BAINTON

ELIZA NEALS SWEET OR MEAN INDEPENDENT

This is a six track EP that delivers raw blues in its finest form. Pawn Shop Blues

PAG E 112 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

is a straight throat punch type of song that opens the EP with such a bang. For someone who was operatically trained, Eliza Neals is blessed with a blues vocal to die for. Guitarist and producer, Popa Chubby (Ted Horowitz) is at the fore-front of this wonderfully tight bunch of musicians that support Eliza as if their very lives depend on it. If ever there was a way to open a blues EP then this is it. Blackfish Gray slows the pace down just a little. Not only does Eliza possess a brilliant blues vocal but she also has song-writing skills to match. This song has a sultrier feel to it lyrically, but still retains the core raw blues of a wonderful singer and terrific backing band. Bitten By The Blues has a killer lyric. ‘A rock and roll girl that’s been bitten by the blues’ sums up this entire EP perfectly. It really is what Eliza is all about.

Although there are only 6 tracks it has all the attributes of a full-blown album. Livin’ With Yo Mama does make you compare her voice with that of Janis Joplin or Etta James, as does the entire EP but there is something else within her DNA that helps stamp her own authority on all of her work.

Perhaps that has something to do with her opera training, but whatever it is it certainly fits well here. Knock Knock Knockin’ is the only acoustic track on here but it certainly packs a punch. Short sweet and mean, no pun intended, with raw vocals and brilliant acoustic playing from Popa Chubby highlights the versatility of Eliza Neals and her song-writing abilities. Pawn Shop Blues (Roadhouse) is the final track. A slightly different version to the opening track the (roadhouse) effect gives it a more live feel.

Talking of live feel, this writer cannot wait to catch a live performance of this brilliant blues artist. A must for every blues fan.

STEPHEN HARRISON

DAVINA AND THE VAGABONDS SUGAR DROPS

RED HOUSE RECORDS

This is the fourth CD from Davina and the Vagabonds and, having heard her for the first time, I was compelled to listen to her previous work. This 15 track Cd W W W.B LU E S MAT TE R S.C O M

is a slight departure from her previous releases in that, whilst still showing off her very strong vocals, it delves into other styles, rather than being anchored into a 1920’s New Orleans style. It certainly shows off her versatility and definitely tempts the listener to go out and see her live. The opening track, Bone Collection, is a brilliant example of what she does really well. It sounds like an old classic, which could well have been performed

by Billie Holiday. (The comparison is also made on her website, but it would do her a great injustice to suggest that she is a Billie Holiday impersonator. Etta James, Amy Winehouse and Janis Joplin also justifiably get a mention.) The next track I Can’t Believe I Let You Go conjures up Amy Winehouse, with some late-night brass in the background. Devil Horns hits a samba groove, has some very clever lyrics and some crazy trumpet playing, conjuring up a carnival atmosphere. Little Miss Moonshine could have been a Tom Waits song and again has well-constructed and finishes in a slightly Beatle-esque style, with the piano and horns complementing the beautiful vocals. The title track, Sugar Drops, starts off as a slow ballad and builds in intensity as it progresses. Another Lonely Day, the next track, is also given a slightly Lennon & McCartney treatment and has a great muted trumpet solo. No Matter Where We Are opens in a Janis Joplin style, and develops into a 20’s ragtime style and has a very jolly pedal steel guitar break. Violins open Mr Big Talker, the words to which sound as though they were written autobiographically and from bitter experience. By her own admission Davina went through a very dark period, addicted to heroin and homeless at one point.

Fortunately for music lovers she kicked the habit and got herself sorted. I hope this remains the case, so that she can produce many more CDs of this very high calibre.

STEVE BANKS

MICHAEL JEROME BROWNE THAT’S WHERE IT’S AT BOREALIS RECORDS

W W W.B LU E S MAT TE R S.C O M

This album is a stripped-down acoustic roots assortment of Blues and Soul music played and sung impeccably by Canadian Michael Jerome Browne. He includes five originals amongst his covers of songs from the 1960’s and beyond by artists like Lowell Fulson, Sam Cooke and Blind Willie Johnson. These songs provide evocative memories of the originals although as all the material sits so well together it is irrelevant who wrote the songs, the focus is on the performance. Michael is a multi-instrumentalist virtuoso who has also produced this album. The only support is drummer John McColgan and three guest vocalists on a couple of tracks, all add value especially Eric Bibb who is the most influential as there are similarities in the style of music, they both play. In fact, Michael produced and played on Eric’s recent album Migration Blues. There are several songs worth highlighting; the first is Pharaoh a traditional spiritual song that is very haunting with its fretless gourd Banjo intro also benefiting from additional vocalist Harrison Kennedy, which quite rightly gets repeated in a shortened version as the final track, secondly the Randy Newman song Louisiana 1927 which is a slow tempo lament relating to the Mississippi floods of 1927, highlighting Michael’s beautiful 12 string guitar dexterity, his vocal is also spot on in telling the songs devastating story.

This is such a refreshing album of stripped back acoustic blues by an artist who clearly has a passion for his music. He brings this 1960’s style material alive, in doing so making it relevant today. The CD cover has an endorsement by Eric Bibb which should be sufficient to warrant you searching out this album, a must have.

ADRIAN BLACKLEE

KRIS BARRASS BAND LIGHT IT UP

PROVOGUE RECORDS

The meteoric rise of this band has been phenomenal in the past eighteen months from the last highly acclaimed album The Divine And Dirty. They have had lots of sold out shows and toured with many acts such as Beth Hart, Jonny Lang and Walter

Albums

Trout. Kris has also played guitar and lead vocals on tour with Supersonic Blues Machine. This newest release sees Kris at his most expressive yet and his songwriting talent has risen like his fame. Here he has not conformed to any particular music genre although tending to be more blues rock than pure blues, but Kris’s style was influenced by blues but not necessarily full on in that genre. Three songs he has been playing live to great receptions by fans and musicians alike. Thirteen tracks here opening up with the anthemic, What You Get. Most songs he wrote at night, one favourite being 6AM, a contemplative tune. More rocky numbers are brought via, Wound Up, Counterfit People and Bullet.

He deals with raw emotions like depression on, Let The River Run Through You. He tends to hook on to a chorus when writing so it is no surprise that the title track Ignite (Light It Up) comes at the listener like lightening. The tunes have a connection but this is no concept album as such, Not Fading has a smooth groove with fine keyboards from Josiah J Manning who also helped produce this. A tight band overall and when let loose on stage they are a joy to behold. Rain is also a very good track with a slower vibe and some passionate vocals. Play it loud and take note of final track, Pride Is Forever, extremely catchy.

A sure fire winner, full of depth and tone, here’s to more success, the sky is the limit.

COLIN CAMPBELL

SAMANTHA FISH KILL OR BE KIND

ROUNDER RECORDS

This is Samantha’s sixth solo release and it pulls no punches. Produced by Grammy winner Scott Billington at Royal Studios in Memphis, this has it all musically sewn up. Expect to find her usual sassy vocals and awesome guitar shredding, mix in a bit of soul, Americana and good old rhythm and blues, all you need. Her live performances are mesmerising and on these eleven tracks there are some real crowd pleasers. Bulletproof starts things CONTINUES OVER...

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 113

Albums

REVIEWS

rolling with her trade mark cigar box guitar riffs a real blues and rootsy tone to this.

Next song is the title track, Kill Or Be Kind a total contrast here, full of soulful lyrics and backing horn section. Love Letters has a distinctive guitar hook melding with Samantha’s sultry passionate vocals.

Watch It Die, has a punchy riff very powerful with fine harmonies and a catchy chorus.

Trying Not To Fall In Love With You is a highlight full on rhythm and blues. Fairwell My Fairweather has a popular flavour to it, changing the tone on this broken relationship tune. Love Your Lies has even rockabilly tones, fast and furious, a crowd pleaser. Dream Girl has a country feel, very melodic and a slow burner. Similar tones of country mix with soul on She Don’t Live Here Anymore. Dirty, again keeps the tone soulful and drenched in passion and hurt, excellent guitar work here. Final tune, You Got It Bad, goes back to her more familiar blues rock style, underpinned by lots of guitar styles but also horn section providing ideal back up. Distinctive tunes, a feeling of independence and freedom of choice of musical genres makes this her most interesting release to date, a stunner.

COLIN CAMPBELL

JUNKYARD ANGELS BACKTRACKS INDEPENDENT

Junkyard Angels were formed in 1979 by singer/guitarist Julian Piper and this album is a thirty year retrospective of their five albums. We open with the romping Meddling a speedy shuffle featuring some fine rolling organ work and Piper firing out crisp guitar licks. Little Walter’s classic Just Your Fool stomps along featuring excellent harp work and good vocals and solid backing from the rest of the band. Clarence “Gatemouth” Brown’s fine slow blues Dirty Work At The Crossroads is followed by a typically upbeat instrumental from Freddie King called Sensation with the rhythm section cooking and the fleet fingered guitar and organ racing to the finish. Bands like this and others around the country are the backbone of the British blues scene playing in pubs and clubs plus festivals

REVIEWS

etc. Actually Julian Piper has spent time in USA working with the likes of Lazy Lester, Tabby Thomas, Carey and Lurrie Bell, Eddie Kirkland and Lowell Fulson (more on this elsewhere in Blues Matters!) A sparkling take on Junior Wells classic Little By Little is followed by a reworking of Magic Sam’s slow blues I Found A New Love which gives the whole band a chance to stretch out with Piper’s guitar leading the way. There are three original numbers – the shuffling I Need To Know and a slide guitar rave up called Take Five which is followed by the shimmering and atmospheric slow blues Dirty Work Is Going On. The album closes with a cover of Booker T & The MG’S funky instrumental Plum Nellie.

This is a good introduction to Junkyard Angels back catalogue and the band are well worth catching at a gig/festival in the west country.

DAVE DRURY

LAUREN ANDERSON WON’T STAY DOWN INDEPENDENT

Hailing from Chicago, but now living in Nashville, Lauren Anderson sings with her heart on her sleeve. This is her third E.P but she has also had major success with her debut album Truly Me. Ever evolving in music style she has an eclectic style, but it is her singing that is the main instrument in her talented musical toolbox. She has been singing since a young girl and even specialised in opera before taking the road she has taken, that of full time musician.

She is a talented singer songwriter, obvious by this set of five stunning songs of different musical genres but with origins in the blues tradition. Honey, Call Me Baby, starts things off, a real blues belter of a song which will put a smile on the listener’s face. It has balshy bass playing by Hutch, and William Adkins adds to the gumbo with wonderful keyboards. Too Little, Too Late is a highlight full of emotion and shows off Lauren’s fine vocal range, it brings home the feeling of heartache and helplessness and also not taking your chances when given, a cautionary tale. For the title track, Won’t Stay Down, Lauren pulls out all

PAG E 114 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

the stops on a very bluesy number. The next track, Cake is another winner and a different lyrical and melodic take. Here there is a funky tone and even a horn arrangement to give the song that extra rhythm to it; the lyrics are also superb about just striving for your goal and not letting others stop you, a philosophy of Laurens it would seem. Final track is Wild & Free and has a great riff to it, a retrospective song about being independent with a catchy chorus, should be a real crowd pleaser.

Many influences noted on this release.

Lauren proves she has something special to give; she makes the right connection with the overall intensity of emotions, a real stunner of a release.

COLIN CAMPBELL

NICK MOSS BAND LUCKY GUY

EDDY SMITH & THE 507 PART ONE

INDEPENDENT

This 5 track EP is the first instalment of two to be released this year by this exciting London based band. They’ve actually been performing together for a number of years and having built up a growing fan base here and in the U.S. the time seems right to push on. The music is classy, a heady blend of soul, blues and rock and Eddy Smith has a voice that suits it perfectly. A mix of prime Joe Cocker and Temperance Movements Phil Campbell. In fact, as I listened to tracks like Lost On You, Strangers Since I’ve Been Loving You and the ballad like Middle Of Nowhere the Temperance Movement is a good comparison. I loved the full band intro of Minnesota, giving it an epic feel without going overblown. There is a real quality

to all of the songs here and credit too for a first-class production job. Part Two is due out anytime soon and I’ll certainly be looking out for it. With the right breaks and exposure this band might just make some serious waves.

STEVE YOURGLIVCH

CHARLIE WOOTON PROJECT BLUE BASSO WILD HEART

Charlie Wooton Project is like a very welcome blast of fresh air in a world of so much ‘me-too’ Blues and Jazz. Charlie Wooton himself is a New Orleans bassist with a huge pedigree, most recently with Royal Southern Brotherhood and the New Orleans Suspects and he has managed to put together a tight quartet who just lay it down with a wonderful sense of groove

Albums

and incredible subtlety. Daniel Groover is a session guitarist who has played with the likes of Snoop Dogg, De La Soul, India Irie and Robin Thicke while Jermal Watson is New Orleans born and bred and has been drumming since starting in church at the age of 10. Finally, Keiko Komaki brings keyboards in a funky and soulful style which belies her Japanese origins. During her time in New Orleans she has played with Charlie Wooton, Marva Wright & George Porter Jr among a wide range of others. So, no ‘jonnie come latelies’, this is a pickup band to dies for. Musically, they sit deep in New Orleans Jazz but there are some gorgeous blues based and soul-oriented numbers, especially when Arene Delay is on vocals. An example of just how good they can be is the gorgeous One Night CONTINUES OVER...

ALLIGATOR RECORDS

Joined by superb harmonica-player Dennis Gruenling, ace blues guitarist Nick Moss has created a new thrust and dimension in his already powerful music. Produced by Kid Andersen (guitarist for Rick Estrin & The Nightcats) this is a packed cabinet of foot-thumping Chicago blues. But there’s even more than the Windy City, there’s some swinging West Coast style, and on tracks like the rolling Me and My Friends there’s a definite New Orleans vibe. In fact Nick Moss is as happy in the swamp as he is in the Bayou. The title track, Lucky Guy, epitomises the whole collection.

Gruenling’s spiky harp cutting through as it duels with Moss’s masterful guitar playing, and on The Comet, he’s partnered with hot guitar man Mike ‘Monster’ Welch.

Tracks such as Sanctified, Holy And Hateful demonstrate the talents of a bluesman who can pull all the stops out covering every emotion. There’s also a poignant tribute to the late bluesman, Mike Ledbetter, a close friend of both Moss and Welch. If ever you’ve sat and dreamed what it would be like to form a blues band, and imagined how powerful you’d like it to sound, then the Nick Moss Band would be a standard to aim for.

ROY BAINTON W W W.B LU E S MAT TE R S.C O M

GILES ROBSON

DON’T GIVE UP ON THE BLUES American Showcase Music

The big question was how could UK harp ace Giles Robson follow up his Blues Music Award in Memphis for the Best Acoustic Album, Journeys To The Heart Of The Blues. The answer lies in this amazingly inventive, powerful and glorious collaboration with Bruce Katz & The Band which firmly establishes Robson as a premier harp player on both sides of the Pond. As the 30th anniversary of Harp Attack approaches, it is timely that Chicago legends Cotton, Wells, Bell and Bragg have a worthy heir to the blues harp throne.

This USA debut recording explodes into life with Land To Land, its mesmeric harp riff and eerie vocal delivery interspersed by piercing solos complemented by trademark Hammond B3 background licks from Katz. The jaunty Don’t Give Up On The Blues promotes the healing qualities of the blues, the optimistic message enhanced

by Bruce’s joyful and inspirational piano accompaniment.

The shuffling, percussive rhythm of drummer Ray Hangen underpins Damn Fool Way providing the perfect

platform for Robson’s quirky vocal and harp delivery.

Your Dirty Look And Your Cheeky Grin is a slow burning, atmospheric account of truth and lies in a relationship, the lung-bursting wailing harp and mournful piano keys building to a crescendo. The mood lightens a little on the beautifully arranged Show A Little Mercy, Aaron Lieberman excelling on guitar and bassist Antar Goodwin maintaining a solid groove. All of Giles’ technical qualities are evident in the instrumental Boogie At The Showplace as he duels with Katz, namely his supreme timing, phrasing, use of vibrato and chugging. On the politically charged Fearless Leaders, Robson expresses his mistrust of who and what to believe through his poignant vocals and heart-rending harp accompaniment. The upbeat Hey, Hey Now! with its staccato rhythm contrasting with the fluid B3 solo is another highlight and a precursor to the equally memorable instrumental, Giles’ Theme. Life, With All It’s Charms has one of the most enchanting, repetitive harp phrasings as Giles muses on what it means to hold his baby in his arms. Chicago style blues is celebrated on That Ol’ Heartbreak Sound with Robson proving his status as a major player on the contemporary scene, his energy boosted by the flamboyant Katz and the phenomenal band. The last of the 12 original tracks, Way Past Midnight, is an instrumental tour de force from five musicians at the top of their game with Giles Robson proving he is well worth his place in blues harp history.

THE BISHOP CONTINUES OVER...

W W W.B LU E S MAT TE R S.C O M

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Albums

REVIEWS

rolling with her trade mark cigar box guitar riffs a real blues and rootsy tone to this.

Next song is the title track, Kill Or Be Kind a total contrast here, full of soulful lyrics and backing horn section. Love Letters has a distinctive guitar hook melding with Samantha’s sultry passionate vocals.

Watch It Die, has a punchy riff very powerful with fine harmonies and a catchy chorus.

Trying Not To Fall In Love With You is a highlight full on rhythm and blues. Fairwell My Fairweather has a popular flavour to it, changing the tone on this broken relationship tune. Love Your Lies has even rockabilly tones, fast and furious, a crowd pleaser. Dream Girl has a country feel, very melodic and a slow burner. Similar tones of country mix with soul on She Don’t Live Here Anymore. Dirty, again keeps the tone soulful and drenched in passion and hurt, excellent guitar work here. Final tune, You Got It Bad, goes back to her more familiar blues rock style, underpinned by lots of guitar styles but also horn section providing ideal back up. Distinctive tunes, a feeling of independence and freedom of choice of musical genres makes this her most interesting release to date, a stunner.

COLIN CAMPBELL

JUNKYARD ANGELS BACKTRACKS INDEPENDENT

Junkyard Angels were formed in 1979 by singer/guitarist Julian Piper and this album is a thirty year retrospective of their five albums. We open with the romping Meddling a speedy shuffle featuring some fine rolling organ work and Piper firing out crisp guitar licks. Little Walter’s classic Just Your Fool stomps along featuring excellent harp work and good vocals and solid backing from the rest of the band. Clarence “Gatemouth” Brown’s fine slow blues Dirty Work At The Crossroads is followed by a typically upbeat instrumental from Freddie King called Sensation with the rhythm section cooking and the fleet fingered guitar and organ racing to the finish. Bands like this and others around the country are the backbone of the British blues scene playing in pubs and clubs plus festivals

REVIEWS

etc. Actually Julian Piper has spent time in USA working with the likes of Lazy Lester, Tabby Thomas, Carey and Lurrie Bell, Eddie Kirkland and Lowell Fulson (more on this elsewhere in Blues Matters!) A sparkling take on Junior Wells classic Little By Little is followed by a reworking of Magic Sam’s slow blues I Found A New Love which gives the whole band a chance to stretch out with Piper’s guitar leading the way. There are three original numbers – the shuffling I Need To Know and a slide guitar rave up called Take Five which is followed by the shimmering and atmospheric slow blues Dirty Work Is Going On. The album closes with a cover of Booker T & The MG’S funky instrumental Plum Nellie.

This is a good introduction to Junkyard Angels back catalogue and the band are well worth catching at a gig/festival in the west country.

DAVE DRURY

LAUREN ANDERSON WON’T STAY DOWN INDEPENDENT

Hailing from Chicago, but now living in Nashville, Lauren Anderson sings with her heart on her sleeve. This is her third E.P but she has also had major success with her debut album Truly Me. Ever evolving in music style she has an eclectic style, but it is her singing that is the main instrument in her talented musical toolbox. She has been singing since a young girl and even specialised in opera before taking the road she has taken, that of full time musician.

She is a talented singer songwriter, obvious by this set of five stunning songs of different musical genres but with origins in the blues tradition. Honey, Call Me Baby, starts things off, a real blues belter of a song which will put a smile on the listener’s face. It has balshy bass playing by Hutch, and William Adkins adds to the gumbo with wonderful keyboards. Too Little, Too Late is a highlight full of emotion and shows off Lauren’s fine vocal range, it brings home the feeling of heartache and helplessness and also not taking your chances when given, a cautionary tale. For the title track, Won’t Stay Down, Lauren pulls out all

PAG E 114 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

the stops on a very bluesy number. The next track, Cake is another winner and a different lyrical and melodic take. Here there is a funky tone and even a horn arrangement to give the song that extra rhythm to it; the lyrics are also superb about just striving for your goal and not letting others stop you, a philosophy of Laurens it would seem. Final track is Wild & Free and has a great riff to it, a retrospective song about being independent with a catchy chorus, should be a real crowd pleaser.

Many influences noted on this release.

Lauren proves she has something special to give; she makes the right connection with the overall intensity of emotions, a real stunner of a release.

COLIN CAMPBELL

NICK MOSS BAND LUCKY GUY

EDDY SMITH & THE 507 PART ONE

INDEPENDENT

This 5 track EP is the first instalment of two to be released this year by this exciting London based band. They’ve actually been performing together for a number of years and having built up a growing fan base here and in the U.S. the time seems right to push on. The music is classy, a heady blend of soul, blues and rock and Eddy Smith has a voice that suits it perfectly. A mix of prime Joe Cocker and Temperance Movements Phil Campbell. In fact, as I listened to tracks like Lost On You, Strangers Since I’ve Been Loving You and the ballad like Middle Of Nowhere the Temperance Movement is a good comparison. I loved the full band intro of Minnesota, giving it an epic feel without going overblown. There is a real quality

to all of the songs here and credit too for a first-class production job. Part Two is due out anytime soon and I’ll certainly be looking out for it. With the right breaks and exposure this band might just make some serious waves.

STEVE YOURGLIVCH

CHARLIE WOOTON PROJECT BLUE BASSO WILD HEART

Charlie Wooton Project is like a very welcome blast of fresh air in a world of so much ‘me-too’ Blues and Jazz. Charlie Wooton himself is a New Orleans bassist with a huge pedigree, most recently with Royal Southern Brotherhood and the New Orleans Suspects and he has managed to put together a tight quartet who just lay it down with a wonderful sense of groove

Albums

and incredible subtlety. Daniel Groover is a session guitarist who has played with the likes of Snoop Dogg, De La Soul, India Irie and Robin Thicke while Jermal Watson is New Orleans born and bred and has been drumming since starting in church at the age of 10. Finally, Keiko Komaki brings keyboards in a funky and soulful style which belies her Japanese origins. During her time in New Orleans she has played with Charlie Wooton, Marva Wright & George Porter Jr among a wide range of others. So, no ‘jonnie come latelies’, this is a pickup band to dies for. Musically, they sit deep in New Orleans Jazz but there are some gorgeous blues based and soul-oriented numbers, especially when Arene Delay is on vocals. An example of just how good they can be is the gorgeous One Night CONTINUES OVER...

ALLIGATOR RECORDS

Joined by superb harmonica-player Dennis Gruenling, ace blues guitarist Nick Moss has created a new thrust and dimension in his already powerful music. Produced by Kid Andersen (guitarist for Rick Estrin & The Nightcats) this is a packed cabinet of foot-thumping Chicago blues. But there’s even more than the Windy City, there’s some swinging West Coast style, and on tracks like the rolling Me and My Friends there’s a definite New Orleans vibe. In fact Nick Moss is as happy in the swamp as he is in the Bayou. The title track, Lucky Guy, epitomises the whole collection.

Gruenling’s spiky harp cutting through as it duels with Moss’s masterful guitar playing, and on The Comet, he’s partnered with hot guitar man Mike ‘Monster’ Welch.

Tracks such as Sanctified, Holy And Hateful demonstrate the talents of a bluesman who can pull all the stops out covering every emotion. There’s also a poignant tribute to the late bluesman, Mike Ledbetter, a close friend of both Moss and Welch. If ever you’ve sat and dreamed what it would be like to form a blues band, and imagined how powerful you’d like it to sound, then the Nick Moss Band would be a standard to aim for.

ROY BAINTON W W W.B LU E S MAT TE R S.C O M

GILES ROBSON

DON’T GIVE UP ON THE BLUES American Showcase Music

The big question was how could UK harp ace Giles Robson follow up his Blues Music Award in Memphis for the Best Acoustic Album, Journeys To The Heart Of The Blues. The answer lies in this amazingly inventive, powerful and glorious collaboration with Bruce Katz & The Band which firmly establishes Robson as a premier harp player on both sides of the Pond. As the 30th anniversary of Harp Attack approaches, it is timely that Chicago legends Cotton, Wells, Bell and Bragg have a worthy heir to the blues harp throne.

This USA debut recording explodes into life with Land To Land, its mesmeric harp riff and eerie vocal delivery interspersed by piercing solos complemented by trademark Hammond B3 background licks from Katz. The jaunty Don’t Give Up On The Blues promotes the healing qualities of the blues, the optimistic message enhanced

by Bruce’s joyful and inspirational piano accompaniment.

The shuffling, percussive rhythm of drummer Ray Hangen underpins Damn Fool Way providing the perfect

platform for Robson’s quirky vocal and harp delivery.

Your Dirty Look And Your Cheeky Grin is a slow burning, atmospheric account of truth and lies in a relationship, the lung-bursting wailing harp and mournful piano keys building to a crescendo. The mood lightens a little on the beautifully arranged Show A Little Mercy, Aaron Lieberman excelling on guitar and bassist Antar Goodwin maintaining a solid groove. All of Giles’ technical qualities are evident in the instrumental Boogie At The Showplace as he duels with Katz, namely his supreme timing, phrasing, use of vibrato and chugging. On the politically charged Fearless Leaders, Robson expresses his mistrust of who and what to believe through his poignant vocals and heart-rending harp accompaniment. The upbeat Hey, Hey Now! with its staccato rhythm contrasting with the fluid B3 solo is another highlight and a precursor to the equally memorable instrumental, Giles’ Theme. Life, With All It’s Charms has one of the most enchanting, repetitive harp phrasings as Giles muses on what it means to hold his baby in his arms. Chicago style blues is celebrated on That Ol’ Heartbreak Sound with Robson proving his status as a major player on the contemporary scene, his energy boosted by the flamboyant Katz and the phenomenal band. The last of the 12 original tracks, Way Past Midnight, is an instrumental tour de force from five musicians at the top of their game with Giles Robson proving he is well worth his place in blues harp history.

THE BISHOP CONTINUES OVER...

W W W.B LU E S MAT TE R S.C O M

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 115

Albums

REVIEWS

REVIEWS

THE BIG FAT BLUES BAND LIGHTNING CLIFF BLUES 676667Records

This is primarily a three-piece band originating from South Wales, but on the album, they are joined by a few friends. All the songs are written by two of the three, messes Jones and Lynham.

Devil On My Shoulder opens proceedings with a bit of an unusual start. The first two minutes are very slow and melodic then bam. Hard blues/rock hits you with gusto firing along with blues harmonica and guitar that lets you know what they are all about. I Don’t Wanna Work is just straight foot-stomping blues. Phil Jones delivering gravelly vocals that fit superbly with the rest of the band. Once again, the presence of harmonica makes this a sheer delight of a tune. Love Love Love gives you a slightly seventies glam feeling. Don’t let that put you off because the lyrics and harmonies showcase the range that the band has. Not a bonafide blues song by any stretch but nonetheless a very enjoyable track. What Have I Done has a rockin’/blues intro that evolves into a slow blues groove, then like a rollercoaster propels you forward up to a rock/blues finish that leaves you breathless. The way that they change pace so easily makes me like this band a lot. Haunted Moon, in the title itself explains everything about this tune. Straight away you get the sense of something haunting and cold. The lyrics and eerie guitar work give you the feel of something foreboding and dark. An eighteenyear-old single-malt whiskey would compliment this tune perfectly. Lightning Cliff Blues being the title track starts with Jones talking the first couple of lines.

Then slowly gathering pace alongside great guitar and harmonica that have many twists and turns before dropping down and tailing off into silence. Blue is the final song and it’s a very good tune indeed. I get a hint of Status Quo in here.

But believe me when I say that there ain’t nothing wrong with that. I’d love to see this band perform live and have them finish the set with this.

STEPHEN HARRISON

which features Anders Osborne on guitar while the song just perfectly encapsulates the slow groove and deep passion that great music can bring. Ms Delay’s vocals just melt your heart and the bass line holds everything in check it reminds me in some ways of Maria Muldaur in her prime. For an example of the funkier side of the project check out Fulton Alley with stirring B-3 work from Keiko. Sonny Landreth features on a couple of numbers and on the opener, Jaceaux, Doug Wimbush doubles up on bass but the whole album just flows with the core band making the music and leaving you with a great sense of just how

good New Orleans music can be.

ANDY SNIPPER

ODDS LANE

LOST AND FOUND GULF COAST RECORDS

Bit of an odd one this. While I was listening to it, the songs just seemed to drift on by.

But once it was finished, I couldn’t help but play it again. See, it’s a groove thing with Odds Lane. When they set off into a song like Blood On The Van it’s a feeling as much as a song. Which is a good thing. Turns out that Doug Byrkit (vocals, guitars, and bass) and Brian Zielie (drums) have got a quarter

PAG E 116 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

of a century of history even though they’ve spent a lot of time working with other people as well as some projects of their own with Odds Lane dating back to 2003. There are lot of funky, choppy blues riffs pushing the songs along and it really does bar up to repeat plays. It sounds great as you would expect from another Mike Zito production (he also adds some slide guitar here and there). The songs are all originals (bar a Smithereens cover!) and the ones that really shone through the groove were the blues rock of Don’t Give It Away, the funky Ain’t Missing You and the aforementioned Blood On The Van. The only one that didn’t really work for me was the reggae tinged A Little Too Late but it was a minor blip on a record that really does draw you in. A good one.

STUART A HAMILTON

NANCY WRIGHT ALIVE & BLUE VIZZTONE

Nancy Wright is Alive and Blue on this saxophone driven album. Nancy a respected saxophonist is joined by The Rhythm and Roots Band. Opening with an instrumental Bugual the musicians set out their credentials underpinning the intoxicating sax with drummer, Paul Revelli; Karl Sevareid on bass and two background vocalists Tony Lufrano who brings the power of the keys and guitarist Jeff Tamelier.

They are now all assembled and ready to deliver the music live on the dozen tracks that swing with life throughout the album with Nancy’s vocals giving another layer of emotional tones with a grit that augments the superb musicianship. The dozen tracks, five of which are Nancy Wright’s originals, was recorded at the Saloon San Francisco; the decision to record the set was spontaneous and this relaxed live feel can be heard throughout. This is a band that just loves playing their interpretation of the Blues. The tones, textures and moods change throughout the set with Nancy’s Sugar-Coated Love being upbeat, with keys that drive her vocals along after a stinging opening by her saxophone that is the signature of the album and the glue that holds the music together. We dip into Alan W W W.B LU E S MAT TE R S.C O M

Toussaint’s catalogue as Nancy delivers What Do You Want The Girl To do, that suits the musicians playing live tonight with a version that has a freshness in its delivery.

Nancy’s’ vocals are good but the album is all about the instrumentation and the shining clarion call for the blues on this album is delivered by the mighty saxophone that takes centre stage on Alive & Blue.

LIZ AIKEN

J P SOARS

LET GO OF THE REINS WHISKEY BAYOU RECORDS

This CD was recorded in “a whirlwind weeklong session” at Tab Benoit’s Whiskey Bayou studio in Houma, Louisiana. It contains seven originals, written on the spot, and four covers. The opener, Been Down So Long by JB Lenoir clearly indicates where the album is heading. Gruff vocals, plenty of guitar and a hint of a Hammond B3 in support. It quickly turns into a jam, full of enthusiasm and guitar mastery. If You Wanna Get To Heaven, by the Ozark Mountain Daredevils (Whatever happened to them?) informs us, in a contradictory fashion, that “you gotta raise a little hell!”

The next track is a great tribute to Freddie King, entitled quite simply Freddie King Thing, and it has a great guitar solo in the style of the man himself. Let Go Of The Reins, the title track is a much heavier affair and has a very pronounced riff throughout.

The instrumental, Crows Nest has a funkier style to it and picks up the pace again and gets my vote as best track. Lonely Fire is a slow blues number, just to add a bit of variety. Have Mercy On My Soul regains the momentum and is another vehicle for some more extended guitar work. Let It Ride, one of the cover songs, has a distinct country style, which is emphasised by the pedal steel guitar, although this does sound somewhat lightweight in comparison to some of the previous tracks. Minor Blues, a Django Reinhardt number, again heads off in a completely direction and has a French Jazz Café feel, adding further variety. Time To Be Done returns to the format of the earlier tracks and seems to fit better into the format, JP on guitar, Chris Peet on W W W.B LU E S MAT TE R S.C O M

bass, Tab Benoit on drums and Tillis Verdin on Hammond organ. The closing track, Old Silver Bridge, featuring the Dobro, has the sound of an old hillbilly song and is a slightly enigmatic track with which to close the album.

STEVE BANKS

ALBERT CASTIGLIA MASTERPIECE GULF COAST

Born in New York City and raised in Florida, Albert Castiglia began playing the guitar at around twelve years old, releasing his debut album himself in 2004. Since then he has steadily established a strong reputation on the blues scene. Now he has teamed up with Mike Zito’s label, and this release is hard-hitting in more ways than one. Yes, the music is strong and tough blues-rock for the most part, with Albert’s impressive guitar licks well supported by Zito in his multi-instrumentalist role. Try Keep On Swinging where the two men trade licks southern-rock style over a raw, grinding rhythm. A couple of songs have lighter accompaniment, notably the acousticbased title track that is inspired by a daughter Albert did not know he had. Other tracks have lyrics that comment on the negative events and scenarios happening currently in the USA and the world in general, though Albert seems to be at heart optimistic, as evidenced by Love Will Win The War. Most of the songs are originals but a couple of covers are perhaps instructive: Johnny Winter’s Too Much Seconal is a slow-ish fuzzed-out blues warning against drug abuse, and the closing track, a version of Muddy Waters’ ‘I Wanna Go Home’, has an exemplary vocal in the master’s style, avoids the backing voices of the original, and is overall an excellent example of the classic Chicago blues and shows just how good Albert is on the straight blues. But then, really, the whole album shows just how good Albert is anyway.

NORMAN DARWEN

BEN LEVIN

Albums

The second album is often a challenge.

Has Ben Levin on Before Me delivered once again? If you love blues-based piano delivered by a talented singer/songwriter then this is a perfect album for your collection. With a mix of musical friends and heroes to complete the mix comprising guitarist Bob Margolin, harmonica from Bob Corritore and drummer Philip Paul.

Opening with Muddy Waters’ I Feel So Good Ben exudes a music that catches the ear and you are drawn into blues delivered in an intimate and relaxed way. Why does it work it is the layering of sounds as Margolin’s guitar and Corritore’s harmonica add an authenticity of sound linking back to Muddy himself. The songs have been re-interpreted with a sprinkle of freshness, modernity and the driving force of Levin without missing a beat or losing the essence of the music we love. His rendition of Chuck Berry’s Confessin’ The Blues is stylish with polished instrumentation complimenting the lyrics as the pace is slowed down. Into the mix we have Freddy King’s Lonesome Whistle Blues with Paul on drums providing the percussive beat that links directly to King himself. The gap between generations has been filled as the youth of Ben Levin plays with a generation that knew and played with many of great blues masters. His skill shines through every track. I recommend you turn the lights down low and relax into the mood that is created on the dozen tracks that is a personal concert for you as Ben’s piano takes you from New Orleans piano tradition to the electric blues of Chicago. Before Me is definitely an accomplished piano blues album for your collection.

LIZ AIKEN

HOLLYWOOD FATS BAND

BLUES BY THE POUND VOL 1 TOPCAT RECORDS

Hollywood Fats was a prodigious talent, playing in his short life with the likes of Buddy Guy, Muddy Waters, Canned Heat & Larry Harman (there were many others)

BEFORE ME VIZZTONE

CONTINUES OVER...

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 117

Albums

REVIEWS

REVIEWS

THE BIG FAT BLUES BAND LIGHTNING CLIFF BLUES 676667Records

This is primarily a three-piece band originating from South Wales, but on the album, they are joined by a few friends. All the songs are written by two of the three, messes Jones and Lynham.

Devil On My Shoulder opens proceedings with a bit of an unusual start. The first two minutes are very slow and melodic then bam. Hard blues/rock hits you with gusto firing along with blues harmonica and guitar that lets you know what they are all about. I Don’t Wanna Work is just straight foot-stomping blues. Phil Jones delivering gravelly vocals that fit superbly with the rest of the band. Once again, the presence of harmonica makes this a sheer delight of a tune. Love Love Love gives you a slightly seventies glam feeling. Don’t let that put you off because the lyrics and harmonies showcase the range that the band has. Not a bonafide blues song by any stretch but nonetheless a very enjoyable track. What Have I Done has a rockin’/blues intro that evolves into a slow blues groove, then like a rollercoaster propels you forward up to a rock/blues finish that leaves you breathless. The way that they change pace so easily makes me like this band a lot. Haunted Moon, in the title itself explains everything about this tune. Straight away you get the sense of something haunting and cold. The lyrics and eerie guitar work give you the feel of something foreboding and dark. An eighteenyear-old single-malt whiskey would compliment this tune perfectly. Lightning Cliff Blues being the title track starts with Jones talking the first couple of lines.

Then slowly gathering pace alongside great guitar and harmonica that have many twists and turns before dropping down and tailing off into silence. Blue is the final song and it’s a very good tune indeed. I get a hint of Status Quo in here.

But believe me when I say that there ain’t nothing wrong with that. I’d love to see this band perform live and have them finish the set with this.

STEPHEN HARRISON

which features Anders Osborne on guitar while the song just perfectly encapsulates the slow groove and deep passion that great music can bring. Ms Delay’s vocals just melt your heart and the bass line holds everything in check it reminds me in some ways of Maria Muldaur in her prime. For an example of the funkier side of the project check out Fulton Alley with stirring B-3 work from Keiko. Sonny Landreth features on a couple of numbers and on the opener, Jaceaux, Doug Wimbush doubles up on bass but the whole album just flows with the core band making the music and leaving you with a great sense of just how

good New Orleans music can be.

ANDY SNIPPER

ODDS LANE

LOST AND FOUND GULF COAST RECORDS

Bit of an odd one this. While I was listening to it, the songs just seemed to drift on by.

But once it was finished, I couldn’t help but play it again. See, it’s a groove thing with Odds Lane. When they set off into a song like Blood On The Van it’s a feeling as much as a song. Which is a good thing. Turns out that Doug Byrkit (vocals, guitars, and bass) and Brian Zielie (drums) have got a quarter

PAG E 116 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

of a century of history even though they’ve spent a lot of time working with other people as well as some projects of their own with Odds Lane dating back to 2003. There are lot of funky, choppy blues riffs pushing the songs along and it really does bar up to repeat plays. It sounds great as you would expect from another Mike Zito production (he also adds some slide guitar here and there). The songs are all originals (bar a Smithereens cover!) and the ones that really shone through the groove were the blues rock of Don’t Give It Away, the funky Ain’t Missing You and the aforementioned Blood On The Van. The only one that didn’t really work for me was the reggae tinged A Little Too Late but it was a minor blip on a record that really does draw you in. A good one.

STUART A HAMILTON

NANCY WRIGHT ALIVE & BLUE VIZZTONE

Nancy Wright is Alive and Blue on this saxophone driven album. Nancy a respected saxophonist is joined by The Rhythm and Roots Band. Opening with an instrumental Bugual the musicians set out their credentials underpinning the intoxicating sax with drummer, Paul Revelli; Karl Sevareid on bass and two background vocalists Tony Lufrano who brings the power of the keys and guitarist Jeff Tamelier.

They are now all assembled and ready to deliver the music live on the dozen tracks that swing with life throughout the album with Nancy’s vocals giving another layer of emotional tones with a grit that augments the superb musicianship. The dozen tracks, five of which are Nancy Wright’s originals, was recorded at the Saloon San Francisco; the decision to record the set was spontaneous and this relaxed live feel can be heard throughout. This is a band that just loves playing their interpretation of the Blues. The tones, textures and moods change throughout the set with Nancy’s Sugar-Coated Love being upbeat, with keys that drive her vocals along after a stinging opening by her saxophone that is the signature of the album and the glue that holds the music together. We dip into Alan W W W.B LU E S MAT TE R S.C O M

Toussaint’s catalogue as Nancy delivers What Do You Want The Girl To do, that suits the musicians playing live tonight with a version that has a freshness in its delivery.

Nancy’s’ vocals are good but the album is all about the instrumentation and the shining clarion call for the blues on this album is delivered by the mighty saxophone that takes centre stage on Alive & Blue.

LIZ AIKEN

J P SOARS

LET GO OF THE REINS WHISKEY BAYOU RECORDS

This CD was recorded in “a whirlwind weeklong session” at Tab Benoit’s Whiskey Bayou studio in Houma, Louisiana. It contains seven originals, written on the spot, and four covers. The opener, Been Down So Long by JB Lenoir clearly indicates where the album is heading. Gruff vocals, plenty of guitar and a hint of a Hammond B3 in support. It quickly turns into a jam, full of enthusiasm and guitar mastery. If You Wanna Get To Heaven, by the Ozark Mountain Daredevils (Whatever happened to them?) informs us, in a contradictory fashion, that “you gotta raise a little hell!”

The next track is a great tribute to Freddie King, entitled quite simply Freddie King Thing, and it has a great guitar solo in the style of the man himself. Let Go Of The Reins, the title track is a much heavier affair and has a very pronounced riff throughout.

The instrumental, Crows Nest has a funkier style to it and picks up the pace again and gets my vote as best track. Lonely Fire is a slow blues number, just to add a bit of variety. Have Mercy On My Soul regains the momentum and is another vehicle for some more extended guitar work. Let It Ride, one of the cover songs, has a distinct country style, which is emphasised by the pedal steel guitar, although this does sound somewhat lightweight in comparison to some of the previous tracks. Minor Blues, a Django Reinhardt number, again heads off in a completely direction and has a French Jazz Café feel, adding further variety. Time To Be Done returns to the format of the earlier tracks and seems to fit better into the format, JP on guitar, Chris Peet on W W W.B LU E S MAT TE R S.C O M

bass, Tab Benoit on drums and Tillis Verdin on Hammond organ. The closing track, Old Silver Bridge, featuring the Dobro, has the sound of an old hillbilly song and is a slightly enigmatic track with which to close the album.

STEVE BANKS

ALBERT CASTIGLIA MASTERPIECE GULF COAST

Born in New York City and raised in Florida, Albert Castiglia began playing the guitar at around twelve years old, releasing his debut album himself in 2004. Since then he has steadily established a strong reputation on the blues scene. Now he has teamed up with Mike Zito’s label, and this release is hard-hitting in more ways than one. Yes, the music is strong and tough blues-rock for the most part, with Albert’s impressive guitar licks well supported by Zito in his multi-instrumentalist role. Try Keep On Swinging where the two men trade licks southern-rock style over a raw, grinding rhythm. A couple of songs have lighter accompaniment, notably the acousticbased title track that is inspired by a daughter Albert did not know he had. Other tracks have lyrics that comment on the negative events and scenarios happening currently in the USA and the world in general, though Albert seems to be at heart optimistic, as evidenced by Love Will Win The War. Most of the songs are originals but a couple of covers are perhaps instructive: Johnny Winter’s Too Much Seconal is a slow-ish fuzzed-out blues warning against drug abuse, and the closing track, a version of Muddy Waters’ ‘I Wanna Go Home’, has an exemplary vocal in the master’s style, avoids the backing voices of the original, and is overall an excellent example of the classic Chicago blues and shows just how good Albert is on the straight blues. But then, really, the whole album shows just how good Albert is anyway.

NORMAN DARWEN

BEN LEVIN

Albums

The second album is often a challenge.

Has Ben Levin on Before Me delivered once again? If you love blues-based piano delivered by a talented singer/songwriter then this is a perfect album for your collection. With a mix of musical friends and heroes to complete the mix comprising guitarist Bob Margolin, harmonica from Bob Corritore and drummer Philip Paul.

Opening with Muddy Waters’ I Feel So Good Ben exudes a music that catches the ear and you are drawn into blues delivered in an intimate and relaxed way. Why does it work it is the layering of sounds as Margolin’s guitar and Corritore’s harmonica add an authenticity of sound linking back to Muddy himself. The songs have been re-interpreted with a sprinkle of freshness, modernity and the driving force of Levin without missing a beat or losing the essence of the music we love. His rendition of Chuck Berry’s Confessin’ The Blues is stylish with polished instrumentation complimenting the lyrics as the pace is slowed down. Into the mix we have Freddy King’s Lonesome Whistle Blues with Paul on drums providing the percussive beat that links directly to King himself. The gap between generations has been filled as the youth of Ben Levin plays with a generation that knew and played with many of great blues masters. His skill shines through every track. I recommend you turn the lights down low and relax into the mood that is created on the dozen tracks that is a personal concert for you as Ben’s piano takes you from New Orleans piano tradition to the electric blues of Chicago. Before Me is definitely an accomplished piano blues album for your collection.

LIZ AIKEN

HOLLYWOOD FATS BAND

BLUES BY THE POUND VOL 1 TOPCAT RECORDS

Hollywood Fats was a prodigious talent, playing in his short life with the likes of Buddy Guy, Muddy Waters, Canned Heat & Larry Harman (there were many others)

BEFORE ME VIZZTONE

CONTINUES OVER...

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 117

Albums

REVIEWS

and putting his own band together in 1974 which broke up in around 1980. The band consisted of Fats along with Fred Kaplan on piano, Al Blake on harmonica, Larry Taylor (Canned Heat) on bass and Richard Innes on drums and was really a live band as all of the members had other projects.

As Hollywood Fats Band they only released one album in 1979. This recording consists of a number of newly discovered recordings of the band from 1979-1980, recorded live at The Keystone in Palo Alto, The White House in Laguna Beach and The Musicians Union Local 7 in Santa Ana. There really are two things to say about the album, the recordings are bootleg quality at best and personal cassette at worst and the music shines through demonstrating some stellar playing and remarkable live music.

They cross between old style 30’s Blues, boogie woogie and into rock & roll with some stunning swing thrown in for good measure. Fats guitar playing is gorgeous.

It is clear to see why so many top strand blues players wanted him in their lineup, and Larry Taylor plays double bass like the hippest cat that ever was. The guy that surprises me is Fred Kaplan; I have seen him credited many, many times but his playing here is just stunning, especially on Too Much Jelly Roll. This is one of the more enjoyable musical surprises I’ve had this year and it is very well worth looking into – just don’t expect crystal clear recordings.

ANDY SNIPPER

DEBRA POWER THAT’S HOW I ROLL INDEPENDENT

Debra hails from Calgary in Canada where she has recorded this twelve-track album full of punchy piano led Blues interspersed with some laid-back rag time style songs.

There are plenty of supporting musicians used throughout the album who add depth to the material, which has all been self written. Debra has a powerful voice which wins hands down when competing with the Brass players and lead guitarists although she gets a run for her money when she shares lead vocal with Jack Semple on one track Last Time I’m Lovin’ You which is a

REVIEWS

KEITH THOMPSON BAND TRANSCENDENCE Density Music

Keith Thompson is a musician’s musician and a workaholic who has paid his dues to the blues music genre in spades. Predominantly blues rock genre if you need to file his music, otherwise just great music. His newest release follows on from the much-acclaimed Catch The Fire album. Here are thirteen tracks taking the listener on a musical journey twisting and turning through influences and emotions. A wonderful guitarist, he has his own sound but there are parallels with the likes of Dave Gilmour and Gary Moore popping to mind in his style of play. He is accompanied by a changing band and the album was made in Poland. Fellow players include,Artur Milak on drums,Jacek Chruscinski on bass, a real powerhouse band. Opening track is a cover of Bettie Smith’s Backwater Blues and it hits the listener with a great bassline force from the opening bars. Keith plays harmonica and keyboards also sings all songs on this release. Like A Stranger has a funky beat and good harmonies. Watch N’ Chain has a country blues tinge. Thin Ice is very ethereal and haunting with a steady groove, laid back vocals. Working On The Railroad has some good slide guitar adding to gruff vocals, very atmospheric.

Hesitation Blues has Patsy Gamble play a sassy saxophone, overall sounds a bit Hispanic traditional arrangement by Keith. Never Happy Unless I Got The Blues has quirky lyrics on a high energy tune. Surrender, moves along a pace with good narrative. Whiteman’s Blues has a great guitar solo and surely live this would be a crowd pleaser. Last track is the title track, Transcendence where the band just nails that cliffhanger ending, very anthemic full of creative guitar work and full on chorus, leaving the listener wanting more. Never a dull moment on this, it could be a classic, such is the artistry of Keith Thompson’s musicianship.

A concept album perhaps, but full throttle enjoyment, a musical gem.

COLIN CAMPBELL

real funky song with spoken elements. Jack also provides some classic lead guitar work on it. The two final songs on the album highlight the real Debra Power for me, the first Please Forgive Me Blues is a solo performance with just a Piano and vocals, the crystal clear production highlights Debra’s skilled Grand Piano skills along with a sublime vocal that has a delicate huskiness to it.The amplifiers are turned up for the final Chicago style Blues song Side On Sue on which Debra sings in a sexy raunchy style as behind her Steve Pineo and Joey Landreth have a harp and slide guitar duelling competition. This is a really

PAG E 118 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

strong finish to the album. This is Debra’s second full album release and is a strong collection of piano blues with some meaty backing that allows her to test her material on some tracks with a big band format, very promising and an enjoyable album that is sure to win her awards in Calgary and Internationally.

ADRIAN BLACKLEE

MARK BUTCHER NOW PLaYING

MAN IN THE MOON

A long-awaited second album from the singer and guitarist, who often appears W W W.B LU E S MAT TE R S.C O M

in the all-star Boom Band (featuring our pals Matt Taylor and Jon Amor) live performances. Here, Mark is in the company of Smiley Barnard, drums and Andy Lewis bass, plus Alex Richards keys, and Pete Twyman on guitar and keys.

The first two things that strike this listener about this set are the sheer purposefulness of the unit as they serve up the songs… and the fact that Butcher sings very much in the vocal range of Steve Marriott and Steve Ellis. This imbues some of the cuts with a strident early Mod impact. No bad thing. Though I can’t sing along, too high!

Daybreak kicks things off with a definite Small Faces vibe and punchy band sound.

A decent rock-soul outing. Country mines a Bo Diddley beat and is a single. The beat that George Michael massacred, rescued to respectability here. Some sonic tricks burst out of the mix. Dice is a thumping song with chattering guitar runs. Hate To See You Cry is a ballad put over with strength and a noble guitar run over a steady arrangement.

On to Civil War which has a pretty melody and deft construction, the kind of number Andy Fairweather Low comes up with. The piano sound is cool, and the bass runs well placed. One of the superior cuts. Next up The Darkest Night, a Twyman tune based on a soft stomp with an almost Merseybeat tinge. The guitar break is nicely tough over the vamping piano and McCartney-esque bass. Still In Love is a moody midnight piece, all hanging chords and spiky guitar, with the beaters used on the drums to great effect. Sounds like a future live favourite.

Cries out for a muted trumpet! All Hung Up On You presents a tightly-sprung tune with emphatic drumming and a touch of Jimi’s Stone Free. Quite catchy. Candle That Lit The Fuse is a subtle cut maybe influenced

by Hall & Oates, probably the best vocal performance here. You Picked A Fine Time rides an easy swagger as Mark sings of love. Ray goes heavy, with doomy piano and that Mod slowie feel. The tempo is well handled here. Times Are Hard has a dark ambience, centred on human troubles and Butcher’s undoubted empathy for those suffering. A strong showing from all, here.

To finish, we get Take Hold Of This Man W W W.B LU E S MAT TE R S.C O M

with its busy funk mood and soul vocal.

Easily the best track on the set imho.

PETE SARGEANT

Albums

MUNGO JERRY

enhanced by Ray’s echoey vocals and an equally mellow electric piano and brings the CD to a very fitting conclusion. The legend that is Ray Dorset just goes on!

STEVE BANKS

RAW SOUND.

THE 40 ACRE MULE

XSTREME

This CD is a brand-new release of freshly written material by the legend that is Ray Dorset. All the tracks were written and arranged by Ray and he is ably supported by his band consisting of Toby Hounsham (keyboards), Bob White (drums), Adam Davy (saxophone) and Franky Klassen (Cello!). The CD opens with the bluesy-rock and heavily sax-influenced Stray Dog. Ray’s vocals have always been instantly recognisable and his South East gruff trademark come across powerfully on this one. (a great opener for a live set!). Gotta Have A Plan is on the groovier/funkier side, imparts a bit of worldly wisdom and has some very nice funky/bluesy keyboard work. Hey, Mr Teacher is a good old rock’n’roll style song on a theme covered by such greats as Dave Edmunds and Elton John (and others) and rocks along nicely. White Dress heads off down a festive ska path and could be destined to get played at many a wedding party. Ray’s very talented wife, Britta, also features on sax on this track and it would be very touching to think that he’d written this for her. By contrast,10-Foot Bank Roll is back to a blues format, where Ray ponders about money, fame and loneliness. (I’m sure this one isn’t autobiographical!). Messing Around returns to a jug band style, where it all began for Ray back in the sixties. He still does it to perfection! The crackly record effect at the start of the track just adds to the authentic feel and it could have been taken from a 1920’s ’78. Ray sounds like he had particular fun recording this one!

Come to The Party is a lively Chicago blues style number, which gets the feet tapping and has a great audience response line.

(All night long!) Hard Working Stranger has a solid driving beat and an instrumental break, which just asks to groove on (and probably does in live versions.) The very haunting melody of The Wind Is Blowing is

GOODNIGHT & GOOD LUCK STATE FAIR RECORDS

The 40 Acre Mule are from Dallas, Texas and formed in 2015. This is their debut album and I think it’s fantastic. They occupy that hotspot where proper rock ‘n’ roll, rhythm ‘n’ blues with just enough country with a punk attitude all converge.

Lead vocalist/ guitarist J. Isaiah Evans is a force of nature, aided and abetted by John Pedigo (guitar & vocals). Sax player Chris Evetts is simply superb throughout adding a sprinkle of magic dust to every track. The tighter than tight rhythm section of Tim Cooper and Robert Anderson work their butts off holding everything together. The ten tracks fly by in 35 minutes or so and blend perfectly together making it hard to pick out individual high points but I’ll try.

You Better Run opens things up, it’s gritty and slightly menacing leading perfectly into 16 Days, a prison song bubbling over with that sax playing. Make Up Your Mind and Be With Me are a kinda down and dirty soul. Something Next To Nothing is a swampy rocking amalgam. I think my early favourite is I’ll Be Around, the nearest thing to a love song on here that starts softly but builds into a wonderful crescendo of guitar and keys (provided by Chad Stockslager).

Closing track Josephine is a great rock ‘n’ roll number that is retro but bang up to date all at the same time. The 40 Acre Mule alongside brothers in arms, bands like Daddy Long Legs, The Yawpers and Plott Hounds carry the authentic blues flame so much more than many of the turgid blues rock bands currently regurgitating the same tired riffs and clichés. This is authentic music played from the heart with gusto and skill.

STEVE YOURGLIVCH

CONTINUES OVER...

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 119

Albums

REVIEWS

and putting his own band together in 1974 which broke up in around 1980. The band consisted of Fats along with Fred Kaplan on piano, Al Blake on harmonica, Larry Taylor (Canned Heat) on bass and Richard Innes on drums and was really a live band as all of the members had other projects.

As Hollywood Fats Band they only released one album in 1979. This recording consists of a number of newly discovered recordings of the band from 1979-1980, recorded live at The Keystone in Palo Alto, The White House in Laguna Beach and The Musicians Union Local 7 in Santa Ana. There really are two things to say about the album, the recordings are bootleg quality at best and personal cassette at worst and the music shines through demonstrating some stellar playing and remarkable live music.

They cross between old style 30’s Blues, boogie woogie and into rock & roll with some stunning swing thrown in for good measure. Fats guitar playing is gorgeous.

It is clear to see why so many top strand blues players wanted him in their lineup, and Larry Taylor plays double bass like the hippest cat that ever was. The guy that surprises me is Fred Kaplan; I have seen him credited many, many times but his playing here is just stunning, especially on Too Much Jelly Roll. This is one of the more enjoyable musical surprises I’ve had this year and it is very well worth looking into – just don’t expect crystal clear recordings.

ANDY SNIPPER

DEBRA POWER THAT’S HOW I ROLL INDEPENDENT

Debra hails from Calgary in Canada where she has recorded this twelve-track album full of punchy piano led Blues interspersed with some laid-back rag time style songs.

There are plenty of supporting musicians used throughout the album who add depth to the material, which has all been self written. Debra has a powerful voice which wins hands down when competing with the Brass players and lead guitarists although she gets a run for her money when she shares lead vocal with Jack Semple on one track Last Time I’m Lovin’ You which is a

REVIEWS

KEITH THOMPSON BAND TRANSCENDENCE Density Music

Keith Thompson is a musician’s musician and a workaholic who has paid his dues to the blues music genre in spades. Predominantly blues rock genre if you need to file his music, otherwise just great music. His newest release follows on from the much-acclaimed Catch The Fire album. Here are thirteen tracks taking the listener on a musical journey twisting and turning through influences and emotions. A wonderful guitarist, he has his own sound but there are parallels with the likes of Dave Gilmour and Gary Moore popping to mind in his style of play. He is accompanied by a changing band and the album was made in Poland. Fellow players include,Artur Milak on drums,Jacek Chruscinski on bass, a real powerhouse band. Opening track is a cover of Bettie Smith’s Backwater Blues and it hits the listener with a great bassline force from the opening bars. Keith plays harmonica and keyboards also sings all songs on this release. Like A Stranger has a funky beat and good harmonies. Watch N’ Chain has a country blues tinge. Thin Ice is very ethereal and haunting with a steady groove, laid back vocals. Working On The Railroad has some good slide guitar adding to gruff vocals, very atmospheric.

Hesitation Blues has Patsy Gamble play a sassy saxophone, overall sounds a bit Hispanic traditional arrangement by Keith. Never Happy Unless I Got The Blues has quirky lyrics on a high energy tune. Surrender, moves along a pace with good narrative. Whiteman’s Blues has a great guitar solo and surely live this would be a crowd pleaser. Last track is the title track, Transcendence where the band just nails that cliffhanger ending, very anthemic full of creative guitar work and full on chorus, leaving the listener wanting more. Never a dull moment on this, it could be a classic, such is the artistry of Keith Thompson’s musicianship.

A concept album perhaps, but full throttle enjoyment, a musical gem.

COLIN CAMPBELL

real funky song with spoken elements. Jack also provides some classic lead guitar work on it. The two final songs on the album highlight the real Debra Power for me, the first Please Forgive Me Blues is a solo performance with just a Piano and vocals, the crystal clear production highlights Debra’s skilled Grand Piano skills along with a sublime vocal that has a delicate huskiness to it.The amplifiers are turned up for the final Chicago style Blues song Side On Sue on which Debra sings in a sexy raunchy style as behind her Steve Pineo and Joey Landreth have a harp and slide guitar duelling competition. This is a really

PAG E 118 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

strong finish to the album. This is Debra’s second full album release and is a strong collection of piano blues with some meaty backing that allows her to test her material on some tracks with a big band format, very promising and an enjoyable album that is sure to win her awards in Calgary and Internationally.

ADRIAN BLACKLEE

MARK BUTCHER NOW PLaYING

MAN IN THE MOON

A long-awaited second album from the singer and guitarist, who often appears W W W.B LU E S MAT TE R S.C O M

in the all-star Boom Band (featuring our pals Matt Taylor and Jon Amor) live performances. Here, Mark is in the company of Smiley Barnard, drums and Andy Lewis bass, plus Alex Richards keys, and Pete Twyman on guitar and keys.

The first two things that strike this listener about this set are the sheer purposefulness of the unit as they serve up the songs… and the fact that Butcher sings very much in the vocal range of Steve Marriott and Steve Ellis. This imbues some of the cuts with a strident early Mod impact. No bad thing. Though I can’t sing along, too high!

Daybreak kicks things off with a definite Small Faces vibe and punchy band sound.

A decent rock-soul outing. Country mines a Bo Diddley beat and is a single. The beat that George Michael massacred, rescued to respectability here. Some sonic tricks burst out of the mix. Dice is a thumping song with chattering guitar runs. Hate To See You Cry is a ballad put over with strength and a noble guitar run over a steady arrangement.

On to Civil War which has a pretty melody and deft construction, the kind of number Andy Fairweather Low comes up with. The piano sound is cool, and the bass runs well placed. One of the superior cuts. Next up The Darkest Night, a Twyman tune based on a soft stomp with an almost Merseybeat tinge. The guitar break is nicely tough over the vamping piano and McCartney-esque bass. Still In Love is a moody midnight piece, all hanging chords and spiky guitar, with the beaters used on the drums to great effect. Sounds like a future live favourite.

Cries out for a muted trumpet! All Hung Up On You presents a tightly-sprung tune with emphatic drumming and a touch of Jimi’s Stone Free. Quite catchy. Candle That Lit The Fuse is a subtle cut maybe influenced

by Hall & Oates, probably the best vocal performance here. You Picked A Fine Time rides an easy swagger as Mark sings of love. Ray goes heavy, with doomy piano and that Mod slowie feel. The tempo is well handled here. Times Are Hard has a dark ambience, centred on human troubles and Butcher’s undoubted empathy for those suffering. A strong showing from all, here.

To finish, we get Take Hold Of This Man W W W.B LU E S MAT TE R S.C O M

with its busy funk mood and soul vocal.

Easily the best track on the set imho.

PETE SARGEANT

Albums

MUNGO JERRY

enhanced by Ray’s echoey vocals and an equally mellow electric piano and brings the CD to a very fitting conclusion. The legend that is Ray Dorset just goes on!

STEVE BANKS

RAW SOUND.

THE 40 ACRE MULE

XSTREME

This CD is a brand-new release of freshly written material by the legend that is Ray Dorset. All the tracks were written and arranged by Ray and he is ably supported by his band consisting of Toby Hounsham (keyboards), Bob White (drums), Adam Davy (saxophone) and Franky Klassen (Cello!). The CD opens with the bluesy-rock and heavily sax-influenced Stray Dog. Ray’s vocals have always been instantly recognisable and his South East gruff trademark come across powerfully on this one. (a great opener for a live set!). Gotta Have A Plan is on the groovier/funkier side, imparts a bit of worldly wisdom and has some very nice funky/bluesy keyboard work. Hey, Mr Teacher is a good old rock’n’roll style song on a theme covered by such greats as Dave Edmunds and Elton John (and others) and rocks along nicely. White Dress heads off down a festive ska path and could be destined to get played at many a wedding party. Ray’s very talented wife, Britta, also features on sax on this track and it would be very touching to think that he’d written this for her. By contrast,10-Foot Bank Roll is back to a blues format, where Ray ponders about money, fame and loneliness. (I’m sure this one isn’t autobiographical!). Messing Around returns to a jug band style, where it all began for Ray back in the sixties. He still does it to perfection! The crackly record effect at the start of the track just adds to the authentic feel and it could have been taken from a 1920’s ’78. Ray sounds like he had particular fun recording this one!

Come to The Party is a lively Chicago blues style number, which gets the feet tapping and has a great audience response line.

(All night long!) Hard Working Stranger has a solid driving beat and an instrumental break, which just asks to groove on (and probably does in live versions.) The very haunting melody of The Wind Is Blowing is

GOODNIGHT & GOOD LUCK STATE FAIR RECORDS

The 40 Acre Mule are from Dallas, Texas and formed in 2015. This is their debut album and I think it’s fantastic. They occupy that hotspot where proper rock ‘n’ roll, rhythm ‘n’ blues with just enough country with a punk attitude all converge.

Lead vocalist/ guitarist J. Isaiah Evans is a force of nature, aided and abetted by John Pedigo (guitar & vocals). Sax player Chris Evetts is simply superb throughout adding a sprinkle of magic dust to every track. The tighter than tight rhythm section of Tim Cooper and Robert Anderson work their butts off holding everything together. The ten tracks fly by in 35 minutes or so and blend perfectly together making it hard to pick out individual high points but I’ll try.

You Better Run opens things up, it’s gritty and slightly menacing leading perfectly into 16 Days, a prison song bubbling over with that sax playing. Make Up Your Mind and Be With Me are a kinda down and dirty soul. Something Next To Nothing is a swampy rocking amalgam. I think my early favourite is I’ll Be Around, the nearest thing to a love song on here that starts softly but builds into a wonderful crescendo of guitar and keys (provided by Chad Stockslager).

Closing track Josephine is a great rock ‘n’ roll number that is retro but bang up to date all at the same time. The 40 Acre Mule alongside brothers in arms, bands like Daddy Long Legs, The Yawpers and Plott Hounds carry the authentic blues flame so much more than many of the turgid blues rock bands currently regurgitating the same tired riffs and clichés. This is authentic music played from the heart with gusto and skill.

STEVE YOURGLIVCH

CONTINUES OVER...

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 119

Blues Top 50

AUGUST 2019

REVIEWS

RMR TOP 50

THE HIGHTONES

CROSSIN’ THE BLUE LINE WHOLLY ROMAN EMPIRE

ANKING ARTIST

CD TITLE

LABEL

1 DELBERT MCCLINTON & SELF-MADE MEN 2 KEB MO 3 BOBBY RUSH 4 THE CASH BOX KINGS 5 NICK MOSS BAND 6 COCO MONTOYA 7 CHRISTONE “KINGFISH” INGRAM 8 ALBERT CASTIGLIA 9 ZAC HARMON 10X MINDI ABAIR AND THE BONESHAKERS 11 JP SOARS 12 ALTERED FIVE BLUES BAND 13 MOONSHINE SOCIETY 14 JOANNE SHAW TAYLOR 15 BILLY BRANCH & THE SONS OF BLUES 16 TERRY HANCK 17 MARK CAMERON 18 KENNY WAYNE SHEPHERD BAND 19 SOUTHERN AVENUE 20 MICHAEL LEE 21 TEDESCHI TRUCKS BAND 22 SAVOY BROWN 23 RAY FULLER AND THE BLUESROCKERS 24 JOHN MAYALL 25 HARPDOG BROWN 26 BILLY PRICE 27 VANEESE THOMAS 28 TULLIE BRAE 29 MATT ANDERSEN 30 THE B.B. KING BLUES BAND 31 J.J. CALE 32 ANNIKA CHAMBERS 33 ROBERT RANDOLPH & THE FAMILY BAND 34 DIANA REIN 35 CHARLIE WOOTON PROJECT 36 MANX MARRINER MAINLINE 37 HEATHER NEWMAN 38 SUGARAY RAYFORD 39 CLIFF STEVENS 40 DAWN TYLER WATSON 41 THE TEXAS HORNS 42 BRANDON SANTINI 43 RONNIE EARL & THE BROADCASTERS 44 SHAUN MURPHY 45 BAD INFLUENCE 46 KERRY KEARNEY BAND 47 GEORGE BENSON 48 ALEX LOPEZ 49 BRUCE KATZ BAND 50 BIG DADDY WILSON

TALL, DARK, AND HANDSOME OKLAHOMA SITTING ON TOP OF THE BLUES HAIL TO THE KINGS! LUCKY GUY COMING IN HOT KINGFISH MASTERPIECE MISSISSIPPI BARBQ NO GOOD DEED LET GO OF THE REINS TEN THOUSAND WATTS SWEET THING RECKLESS HEART ROOTS AND BRANCHES: THE SONGS OF LITTLE WALTER I STILL GET EXCITED ON A ROLL THE TRAVELER KEEP ON MICHAEL LEE SIGNS CITY NIGHT PAY THE PRICE NOBODY TOLD ME FOR LOVE AND MONEY DOG EAT DOG DOWN YONDER REVELATION HALFWAY HOME BY MORNING THE SOUL OF THE KING STAY AROUND KISS MY SASS BRIGHTER DAYS QUEEN OF MY CASTLE BLUE BASSO HELL BOUND FOR HEAVEN RISE FROM THE FLAMES SOMEBODY SAVE ME NOBODY BUT YOU MAD LOVE GET HERE QUICK THE LONGSHOT BEYOND THE BLUE DOOR REASON TO TRY GOT WHAT YOU NEED SMOKEHOUSE SERENADE WALKING TO NEW ORLEANS YOURS TRULY, ME...

SOLO RIDE DEEP IN MY SOUL

HOT SHOT

PAG E 12 0 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

CONCORD DEEP RUSH ALLIGATOR ALLIGATOR ALLIGATOR ALLIGATOR GULF COAST CATFOODX PRETTY GOOD FOR A GIRL WHISKEY BAYOU BLIND PIG MOJO SONY ALLIGATOR VIZZTONE COP CONCORD CONCORD RUF FANTASY QUATO VALLEY AZURETONE FORTY BELOW DOG HOUSE GULF COAST SEGUE ENDLESS BLUES TRUE NORTH RUF BECAUSE MUSIC VIZZTONE MASCOT GULF COAST WILD HEART STONY PLAIN VIZZTONE FORTY BELOW SELF-RELEASE SELF-RELEASE SEVERN AMERICAN SHOWPLACE STONY PLAIN VISION WALL BADBLUES RECORDS HIGHLANDER PROVOGUE MAREMIL AMERICAN SHOWPLACE RUF

COUNTRY

USA USA USA USA USA USA USA USA USA USA USA USA USA GBR USA USA USA USA USA USA USA USA USA USA CAN USA USA USA CAN USA USA USA USA USA USA CAN USA USA CAN CAN USA USA USA USA USA USA USA USA USA USA

W W W.B LU E S MAT TE R S.C O M

In case you’re wondering about the label name, as I did, let me explain. The Hightones are a five-piece outfit out of Chicago, but not quite what that statement might lead you to expect. The opener is a spooky number that will go down well at Halloween, and is followed by a fine, considered blues with subtle Latin touches, beautifully sung by bass player Evelyn Bremner and sporting some excellent sax touches and instrumental break by Barbara Gillies, plus an excellent guitar solo by Lee D’budda and some supporting harmonica by guest Frank Raven. Blues Hwy is a bluesballad paean to Mississippi, and the sense of control that this band has is becoming readily apparent by now. Buzzin’ is a lightly swinging, jazz-inflected good-time blues, Last Band Standing was penned by rhythm guitarist Bill Pekoc, who presumably also sings this rather nicely under-stated piece of self-praise (some nice slide guitar too), and Lonesome Sad & Blue shallows the band to really hit their stride on a strong blues shuffle, and continue on the rather fine BB King tribute, The King Is Gone.

Little Johnny Taylor’s If You Love Me Like You Say has more than a tinge of New Orleans, and a nod to Albert Collins’ cover of this song in the guitar break, whilst Boulevard leans towards 50s rock and roll, and Welcome To The House Of The Blues is a moody, traditional-sounding slow Chicago number. The final song, the bluesrocker When That Twister Comes, is also the heaviest of this listenable and slightly different CD, appropriately enough and that label name? Oh, did I forget to mention that the drummer, producer, sometime singer, and composer of the closing track is Roman Zabicki sorry.

NORMAN DARWEN

REVIEWS EXTRA More reviews are available here: www.bluesmatters.com/albumreviews/

W W W.B LU E S MAT TE R S.C O M

Book Review

Albums

DVD Review

DOUG MACLEOD – WHO IS BLUES VOL 1

TODD ALBRIGHT

BY VINCENT ABBATE

12 STRING COUNTRY BLUES GUITAR

MADI-MUSIC

GUITAR WORKSHOP

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 a 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

It seems like only yesterday that I was singing the praises of the DVDs that continually pour out from Stefan Grossmans Guitar Workshop and here is another new release. Tutor is Todd Albright who seems to spend his time keeping alive some of those songs that would have otherwise passed silently into pastures Blue. But this begs a question does it not? I mean just how many of these songs will see the light of day in regular performances, have you heard any of them before? Do we even know the names of the original writers and players? And will this DVD and others like it really do justice to them, Todd’s outlook on it is thus “develop your style within the tradition so that if the original artist were to walk past your open door he would know that it was his/her song being played” As you may recall from previous reviews I have always been fulsome in my praise of the Guitar Workshop series, but for the first time here I have a complaint, well not so much a complaint but perhaps more by way of an observation and that is?

Todd is sitting in front of four guitars hanging up, and at no time does he change guitars or refer to them, furthermore after telling us that the guitar is in standard tuning, he then proceeds to play his guitar in the key of A and advises us that is to make it easier if you are playing a six string when it would be played in C. Not only does he tell us that, but he says it again after every song. All production values are of course to the usual high standards and you get the PDF to download all of the music and tabulations from, but I wonder just how many copies of this are going to be sold in the UK? But here are nine songs that you may wish to add to your repertoire and if that is your aim, then I can think of no better place to start than right here.

DAVE STONE

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 121

Blues Top 50

AUGUST 2019

REVIEWS

RMR TOP 50

THE HIGHTONES

CROSSIN’ THE BLUE LINE WHOLLY ROMAN EMPIRE

ANKING ARTIST

CD TITLE

LABEL

1 DELBERT MCCLINTON & SELF-MADE MEN 2 KEB MO 3 BOBBY RUSH 4 THE CASH BOX KINGS 5 NICK MOSS BAND 6 COCO MONTOYA 7 CHRISTONE “KINGFISH” INGRAM 8 ALBERT CASTIGLIA 9 ZAC HARMON 10X MINDI ABAIR AND THE BONESHAKERS 11 JP SOARS 12 ALTERED FIVE BLUES BAND 13 MOONSHINE SOCIETY 14 JOANNE SHAW TAYLOR 15 BILLY BRANCH & THE SONS OF BLUES 16 TERRY HANCK 17 MARK CAMERON 18 KENNY WAYNE SHEPHERD BAND 19 SOUTHERN AVENUE 20 MICHAEL LEE 21 TEDESCHI TRUCKS BAND 22 SAVOY BROWN 23 RAY FULLER AND THE BLUESROCKERS 24 JOHN MAYALL 25 HARPDOG BROWN 26 BILLY PRICE 27 VANEESE THOMAS 28 TULLIE BRAE 29 MATT ANDERSEN 30 THE B.B. KING BLUES BAND 31 J.J. CALE 32 ANNIKA CHAMBERS 33 ROBERT RANDOLPH & THE FAMILY BAND 34 DIANA REIN 35 CHARLIE WOOTON PROJECT 36 MANX MARRINER MAINLINE 37 HEATHER NEWMAN 38 SUGARAY RAYFORD 39 CLIFF STEVENS 40 DAWN TYLER WATSON 41 THE TEXAS HORNS 42 BRANDON SANTINI 43 RONNIE EARL & THE BROADCASTERS 44 SHAUN MURPHY 45 BAD INFLUENCE 46 KERRY KEARNEY BAND 47 GEORGE BENSON 48 ALEX LOPEZ 49 BRUCE KATZ BAND 50 BIG DADDY WILSON

TALL, DARK, AND HANDSOME OKLAHOMA SITTING ON TOP OF THE BLUES HAIL TO THE KINGS! LUCKY GUY COMING IN HOT KINGFISH MASTERPIECE MISSISSIPPI BARBQ NO GOOD DEED LET GO OF THE REINS TEN THOUSAND WATTS SWEET THING RECKLESS HEART ROOTS AND BRANCHES: THE SONGS OF LITTLE WALTER I STILL GET EXCITED ON A ROLL THE TRAVELER KEEP ON MICHAEL LEE SIGNS CITY NIGHT PAY THE PRICE NOBODY TOLD ME FOR LOVE AND MONEY DOG EAT DOG DOWN YONDER REVELATION HALFWAY HOME BY MORNING THE SOUL OF THE KING STAY AROUND KISS MY SASS BRIGHTER DAYS QUEEN OF MY CASTLE BLUE BASSO HELL BOUND FOR HEAVEN RISE FROM THE FLAMES SOMEBODY SAVE ME NOBODY BUT YOU MAD LOVE GET HERE QUICK THE LONGSHOT BEYOND THE BLUE DOOR REASON TO TRY GOT WHAT YOU NEED SMOKEHOUSE SERENADE WALKING TO NEW ORLEANS YOURS TRULY, ME...

SOLO RIDE DEEP IN MY SOUL

HOT SHOT

PAG E 12 0 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

CONCORD DEEP RUSH ALLIGATOR ALLIGATOR ALLIGATOR ALLIGATOR GULF COAST CATFOODX PRETTY GOOD FOR A GIRL WHISKEY BAYOU BLIND PIG MOJO SONY ALLIGATOR VIZZTONE COP CONCORD CONCORD RUF FANTASY QUATO VALLEY AZURETONE FORTY BELOW DOG HOUSE GULF COAST SEGUE ENDLESS BLUES TRUE NORTH RUF BECAUSE MUSIC VIZZTONE MASCOT GULF COAST WILD HEART STONY PLAIN VIZZTONE FORTY BELOW SELF-RELEASE SELF-RELEASE SEVERN AMERICAN SHOWPLACE STONY PLAIN VISION WALL BADBLUES RECORDS HIGHLANDER PROVOGUE MAREMIL AMERICAN SHOWPLACE RUF

COUNTRY

USA USA USA USA USA USA USA USA USA USA USA USA USA GBR USA USA USA USA USA USA USA USA USA USA CAN USA USA USA CAN USA USA USA USA USA USA CAN USA USA CAN CAN USA USA USA USA USA USA USA USA USA USA

W W W.B LU E S MAT TE R S.C O M

In case you’re wondering about the label name, as I did, let me explain. The Hightones are a five-piece outfit out of Chicago, but not quite what that statement might lead you to expect. The opener is a spooky number that will go down well at Halloween, and is followed by a fine, considered blues with subtle Latin touches, beautifully sung by bass player Evelyn Bremner and sporting some excellent sax touches and instrumental break by Barbara Gillies, plus an excellent guitar solo by Lee D’budda and some supporting harmonica by guest Frank Raven. Blues Hwy is a bluesballad paean to Mississippi, and the sense of control that this band has is becoming readily apparent by now. Buzzin’ is a lightly swinging, jazz-inflected good-time blues, Last Band Standing was penned by rhythm guitarist Bill Pekoc, who presumably also sings this rather nicely under-stated piece of self-praise (some nice slide guitar too), and Lonesome Sad & Blue shallows the band to really hit their stride on a strong blues shuffle, and continue on the rather fine BB King tribute, The King Is Gone.

Little Johnny Taylor’s If You Love Me Like You Say has more than a tinge of New Orleans, and a nod to Albert Collins’ cover of this song in the guitar break, whilst Boulevard leans towards 50s rock and roll, and Welcome To The House Of The Blues is a moody, traditional-sounding slow Chicago number. The final song, the bluesrocker When That Twister Comes, is also the heaviest of this listenable and slightly different CD, appropriately enough and that label name? Oh, did I forget to mention that the drummer, producer, sometime singer, and composer of the closing track is Roman Zabicki sorry.

NORMAN DARWEN

REVIEWS EXTRA More reviews are available here: www.bluesmatters.com/albumreviews/

W W W.B LU E S MAT TE R S.C O M

Book Review

Albums

DVD Review

DOUG MACLEOD – WHO IS BLUES VOL 1

TODD ALBRIGHT

BY VINCENT ABBATE

12 STRING COUNTRY BLUES GUITAR

MADI-MUSIC

GUITAR WORKSHOP

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 a 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

It seems like only yesterday that I was singing the praises of the DVDs that continually pour out from Stefan Grossmans Guitar Workshop and here is another new release. Tutor is Todd Albright who seems to spend his time keeping alive some of those songs that would have otherwise passed silently into pastures Blue. But this begs a question does it not? I mean just how many of these songs will see the light of day in regular performances, have you heard any of them before? Do we even know the names of the original writers and players? And will this DVD and others like it really do justice to them, Todd’s outlook on it is thus “develop your style within the tradition so that if the original artist were to walk past your open door he would know that it was his/her song being played” As you may recall from previous reviews I have always been fulsome in my praise of the Guitar Workshop series, but for the first time here I have a complaint, well not so much a complaint but perhaps more by way of an observation and that is?

Todd is sitting in front of four guitars hanging up, and at no time does he change guitars or refer to them, furthermore after telling us that the guitar is in standard tuning, he then proceeds to play his guitar in the key of A and advises us that is to make it easier if you are playing a six string when it would be played in C. Not only does he tell us that, but he says it again after every song. All production values are of course to the usual high standards and you get the PDF to download all of the music and tabulations from, but I wonder just how many copies of this are going to be sold in the UK? But here are nine songs that you may wish to add to your repertoire and if that is your aim, then I can think of no better place to start than right here.

DAVE STONE

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 121

REVIEWS

THE BM! ROUND-UP OF LIVE BLUES GUINNESS 21ST ANNUAL INTERNATIONAL BLUES ON THE BAY FESTIVAL

VARIOUS VENUES, WARRENPOINT, N. IRELAND MAY 22ND - 27TH 2019

“If you have any requests – keep them to yourself,” quipped guitarist-singer Robin Bibi early in his extroverted, exciting and good-humoured set. On B.B. King’s Waitin’ On You, Bibi quoted The Flintstones theme song, duck walked across the floor, played standing on a bar table and played with

his guitar behind his head, all to the delight of the audience. In Too Deep was one of many convincing original songs. Bassist Tony Marten and drummer Dave Raeburn accompanied expertly throughout.

Chicago-based guitarist-singer Big Dog Mercer, and at six foot ten inches he really is a big dog, and bassist Mike Boyle were augmented admirably by Irish drummer Lyn McMullan. When Mercer, his guitar like a ukulele in his enormous paws, strode into the midst of the audience he seemed like Gulliver in Lilliput. A jazzy Kansas City and a singalong Sweet Home Chicago impressed the punters as much

CROW BLACK CHICKEN AT BLUES ON THE BAY. PHOTO: TRISH KEOGH-HODGETT

PAG E 12 2 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

as Mercer’s size, while on B.B. King’s It’s My Own Fault his solo was beautiful and emotional.

Rab McCullough, fronting a quartet, impressed with his fiery, indeed often savage, guitar playing on Travelling South, Goin’ Down et al. On a storming Voodoo Chile, he channelled his inner Jimi, or his inner Robin Bibi! by playing behind his head.

Guitarist Pat McManus, once something of a rock star with Mama’s Boys, still has the rock star moves, looks and flamboyance. But more importantly his playing was technically awesome, his tone beautiful and his melodic sense notable, on the likes of a dramatically sung Red House and a gorgeous, Still Got The Blues For You. An acoustic, Return Of The G Man, dedicated to Rory Gallagher, was a respectful tribute from one great Northern Irish guitarist to another. Marty McDermott (bass) and Paul Faloon (drums) comprised a mighty rhythm section and McManus’s occasional fiddle playing was almost as sensational as his guitar playing. Northern Ireland’s most thrilling blues band the Ronnie Greer Band played equally persuasively on everything from the slow blues of How Long to a ferociously rocking Riding In The Moonlight to a stylish interpretation of Charles Mingus’s Nostalgia In Times Square. Greer’s guitar solos were piercingly emotional on the likes of Johnny ‘Big Moose’ Walker’s Cry, Cry Baby while keyboard player John McCullough soloed spectacularly on Robben Ford’s Start It Up and elsewhere.

Villiers and The Villains, audibly inspired by the music Dylan and The Band made in Big Pink in 1967, performed with charisma on striking, hook-laden original songs. John Prine Blues, for example, was a quirkily W W W.B LU E S MAT TE R S.C O M

affectionate tribute to the singer-songwriter while the sardonic The Government Is Coming To Town, an anarchist’s lament, was sung with entertaining theatricality.

The band also interpreted some songs by their hero, including an electrifying Like A Rolling Stone and It’s All Over Now Baby Blue, on which Villiers dispensed Dylan’s beat wisdom with panache. Guitarist Doc Doherty played subtly throughout. “This is a dirty blues song,” announced Irish singer Clara Rose before her sizzling version of Chris Smither’s Love Me Like A Man. Rose, a gutsy, technically excellent singer, who was backed by a three piece, performed her own Broken Woman Blues soulfully while her version of Dolly Parton’s Jolene was very moving. Cork power trio Crow Black Chicken have been compared to ZZ Top (and not just because of their similarly industrial-sized beards) and Rory Gallagher.

Playing in a mid-afternoon slot, however, they seemed slightly jaded (then again, what blues band wouldn’t sound jaded at 3pm) but they still blew many in the audience away with their raw performances of the likes of Bijou Creole. Jackson Rox, a male/female duo of mature years whose floral clothes merged weirdly with the floral wallpaper behind them, played guitar/ rack harmonica and electric string bass respectively. Their genial set featured appealing versions of Delbert McClinton’s Two Step Too and Don Williams’s Tulsa Time. Scottish harmonica player Rev Doc, accompanied by string bass and electric guitar, played emotively and sang convincingly on a mournful-sounding Bright Lights Big City, a declamatory My Babe and a raw, passionate That’s All Right.

Up-and-coming Belfast singer-guitarist Dom Martin, a powerful, intense performer, played scintillating slide on Robert Johnson’s Walkin’ Blues and sounded tormented on Bob Dylan’s Tangled Up In Blue. His own Easy Way Out was a strange, intriguing narrative.

There was but one Festival performer this year who performed in green sparkly boots and hot pants and that was Berlinbased Argentinian Vanesa Harbek, who fronted a trio. Singing variously in Spanish W W W.B LU E S MAT TE R S.C O M

and English and with an occasional Latin flavour to her music, Harbek played lovely, expressive guitar on Killing Floor and elsewhere.

TREVOR HODGETT VISUALS: TRISH KEOGH-HODGETT

BALLYSHANNON INTERNATIONAL RORY GALLAGHER FESTIVAL 2019 FESTIVAL BIG TOP: FRIDAY 31ST MAY

It was the second night of the festival and I had a chance to go over to the “Festival Big Top” for a few hours. The “Big Top” is a giant circus-style blue and red striped marquee set-up in a carpark right in the centre of town.

It’s the place where all the headlining bands play, and there are four bands on each night.

I already knew which band I wanted to see. A few weeks earlier I had a sneaky look at the festival program and was pleasantly surprised to see that a band from Rory Gallagher’s other hometown of Cork City, Ireland, Sleepy Hollow where on the bill for the very first time.

I knew the band had existed in the 70’s, and that later in the 70’s they had evolved to become well-known Irish band, Hot Guitars. I had already seen frontman and harp player Joe O’Callaghan play with Hot Guitars in Cork City a few years earlier, so I knew I’d be in for an amazing show.

But what I didn’t realise is that Sleepy Hollow had also toured extensively back in the day throughout Ireland, UK and Europe as Rory Gallagher’s own support band and that Rory was great friends with the lads who also grew up in Cork.

On this night the line-up was Joe O’Callaghan on lead vocals and harmonica, Declan Pender on guitar, songwriter Bill O’Brien on guitar and vocals, his son AJ O’Brien was filling in on keyboards for Pat Crowley who was forgiven for being away on tour with Mary Black, and Johnny Campbell was on bass, and Arty Loregan on drums.

Sleepy Hollow’s original roadie

Live

from the 70’s, Joe O’Herlihy was also on board for this very special night as their soundman. Joe is very well known in the industry as soundman for U2, a role he has held since their very beginning.

Opening their set with “Help Me”, a Sonny Boy Williamson song with a great bluesy kind of groove, then rocking into “Come on Joe” written by original bass player Johnny Rice, about Joe O’Herlihy as he was packing up after a show. Next was the familiar and powerful “Messing With the Kid”, in honour of Rory Gallagher, followed

by Sleepy Hollow’s own songs “Easy to Say” and “Nasty People”.

Next they grooved into “Don’t Start Me To Talkin” another Sonny Boy Williamson bluesy number, with a great harp vibe from Joe O’Callaghan. Followed by more Sleepy Hollow originals “Sad Affair”, “I’m Her Man” and, “Cider Heads” (written and sung

by Bill O’Brien) a song about their youth, describing nights at Cork’s City Hall and going to watch bands wearing long trench coats because they were ideal for hiding bottles of cider in the pockets!

Next up was “Getting Nowhere” and last of all “Brown Eyed Woman” a song written by original bass player Johnny Rice who sadly passed away just a few years ago, who dedicated the song to his wife Peggy.

All up eleven songs in what seemed like just five minutes. Frontman Joe O’Callaghan really is something else and the band, what a band, I can’t wait to see them again.

SHARON QUIGLEY

HARVEST TIME POC THE BLUES FESTIVAL MONAGHAN, IRELAND

SEPTEMBER 5TH - 9TH 2019

An Poc Fada is a well-established live music venue in the heart of Monaghan town and is also the heart of the well-known annual blues festival. A festival which fills the town with a spectacular showcase of blues music and fills the streets with music fans CONTINUES OVER...

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 12 3

REVIEWS

THE BM! ROUND-UP OF LIVE BLUES GUINNESS 21ST ANNUAL INTERNATIONAL BLUES ON THE BAY FESTIVAL

VARIOUS VENUES, WARRENPOINT, N. IRELAND MAY 22ND - 27TH 2019

“If you have any requests – keep them to yourself,” quipped guitarist-singer Robin Bibi early in his extroverted, exciting and good-humoured set. On B.B. King’s Waitin’ On You, Bibi quoted The Flintstones theme song, duck walked across the floor, played standing on a bar table and played with

his guitar behind his head, all to the delight of the audience. In Too Deep was one of many convincing original songs. Bassist Tony Marten and drummer Dave Raeburn accompanied expertly throughout.

Chicago-based guitarist-singer Big Dog Mercer, and at six foot ten inches he really is a big dog, and bassist Mike Boyle were augmented admirably by Irish drummer Lyn McMullan. When Mercer, his guitar like a ukulele in his enormous paws, strode into the midst of the audience he seemed like Gulliver in Lilliput. A jazzy Kansas City and a singalong Sweet Home Chicago impressed the punters as much

CROW BLACK CHICKEN AT BLUES ON THE BAY. PHOTO: TRISH KEOGH-HODGETT

PAG E 12 2 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

as Mercer’s size, while on B.B. King’s It’s My Own Fault his solo was beautiful and emotional.

Rab McCullough, fronting a quartet, impressed with his fiery, indeed often savage, guitar playing on Travelling South, Goin’ Down et al. On a storming Voodoo Chile, he channelled his inner Jimi, or his inner Robin Bibi! by playing behind his head.

Guitarist Pat McManus, once something of a rock star with Mama’s Boys, still has the rock star moves, looks and flamboyance. But more importantly his playing was technically awesome, his tone beautiful and his melodic sense notable, on the likes of a dramatically sung Red House and a gorgeous, Still Got The Blues For You. An acoustic, Return Of The G Man, dedicated to Rory Gallagher, was a respectful tribute from one great Northern Irish guitarist to another. Marty McDermott (bass) and Paul Faloon (drums) comprised a mighty rhythm section and McManus’s occasional fiddle playing was almost as sensational as his guitar playing. Northern Ireland’s most thrilling blues band the Ronnie Greer Band played equally persuasively on everything from the slow blues of How Long to a ferociously rocking Riding In The Moonlight to a stylish interpretation of Charles Mingus’s Nostalgia In Times Square. Greer’s guitar solos were piercingly emotional on the likes of Johnny ‘Big Moose’ Walker’s Cry, Cry Baby while keyboard player John McCullough soloed spectacularly on Robben Ford’s Start It Up and elsewhere.

Villiers and The Villains, audibly inspired by the music Dylan and The Band made in Big Pink in 1967, performed with charisma on striking, hook-laden original songs. John Prine Blues, for example, was a quirkily W W W.B LU E S MAT TE R S.C O M

affectionate tribute to the singer-songwriter while the sardonic The Government Is Coming To Town, an anarchist’s lament, was sung with entertaining theatricality.

The band also interpreted some songs by their hero, including an electrifying Like A Rolling Stone and It’s All Over Now Baby Blue, on which Villiers dispensed Dylan’s beat wisdom with panache. Guitarist Doc Doherty played subtly throughout. “This is a dirty blues song,” announced Irish singer Clara Rose before her sizzling version of Chris Smither’s Love Me Like A Man. Rose, a gutsy, technically excellent singer, who was backed by a three piece, performed her own Broken Woman Blues soulfully while her version of Dolly Parton’s Jolene was very moving. Cork power trio Crow Black Chicken have been compared to ZZ Top (and not just because of their similarly industrial-sized beards) and Rory Gallagher.

Playing in a mid-afternoon slot, however, they seemed slightly jaded (then again, what blues band wouldn’t sound jaded at 3pm) but they still blew many in the audience away with their raw performances of the likes of Bijou Creole. Jackson Rox, a male/female duo of mature years whose floral clothes merged weirdly with the floral wallpaper behind them, played guitar/ rack harmonica and electric string bass respectively. Their genial set featured appealing versions of Delbert McClinton’s Two Step Too and Don Williams’s Tulsa Time. Scottish harmonica player Rev Doc, accompanied by string bass and electric guitar, played emotively and sang convincingly on a mournful-sounding Bright Lights Big City, a declamatory My Babe and a raw, passionate That’s All Right.

Up-and-coming Belfast singer-guitarist Dom Martin, a powerful, intense performer, played scintillating slide on Robert Johnson’s Walkin’ Blues and sounded tormented on Bob Dylan’s Tangled Up In Blue. His own Easy Way Out was a strange, intriguing narrative.

There was but one Festival performer this year who performed in green sparkly boots and hot pants and that was Berlinbased Argentinian Vanesa Harbek, who fronted a trio. Singing variously in Spanish W W W.B LU E S MAT TE R S.C O M

and English and with an occasional Latin flavour to her music, Harbek played lovely, expressive guitar on Killing Floor and elsewhere.

TREVOR HODGETT VISUALS: TRISH KEOGH-HODGETT

BALLYSHANNON INTERNATIONAL RORY GALLAGHER FESTIVAL 2019 FESTIVAL BIG TOP: FRIDAY 31ST MAY

It was the second night of the festival and I had a chance to go over to the “Festival Big Top” for a few hours. The “Big Top” is a giant circus-style blue and red striped marquee set-up in a carpark right in the centre of town.

It’s the place where all the headlining bands play, and there are four bands on each night.

I already knew which band I wanted to see. A few weeks earlier I had a sneaky look at the festival program and was pleasantly surprised to see that a band from Rory Gallagher’s other hometown of Cork City, Ireland, Sleepy Hollow where on the bill for the very first time.

I knew the band had existed in the 70’s, and that later in the 70’s they had evolved to become well-known Irish band, Hot Guitars. I had already seen frontman and harp player Joe O’Callaghan play with Hot Guitars in Cork City a few years earlier, so I knew I’d be in for an amazing show.

But what I didn’t realise is that Sleepy Hollow had also toured extensively back in the day throughout Ireland, UK and Europe as Rory Gallagher’s own support band and that Rory was great friends with the lads who also grew up in Cork.

On this night the line-up was Joe O’Callaghan on lead vocals and harmonica, Declan Pender on guitar, songwriter Bill O’Brien on guitar and vocals, his son AJ O’Brien was filling in on keyboards for Pat Crowley who was forgiven for being away on tour with Mary Black, and Johnny Campbell was on bass, and Arty Loregan on drums.

Sleepy Hollow’s original roadie

Live

from the 70’s, Joe O’Herlihy was also on board for this very special night as their soundman. Joe is very well known in the industry as soundman for U2, a role he has held since their very beginning.

Opening their set with “Help Me”, a Sonny Boy Williamson song with a great bluesy kind of groove, then rocking into “Come on Joe” written by original bass player Johnny Rice, about Joe O’Herlihy as he was packing up after a show. Next was the familiar and powerful “Messing With the Kid”, in honour of Rory Gallagher, followed

by Sleepy Hollow’s own songs “Easy to Say” and “Nasty People”.

Next they grooved into “Don’t Start Me To Talkin” another Sonny Boy Williamson bluesy number, with a great harp vibe from Joe O’Callaghan. Followed by more Sleepy Hollow originals “Sad Affair”, “I’m Her Man” and, “Cider Heads” (written and sung

by Bill O’Brien) a song about their youth, describing nights at Cork’s City Hall and going to watch bands wearing long trench coats because they were ideal for hiding bottles of cider in the pockets!

Next up was “Getting Nowhere” and last of all “Brown Eyed Woman” a song written by original bass player Johnny Rice who sadly passed away just a few years ago, who dedicated the song to his wife Peggy.

All up eleven songs in what seemed like just five minutes. Frontman Joe O’Callaghan really is something else and the band, what a band, I can’t wait to see them again.

SHARON QUIGLEY

HARVEST TIME POC THE BLUES FESTIVAL MONAGHAN, IRELAND

SEPTEMBER 5TH - 9TH 2019

An Poc Fada is a well-established live music venue in the heart of Monaghan town and is also the heart of the well-known annual blues festival. A festival which fills the town with a spectacular showcase of blues music and fills the streets with music fans CONTINUES OVER...

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 12 3

I FEST

REVIEWS

VALS

from all over Ireland and the world. Over five days in early September the town of Monaghan really comes alive with blues.

Paul Lavery and his dedicated team have worked hard over the years at the An Poc Fada to establish their ongoing good reputation far and wide for great music all year round. With some of the best touring bands from within Ireland and abroad playing there every weekend the place soon developed its reputation as one of the best places in the area for live bands. It’s no surprise that An Poc Fada is right at the heart of the Harvest Time Poc the Blues music festival.

The place is very easy to find once you get to Monaghan, as it has become somewhat of a landmark in the town for its breath-taking artistic graffiti artwork on the outside of the magnificent corner building.

A colorful larger-than-life musical mural is re-painted every year to depict a different legendary classic blues and related music artist.

This year’s mural depicts King of Boogie, John Lee Hooker, last year it was one of the forefathers of soul Marvin Gaye, and the year before that it was King of Blues, the one and only B.B. King.

Not only does the mural help to transform the town at this spectacular blues time of the year, but it has also turned the building into a beacon for the many blues music fans from around the world who gather for the annual festival. The mural also naturally presents itself as a great backdrop for that elusive “Selfie”.

As the success of live music at the An Poc Fada continued to grow over the years the next natural step was to create an annual blues and blues-rock festival they could call their own.

So, in 2013 the An Poc Fada in Monaghan established the mighty annual blues & blues-rock festival aptly named “Harvest Time Poc the Blues”. There is a local legend about how the festival was bestowed with its name which had a lot to do with a character who couldn’t spell properly after having a few too many drinks.

After an accidental play on words with the term “Rock the Blues”, the “Poc the Blues”

festival was born.

So, every year on the first weekend in September, Monaghan Ireland is the place to be for some of the best of the blues with a seemingly endless cascade of world class bands and artists day and night over a massive five days.

This wonderful free festival grows from strength to strength each year and last year introduced a spectacular outdoor marquee for the first time. The Marquee at Mill Street was a huge success and this year Poc the Blues will host another stream of talent including Irish blues guitar legends Gerry Quigley (Saturday night) and Pat McManus (Sunday night) and their bands are among those to be honoured to play a show at the Marquee at Mill Street this year. Monaghan prepare to be captivated!

SHARON QUIGLEY

RADFORD MILL FESTIVAL OF RHYTHM & BLUES RADFORD MILL FARM, TIMSBURY, NR BATH AUGUST 10TH 2019

Now in its fifth year, the Radford Mill Festival Of Rhythm & Blues has grown from a gentile afternoon soiree into a romping, stomping event, boasting stellar talent of global renown. This one-day festival takes place annually in August and is set in the picturesque grounds of Radford Mill in Timsbury, just outside the city of Bath.

The emphasis is on small and quirky, all within a natural amphitheatre, rendering the audibility excellent.

Instead of acting as the expected deterrent, this year’s dubious weather merely proved to be a goad to any undecided attendees. Where many other festivals had succumbed to the forecasts, the staunch Radford event grew plump with last minute grateful thrill seekers.

The honour of opening the festival fell to Steve Henderson, armed only with his prodigious talent, an acoustic guitar, but with Polly Carroll riding shotgun, Somerset’s favourite troubadour warmed the expectant horde with material drawn from his recent albums. His own songs are sharply drawn observations of life, and the crowd applauded to the very echo.

Hot on his heels galloped Kris Dollimore, who proved to be a palpable hit with the Radford Mill crowd. Largely instrumental, his style would appear to repay a debt to fellow string dazzler John Fahey. The commitment to his particular muse is never in doubt, and there would seem to be little distance between Kris and his personal vision.

Following that smorgasbord of talent was Chris Jagger. Matchless repartee, peerless musicians, topped off with a sense of giving that you don’t get from YouTube video tutorials. It is difficult to imagine being entertained to this extent in a single hour, but should that be your wont, then this is the pony to back. Below The Salt followed, led by peerless veteran guitar legend, Scratch. They cut straight to the bone with a precision any Hatton Garden diamond cutter would envy. What is the blues then, but a sad music that makes you feel good?

It’s as though the Salt lads have taken this hoary old maxim to be their cardinal rule and proven there’s no substitute for experience.

Into the breach strode a Radford favourite, Ruzz Guitar’s Blues Revue.

This year saw the return of the guitar slinging bright hope, who is setting the United States afire with his charm, talent and refreshing attitude, together with his powerful, soul injected blues.

The next act were a surprise and a delight. Stepping in at almost the last minute to cover for a cancellation, The Bad

“INSTEAD OF ACTING AS THE EXPECTED DETERRENT, THIS YEAR’S DUBIOUS WEATHER MERELY PROVED TO BE A GOAD”

PAG E 12 4 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

W W W.B LU E S MAT TE R S.C O M

Live

MONTREAL JAZZ FESTIVAL MONTREAL, CANADA 26TH JUNE – 6TH JULY

RUZZ GUITAR’S BLUES REVUE AT RADFORD MILL. PHOTO: ANDREA WALKER

Losers opened up with A Little Bit Of Time and brought the spirit of Eel Pie with them.

Vocalist and harp blower, John McLean, is that wayward older youth from next door.

The one that told you all those exciting stories of the bands he’d seen. Ably and sympathetically supported by his electric henchmen, the set included established Losers classics and tunes from the forthcoming album. Yes, I did say album.

See, the Losers release their work on vinyl.

Singer, guitar player and songwriter, Debbie Bond, midway through her UK tour, took to the stage with her band and Radiator Rick pumping the ivories. Difficult to comprehend how someone of over thirty-years-experience of performing, winning awards internationally and adorning magazine front covers could still seem so unjaded and almost vulnerable.

Wonder if this is the much-vaunted healing spirit of the blues that’s all too often touted about? Whilst maintaining an air of sophistication, she turned what had started life as a marquee into a pulsating juke joint and the Radford Mill crowd were not slow to respond! She charmed, flattered, and wooed an audience who had, by now, enjoyed six excellent acts already!

W W W.B LU E S MAT TE R S.C O M

Reluctantly, the crowd permitted them to leave the stage. It was the biggest wow so far but what was to follow dwarfed all comers!

The John Verity Band! A CV that, frankly, almost makes one sceptical. I mean to say, appearances with Jimi Hendrix, Ringo Starr, Mountain, and head honcho of bona fide global rock stars Argent! And yet, it seems more than likely that John Verity has grown into his talent and has developed greater access to himself. How could anyone fail to be anything less than purely thrilled on the simple basis of what they saw unfold before them on the night?

Of course, the hits were in attendance and you can’t fail with proven chart successes. Nobody could dispute the sheer artistry, passion and almost naive love for the music he and his band were serving up. The last Hendrixesque valediction reluctantly signalled that, all too soon it was over.

Sore heads and happy hearts? You bet…but also friendships forged around the campfires and pledges to “see you next year!” Put this date in your diary 15th August 2020.

PICTURES DAWN FISHER

Once again, the biggest Jazz Festival in the world rumbles into town, and year-on-year, it continues to expand its remit further into eclectic and varied musical formats.

This year is the fortieth anniversary of this wonderful gathering, and it played host to acts as diverse as prog rock legend Alan Parsons performing majestically in a pristine acoustically perfect theatre venue one night, to extreme metal legends, and local kids done good, Voivod tearing it up in an intimate rock club setting on another.

Regular readers will know that this is your scribe’s favourite event of the ‘live’ calendar, because it’s a chance to return to the vibrant and exciting city of Montreal, and a chance to experience a large number of blues performances, it really doesn’t get any better than this. Montreal remains one of the safest and friendliest cities anywhere in the world. There is an influx of over two million visitors over the festival timeslot, but the nearest to anything approaching trouble is the occasional car horn tooted gently to remind foreign visitors to look the correct way before stepping into the road to cross over. The festival stewards are young, endlessly patient, and faultlessly polite, searching bags at the entrances to the festival areas.

Montreal is bi-lingual, French being the first language, and English fluently spoken as well by almost everyone, certainly anyone you will meet as a visitor.

The greeting in hotels and restaurants is ‘Bonjour hi…’ with the speaker waiting for the guest’s response language before seamlessly continuing the conversation in that way. It’s an everyday occurrence, but it’s still humbling to find that homeless people on the streets can beg fluently in two languages! For food fans, there is a massive choice of restaurants which vary from the large Chinese community area with attendant outlets serving a variety of Asian cuisine, through formal dining, to CONTINUES OVER...

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from all over Ireland and the world. Over five days in early September the town of Monaghan really comes alive with blues.

Paul Lavery and his dedicated team have worked hard over the years at the An Poc Fada to establish their ongoing good reputation far and wide for great music all year round. With some of the best touring bands from within Ireland and abroad playing there every weekend the place soon developed its reputation as one of the best places in the area for live bands. It’s no surprise that An Poc Fada is right at the heart of the Harvest Time Poc the Blues music festival.

The place is very easy to find once you get to Monaghan, as it has become somewhat of a landmark in the town for its breath-taking artistic graffiti artwork on the outside of the magnificent corner building.

A colorful larger-than-life musical mural is re-painted every year to depict a different legendary classic blues and related music artist.

This year’s mural depicts King of Boogie, John Lee Hooker, last year it was one of the forefathers of soul Marvin Gaye, and the year before that it was King of Blues, the one and only B.B. King.

Not only does the mural help to transform the town at this spectacular blues time of the year, but it has also turned the building into a beacon for the many blues music fans from around the world who gather for the annual festival. The mural also naturally presents itself as a great backdrop for that elusive “Selfie”.

As the success of live music at the An Poc Fada continued to grow over the years the next natural step was to create an annual blues and blues-rock festival they could call their own.

So, in 2013 the An Poc Fada in Monaghan established the mighty annual blues & blues-rock festival aptly named “Harvest Time Poc the Blues”. There is a local legend about how the festival was bestowed with its name which had a lot to do with a character who couldn’t spell properly after having a few too many drinks.

After an accidental play on words with the term “Rock the Blues”, the “Poc the Blues”

festival was born.

So, every year on the first weekend in September, Monaghan Ireland is the place to be for some of the best of the blues with a seemingly endless cascade of world class bands and artists day and night over a massive five days.

This wonderful free festival grows from strength to strength each year and last year introduced a spectacular outdoor marquee for the first time. The Marquee at Mill Street was a huge success and this year Poc the Blues will host another stream of talent including Irish blues guitar legends Gerry Quigley (Saturday night) and Pat McManus (Sunday night) and their bands are among those to be honoured to play a show at the Marquee at Mill Street this year. Monaghan prepare to be captivated!

SHARON QUIGLEY

RADFORD MILL FESTIVAL OF RHYTHM & BLUES RADFORD MILL FARM, TIMSBURY, NR BATH AUGUST 10TH 2019

Now in its fifth year, the Radford Mill Festival Of Rhythm & Blues has grown from a gentile afternoon soiree into a romping, stomping event, boasting stellar talent of global renown. This one-day festival takes place annually in August and is set in the picturesque grounds of Radford Mill in Timsbury, just outside the city of Bath.

The emphasis is on small and quirky, all within a natural amphitheatre, rendering the audibility excellent.

Instead of acting as the expected deterrent, this year’s dubious weather merely proved to be a goad to any undecided attendees. Where many other festivals had succumbed to the forecasts, the staunch Radford event grew plump with last minute grateful thrill seekers.

The honour of opening the festival fell to Steve Henderson, armed only with his prodigious talent, an acoustic guitar, but with Polly Carroll riding shotgun, Somerset’s favourite troubadour warmed the expectant horde with material drawn from his recent albums. His own songs are sharply drawn observations of life, and the crowd applauded to the very echo.

Hot on his heels galloped Kris Dollimore, who proved to be a palpable hit with the Radford Mill crowd. Largely instrumental, his style would appear to repay a debt to fellow string dazzler John Fahey. The commitment to his particular muse is never in doubt, and there would seem to be little distance between Kris and his personal vision.

Following that smorgasbord of talent was Chris Jagger. Matchless repartee, peerless musicians, topped off with a sense of giving that you don’t get from YouTube video tutorials. It is difficult to imagine being entertained to this extent in a single hour, but should that be your wont, then this is the pony to back. Below The Salt followed, led by peerless veteran guitar legend, Scratch. They cut straight to the bone with a precision any Hatton Garden diamond cutter would envy. What is the blues then, but a sad music that makes you feel good?

It’s as though the Salt lads have taken this hoary old maxim to be their cardinal rule and proven there’s no substitute for experience.

Into the breach strode a Radford favourite, Ruzz Guitar’s Blues Revue.

This year saw the return of the guitar slinging bright hope, who is setting the United States afire with his charm, talent and refreshing attitude, together with his powerful, soul injected blues.

The next act were a surprise and a delight. Stepping in at almost the last minute to cover for a cancellation, The Bad

“INSTEAD OF ACTING AS THE EXPECTED DETERRENT, THIS YEAR’S DUBIOUS WEATHER MERELY PROVED TO BE A GOAD”

PAG E 12 4 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

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MONTREAL JAZZ FESTIVAL MONTREAL, CANADA 26TH JUNE – 6TH JULY

RUZZ GUITAR’S BLUES REVUE AT RADFORD MILL. PHOTO: ANDREA WALKER

Losers opened up with A Little Bit Of Time and brought the spirit of Eel Pie with them.

Vocalist and harp blower, John McLean, is that wayward older youth from next door.

The one that told you all those exciting stories of the bands he’d seen. Ably and sympathetically supported by his electric henchmen, the set included established Losers classics and tunes from the forthcoming album. Yes, I did say album.

See, the Losers release their work on vinyl.

Singer, guitar player and songwriter, Debbie Bond, midway through her UK tour, took to the stage with her band and Radiator Rick pumping the ivories. Difficult to comprehend how someone of over thirty-years-experience of performing, winning awards internationally and adorning magazine front covers could still seem so unjaded and almost vulnerable.

Wonder if this is the much-vaunted healing spirit of the blues that’s all too often touted about? Whilst maintaining an air of sophistication, she turned what had started life as a marquee into a pulsating juke joint and the Radford Mill crowd were not slow to respond! She charmed, flattered, and wooed an audience who had, by now, enjoyed six excellent acts already!

W W W.B LU E S MAT TE R S.C O M

Reluctantly, the crowd permitted them to leave the stage. It was the biggest wow so far but what was to follow dwarfed all comers!

The John Verity Band! A CV that, frankly, almost makes one sceptical. I mean to say, appearances with Jimi Hendrix, Ringo Starr, Mountain, and head honcho of bona fide global rock stars Argent! And yet, it seems more than likely that John Verity has grown into his talent and has developed greater access to himself. How could anyone fail to be anything less than purely thrilled on the simple basis of what they saw unfold before them on the night?

Of course, the hits were in attendance and you can’t fail with proven chart successes. Nobody could dispute the sheer artistry, passion and almost naive love for the music he and his band were serving up. The last Hendrixesque valediction reluctantly signalled that, all too soon it was over.

Sore heads and happy hearts? You bet…but also friendships forged around the campfires and pledges to “see you next year!” Put this date in your diary 15th August 2020.

PICTURES DAWN FISHER

Once again, the biggest Jazz Festival in the world rumbles into town, and year-on-year, it continues to expand its remit further into eclectic and varied musical formats.

This year is the fortieth anniversary of this wonderful gathering, and it played host to acts as diverse as prog rock legend Alan Parsons performing majestically in a pristine acoustically perfect theatre venue one night, to extreme metal legends, and local kids done good, Voivod tearing it up in an intimate rock club setting on another.

Regular readers will know that this is your scribe’s favourite event of the ‘live’ calendar, because it’s a chance to return to the vibrant and exciting city of Montreal, and a chance to experience a large number of blues performances, it really doesn’t get any better than this. Montreal remains one of the safest and friendliest cities anywhere in the world. There is an influx of over two million visitors over the festival timeslot, but the nearest to anything approaching trouble is the occasional car horn tooted gently to remind foreign visitors to look the correct way before stepping into the road to cross over. The festival stewards are young, endlessly patient, and faultlessly polite, searching bags at the entrances to the festival areas.

Montreal is bi-lingual, French being the first language, and English fluently spoken as well by almost everyone, certainly anyone you will meet as a visitor.

The greeting in hotels and restaurants is ‘Bonjour hi…’ with the speaker waiting for the guest’s response language before seamlessly continuing the conversation in that way. It’s an everyday occurrence, but it’s still humbling to find that homeless people on the streets can beg fluently in two languages! For food fans, there is a massive choice of restaurants which vary from the large Chinese community area with attendant outlets serving a variety of Asian cuisine, through formal dining, to CONTINUES OVER...

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 12 5

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food trucks, even chip vans to make you feel at home, and of course, not forgetting the famous Poutine. That’s a local Quebec delicacy, consisting of chips covered with melted cheese curds and gravy. It’s the equivalent of our kebab and performs a similar function, filling that gap that has opened up during an evening of wonderful music, and alcohol consumption in varying ratios, but still requiring attention on that walk (stagger!) back to your hotel.

Although your scribe’s first love is, and remains, blues music in its many wonderful forms, it is limiting in the extreme not to dip into some of the many other musical forms on offer at this festival which is possible without straying too far from the essential ingredients of a great performance, some guitars well played, some vocals well sung, and some songs, melodic and exciting to hear. With that as a template, it was easy to enjoy the prog performance of the always excellent aforementioned Alan Parsons, winding up his extensive North American tour with his show here. Shades of Pink Floyd definitely linger in the output and execution, and a fine evening was enjoyed by all at the massive concert hall in which Mr Parsons was billeted for the night.

Of course, the festival planners are expert at placing any performance in a venue appropriate to its style and audience, and this was certainly true for gypsy jazz guitar maestros Birelli Lagrene and Stephane Wrembel who appeared on separate occasions at the beautifully intimate Le Gesu, a converted church that enjoys perfect views from anywhere inside, perfect acoustics, and the best ambiance for solo artists and small bands playing intricate music.

A few blocks down is the wonderfully atmospheric M Telus which used to be The Metropolis and is undergoing a refurb which hopefully won’t spoil its unique charm and vibe. A converted cinema, it’s perfect for the top-end indie bands that rock up there at festival time, and this year Chvrches and Morcheeba both turned in matchless performances for the more than two thousand fans who packed in each night to catch them. Their ethereal

musical offerings fitted perfectly in the vibe of the building, and it reminds me that this festival literally has something for every musical taste. If you can’t find music you enjoy here, you are simply not looking hard enough through the vast list of offerings available. For blues fans, the festival is a feast with more than thirty specifically blues-based bands and solo players appearing this year, some of them more than once, and a gratifying number playing for free at one of the outdoor stages that populate the city centre at this time of the year.

Full live reviews are coming up, but the highlights have to be finally seeing Buddy Guy play live, and play the audience at least as energetically as he played blues on his guitar, and the always valuable Paul Deslauriers Band, a veritable fixture on the Montreal blues circuit, and always a welcome guest here at the Jazz Festival.

Peter Frampton is currently on what may be his ‘farewell tour’ depending on the progression of his current medical issues.

On the strength of this show we can only hope that his actual retirement from live performance will be a very long time in the future, and also that he can bring his current show to the UK for us to enjoy.

Peter advised of his gratitude when his old school friend David Bowie brought him into his band as a guitar player, allowing him to ditch the ‘teen idol’ image that plagued him, and recover his entirely deserved and somewhat forgotten reputation as a peerless guitarist. This show demonstrated not only that Mr Bowie’s faith was entirely justified, but that Peter Frampton has simply improved with time as a player of skill and feeling. Blues shouter Poppa Chubby also turned in a blistering set, suffice to say here that his sheer enthusiasm and joy of playing reached out to everyone listening, and indeed dancing around the front-of-stage area as the band pumped out their scorching blues numbers. Your scribe’s individual highlight of the entire festival was the performance of Sue Foley and her band.

A full live review and interview will be appearing in due course, but suffice to say,

PAG E 12 6 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

she turned in one of the most enjoyably accomplished sets of blues music I have enjoyed in a long time. Playing on the free Heineken Stage which is just a short walk away from the main indoor theatres, Sue had her pink Telecaster guitar rocked and rolled and crooned and pushed and pulled and danced and did just about everything you can reasonably expect from a trio of confirmed blues maestros. The entire show was a delight and (almost!) made me forget about the torn Achilles tendons I inflicted on myself misjudging the depth of a kerb at the airport before the flight out. Hobbling back to the hotel, I reflected that it is nights like this that re-enforce an undying love of live music in general, and live blues music in particular, which is why I am already counting down the time until I am back here again in 2020. If you fancy joining me, and you really should, plan early, hotels sell out very fast, and flights are always cheaper earlier, so give yourself an early Christmas present, and start your plans now, I absolutely guarantee you will thank me.

ANDY HUGHES

at Ponta Delgada, Azores. The second part of the night’s line-up belonged to Kyla Brox Quartet, this year’s winner of the European Blues Challenge, and this lady with her band owned the stage and the crowd completely with their world class performance.

The second night started with an excellent set by a legendary, four times Blues Music Award winner, Joe Louis Walker. Looking back at his more than half a century long music career he says “I’d like to be known for my life long conviction and faith in music and in blues. Sometimes I learned more from the failures than I did from success. That made me stronger and made me desire adventure. Leaving the stage to a huge applause, Joe Louis was followed by another great set and a big bang by Shaggy Dogs, a French band who brought a fun mix of blues and rock ’n’ roll.

The final night of Santa Maria Blues opened with a set from Britain’s Gwyn ANNIKA CHAMBERS AT SANTA MARIA BLUES FESTIVAL

SANTA MARIA BLUES FESTIVAL 2019 VARIOUS LOCATIONS JULY 18TH-20TH 2019

Each festival has a certain appeal, charm and quality, for both the artistic part, the energy, stories, and memories it creates and for the things it ignites and makes grow from there. Santa Maria Island is a very unique place in the middle of the Atlantic Ocean and Santa Maria Blues Festival is a very unique event for many reasons. Here we talk about a few special moments from this year, which was its 16th year. It is held on a gorgeous site on the island’s shore on 18th - 20th July 2019.

Santa Maria Blues was three nights of stellar skies and blues by some of the greatest artists of the day. The festival was kicked off on Thursday night by Delta Blues Riders, a Portuguese band who also represented Portugal earlier this year at the European Blues Challenge, organised by the same SMB crew and held W W W.B LU E S MAT TE R S.C O M

Ashton, who’s been touring the world extensively and who also opened for Joe Louis Walker’s concert in Prague, Czech Republic, last year. It is Gwyn, who says in one of his strongest songs “the road is my religion” and his set was a great, intimate one man show and had the audience’s full attention rightfully. The following was a Houston Texas native, Annika Chambers with her great band, including her now husband, Canadian Paul DesLauriers on guitar. She was just beaming and the Texas thing she brought was an amazing, high energy, upbeat and sassy sound that got everybody up and dancing, she had a strong connection with the crowd and brought us all together just the way great music can. Last but not least was the true legend, the “Blues Boss”, Mr Kenny Wayne with his boogie-woogie piano and his excellent band. It was all about love and passion for music, much fun, and the great energy brought about by this piano

Live

master and it was such a brilliant way to close the festival.

Apart from all the great live music, each night was complimented by excellent DJ sets, to keep the crowd together and on our feet till the sunrise. During the day there is much to see and explore around the site of the festival. You can also swim in the ocean at one of the island’s beautiful sandy beaches or in the seaside pools.

And enjoy some great views and just soak up all the timeless beauty, and the calmness and peacefulness of the island.

Much appreciation and respect to the organisers, to the whole Santa Maria Blues crew, who do an outstanding job, taking care of all the logistics and people who come to the festival, namely the president of Santa Maria Blues, António Monteiro and the artistic director José Santos Amaral. This year’s total of visitors in the three days was 6,388, which basically doubles the population of the island. Most of the crowd came from the largest island Azores, Sao Miguel and other islands. They also came from the Portuguese mainland as well as other European countries and from the United States as well.

The festival visitors are offered some delicious local foods, traditional Santa Maria soups, meat or vegetable stews.

Traditional Portuguese sandwiches bifanas, salads, and homemade desserts offered by the residents or the famous Santa Maria melons. There are numerous bars and drink stalls on and around the site. The accommodation on the island is limited, so early booking is advised, there are comfortable hotels available, private cottages for rent or a nice camping site near the festival grounds. Altogether this makes for a great and truly unique experience, those who have been, return, and for those who have not yet been, Santa Maria Blues is something not to be missed in the future. Obrigada, Santa Maria Blues! Long live the blues!

LUCIE KALABOVA VISUALS: PAULO GOULART/HUNT GLOBAL CONTINUES OVER...

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food trucks, even chip vans to make you feel at home, and of course, not forgetting the famous Poutine. That’s a local Quebec delicacy, consisting of chips covered with melted cheese curds and gravy. It’s the equivalent of our kebab and performs a similar function, filling that gap that has opened up during an evening of wonderful music, and alcohol consumption in varying ratios, but still requiring attention on that walk (stagger!) back to your hotel.

Although your scribe’s first love is, and remains, blues music in its many wonderful forms, it is limiting in the extreme not to dip into some of the many other musical forms on offer at this festival which is possible without straying too far from the essential ingredients of a great performance, some guitars well played, some vocals well sung, and some songs, melodic and exciting to hear. With that as a template, it was easy to enjoy the prog performance of the always excellent aforementioned Alan Parsons, winding up his extensive North American tour with his show here. Shades of Pink Floyd definitely linger in the output and execution, and a fine evening was enjoyed by all at the massive concert hall in which Mr Parsons was billeted for the night.

Of course, the festival planners are expert at placing any performance in a venue appropriate to its style and audience, and this was certainly true for gypsy jazz guitar maestros Birelli Lagrene and Stephane Wrembel who appeared on separate occasions at the beautifully intimate Le Gesu, a converted church that enjoys perfect views from anywhere inside, perfect acoustics, and the best ambiance for solo artists and small bands playing intricate music.

A few blocks down is the wonderfully atmospheric M Telus which used to be The Metropolis and is undergoing a refurb which hopefully won’t spoil its unique charm and vibe. A converted cinema, it’s perfect for the top-end indie bands that rock up there at festival time, and this year Chvrches and Morcheeba both turned in matchless performances for the more than two thousand fans who packed in each night to catch them. Their ethereal

musical offerings fitted perfectly in the vibe of the building, and it reminds me that this festival literally has something for every musical taste. If you can’t find music you enjoy here, you are simply not looking hard enough through the vast list of offerings available. For blues fans, the festival is a feast with more than thirty specifically blues-based bands and solo players appearing this year, some of them more than once, and a gratifying number playing for free at one of the outdoor stages that populate the city centre at this time of the year.

Full live reviews are coming up, but the highlights have to be finally seeing Buddy Guy play live, and play the audience at least as energetically as he played blues on his guitar, and the always valuable Paul Deslauriers Band, a veritable fixture on the Montreal blues circuit, and always a welcome guest here at the Jazz Festival.

Peter Frampton is currently on what may be his ‘farewell tour’ depending on the progression of his current medical issues.

On the strength of this show we can only hope that his actual retirement from live performance will be a very long time in the future, and also that he can bring his current show to the UK for us to enjoy.

Peter advised of his gratitude when his old school friend David Bowie brought him into his band as a guitar player, allowing him to ditch the ‘teen idol’ image that plagued him, and recover his entirely deserved and somewhat forgotten reputation as a peerless guitarist. This show demonstrated not only that Mr Bowie’s faith was entirely justified, but that Peter Frampton has simply improved with time as a player of skill and feeling. Blues shouter Poppa Chubby also turned in a blistering set, suffice to say here that his sheer enthusiasm and joy of playing reached out to everyone listening, and indeed dancing around the front-of-stage area as the band pumped out their scorching blues numbers. Your scribe’s individual highlight of the entire festival was the performance of Sue Foley and her band.

A full live review and interview will be appearing in due course, but suffice to say,

PAG E 12 6 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

she turned in one of the most enjoyably accomplished sets of blues music I have enjoyed in a long time. Playing on the free Heineken Stage which is just a short walk away from the main indoor theatres, Sue had her pink Telecaster guitar rocked and rolled and crooned and pushed and pulled and danced and did just about everything you can reasonably expect from a trio of confirmed blues maestros. The entire show was a delight and (almost!) made me forget about the torn Achilles tendons I inflicted on myself misjudging the depth of a kerb at the airport before the flight out. Hobbling back to the hotel, I reflected that it is nights like this that re-enforce an undying love of live music in general, and live blues music in particular, which is why I am already counting down the time until I am back here again in 2020. If you fancy joining me, and you really should, plan early, hotels sell out very fast, and flights are always cheaper earlier, so give yourself an early Christmas present, and start your plans now, I absolutely guarantee you will thank me.

ANDY HUGHES

at Ponta Delgada, Azores. The second part of the night’s line-up belonged to Kyla Brox Quartet, this year’s winner of the European Blues Challenge, and this lady with her band owned the stage and the crowd completely with their world class performance.

The second night started with an excellent set by a legendary, four times Blues Music Award winner, Joe Louis Walker. Looking back at his more than half a century long music career he says “I’d like to be known for my life long conviction and faith in music and in blues. Sometimes I learned more from the failures than I did from success. That made me stronger and made me desire adventure. Leaving the stage to a huge applause, Joe Louis was followed by another great set and a big bang by Shaggy Dogs, a French band who brought a fun mix of blues and rock ’n’ roll.

The final night of Santa Maria Blues opened with a set from Britain’s Gwyn ANNIKA CHAMBERS AT SANTA MARIA BLUES FESTIVAL

SANTA MARIA BLUES FESTIVAL 2019 VARIOUS LOCATIONS JULY 18TH-20TH 2019

Each festival has a certain appeal, charm and quality, for both the artistic part, the energy, stories, and memories it creates and for the things it ignites and makes grow from there. Santa Maria Island is a very unique place in the middle of the Atlantic Ocean and Santa Maria Blues Festival is a very unique event for many reasons. Here we talk about a few special moments from this year, which was its 16th year. It is held on a gorgeous site on the island’s shore on 18th - 20th July 2019.

Santa Maria Blues was three nights of stellar skies and blues by some of the greatest artists of the day. The festival was kicked off on Thursday night by Delta Blues Riders, a Portuguese band who also represented Portugal earlier this year at the European Blues Challenge, organised by the same SMB crew and held W W W.B LU E S MAT TE R S.C O M

Ashton, who’s been touring the world extensively and who also opened for Joe Louis Walker’s concert in Prague, Czech Republic, last year. It is Gwyn, who says in one of his strongest songs “the road is my religion” and his set was a great, intimate one man show and had the audience’s full attention rightfully. The following was a Houston Texas native, Annika Chambers with her great band, including her now husband, Canadian Paul DesLauriers on guitar. She was just beaming and the Texas thing she brought was an amazing, high energy, upbeat and sassy sound that got everybody up and dancing, she had a strong connection with the crowd and brought us all together just the way great music can. Last but not least was the true legend, the “Blues Boss”, Mr Kenny Wayne with his boogie-woogie piano and his excellent band. It was all about love and passion for music, much fun, and the great energy brought about by this piano

Live

master and it was such a brilliant way to close the festival.

Apart from all the great live music, each night was complimented by excellent DJ sets, to keep the crowd together and on our feet till the sunrise. During the day there is much to see and explore around the site of the festival. You can also swim in the ocean at one of the island’s beautiful sandy beaches or in the seaside pools.

And enjoy some great views and just soak up all the timeless beauty, and the calmness and peacefulness of the island.

Much appreciation and respect to the organisers, to the whole Santa Maria Blues crew, who do an outstanding job, taking care of all the logistics and people who come to the festival, namely the president of Santa Maria Blues, António Monteiro and the artistic director José Santos Amaral. This year’s total of visitors in the three days was 6,388, which basically doubles the population of the island. Most of the crowd came from the largest island Azores, Sao Miguel and other islands. They also came from the Portuguese mainland as well as other European countries and from the United States as well.

The festival visitors are offered some delicious local foods, traditional Santa Maria soups, meat or vegetable stews.

Traditional Portuguese sandwiches bifanas, salads, and homemade desserts offered by the residents or the famous Santa Maria melons. There are numerous bars and drink stalls on and around the site. The accommodation on the island is limited, so early booking is advised, there are comfortable hotels available, private cottages for rent or a nice camping site near the festival grounds. Altogether this makes for a great and truly unique experience, those who have been, return, and for those who have not yet been, Santa Maria Blues is something not to be missed in the future. Obrigada, Santa Maria Blues! Long live the blues!

LUCIE KALABOVA VISUALS: PAULO GOULART/HUNT GLOBAL CONTINUES OVER...

W W W.B LU E S MAT TE R S.C O M

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CELEBRATING WOODSTOCK FESTIVAL SILVERSTONE

26-28TH JULY 2019

The band was nearing the end of its encore I’m Going Home, the vintage blues and American rock ‘n’ roll medley finale, when the festival crowd surged towards the front to get a better glimpse of the provincial musicians who had upstaged their better-known contemporaries. Many of the thousands gathered here represented the hippie counter-culture by wearing colourful outfits adorned with beads and carrying flowers. By now the sun was setting and their silhouettes contrasted starkly with the red flames on the skyline, a chiaroscuro of glorious proportions. Leo Lyons, the bass player, waved to the fans as the show ended, followed off stage by the charismatic lead singer and guitarist acknowledging the vociferous ovation.

Whilst sounding like a rerun of the famous New York Woodstock festival which propelled Ten Years After to global stardom, this was ‘The Fifty Years After Party’ at the record-breaking Silverstone Classic rocking and racing event attracting 109,000 people to the legendary Formula 1 Circuit in the UK. Fancy dress had been encouraged and Hot Air Balloons lit up the festival arena for the appearance of Ten Years After legend, Leo, who had graced Woodstock 50 years ago. This time he was with his latest band Hundred Seventy Split, a power trio with front man Joe Gooch and drummer Damon Sawyer.

Rapturous applause had greeted the opening song, Love Like A Man with the most distinctive, mesmeric riff in rock history courtesy of Alvin Lee who was the focus of this tribute. Alvin sadly passed away in 2013 but his music lives on through the dedication of his family. Whilst Alvin is irreplaceable, Joe Gooch respectfully fulfils the role, albeit with his unique style, and has the skills and empathy to do this having replaced Lee in Ten Years after for nearly a decade. All five songs from the 1969 Festival were in tonight’s set starting with Willie Dixon’s Spoonful the deepest

of the blues, sung with power and passion

by Gooch. Interspersed with these were other Ten Years After classics all written by Alvin, notably the psychedelic 50 Thousand Miles Beneath My Brain followed by his greatest hit, I’d Love To Change The World.

The former showcased the energy and dexterity of the sprightliest septuagenarian on the planet as speed-fingers Leo duelled with Joe, frenzied fingers blurring across the frets. Good Morning Little Schoolgirl was always a fans’ favourite and how the audience loved Leo’s breathtaking bass solo of a velocity and variety rarely seen on that instrument. I Can’t Keep From Crying Sometimes was a master class in blues/jazz guitar improvisation from Gooch backed up with Damon’s expressive and technically supreme drumming as the tempo rose and slowed down in waves, all carefully controlled and choreographed

by Lyons. Unlike the original festival, the temperature soared towards the 30s and was set to rise even further with the epic I’m Gong Home, the national anthem of Ten Years After.

This supreme spectacle was the ultimate tribute to Alvin, Ten Years After and the peace, love and music ethos of a festival which both changed the world and the role of youth in society. Those music lovers standing in the arena and sitting on the grass banks of the famous racing track who were fortunate enough to witness this event and to feel the spirit of the occasion would have been invigorated and inspired by a very special commemoration.

THE BISHOP

GEOFF MULDAUR

ELETO ROOMS FOLKESTONE 31ST AUGUST

We are blessed in Folkestone with several small venues that stick their necks out to provide good live music and the Eleto Rooms is one of them, so as soon as I saw the flier go up for Geoff Muldaur, I booked tickets at once. Local singer songwriter Nina Clark was opening for Geoff and I sought out the organiser and asked if Geoff could spare time for a short interview and this is the result; Geoff had

PAG E 12 8 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

only done three gigs and all were in Kent and it was because he had been recording in Amsterdam and having time free before he flew home, contacted the organiser (John) who is a friend of his and promptly arranged these three mini concerts. Nina was great although I missed part of her set because I was chatting to Geoff. It was one of those awkward moments when I had to confess to Geoff that I hadn’t really heard much of his music, and that it was his wife Maria who was better known to me for her songs. Unfazed by this, we chatted about the Blues and the fact that Geoff didn’t think that his music could easily be labelled or slotted into any specific slot or genre, but Geoff did agree that he did play a lot of the original Blues singers, and that he had just finished recording an album of traditional acoustic Blues supported by a 5-piece chamber group, thus giving those particular songs a complete new lease of life, to quote Geoff directly, he said that ”most of it is Blues but some of it is more Artsy Farty”. Geoff agreed that he wasn’t gigging as much as he used to, so I considered myself lucky for having caught him while he was here. Geoff said that hearing him playing might kick off some curiosity within me and I may seek out the words and music of his peers and forerunners. We talked about sites like Wikipedia and the fact that you can find out all sorts of things that may or not be true, but are none the less entertaining, and Geoff invited me to pinch anything from his bio that is up on the web for all to see and tempting though that offer is I shall be up front and honest and admit that rightly or wrongly, the above is all my own work. Having run out of chat we said our mutual thanks and shortly afterwards, I settled back to watch and Hear Geoff play.

I believe that you don’t want a set list, and so I didn’t note.

All of the many song titles that we were treated to, other than to say they covered everything from Blues through to Jazz, with even some Children’s songs in there. And as Geoff will be on the flight home now, you aren’t going to be able to pick up from the shirt tails of this W W W.B LU E S MAT TE R S.C O M

short chat. Thanks for a great evening’s entertainment, and as I have now purchased some of Geoff’s work, I will be better placed to chat with him again, so thank you Geoff, thank you Nina and thank you John for organising it.

DAVE STONE

JACK HUTCHINSON AND THE STONE THIEVES BARRY’S BLUES BARN AUGUST, 2019

Barry’s Blues Barn, in Witham, Essex, (see BM edition 108) is quickly becoming famous, or should I say infamous, as the focal point for friends, family and Blues artists to gather, so I headed there to see what it was all about and enjoy Aaron Gardner and Micky Pearson of the Stone Thieves with Jack Hutchinson filming his official video for his new album, Who Feeds The Wolf.

For me this was as much about the venue as the gig itself. Two firsts, one going to Barry’s Blues Barn and seeing a newly discovered band, The Stone Thieves, who put on a brilliant acoustic gig; and secondly, witnessing what I know will be the first of many official music videos filmed at the Blues Bar. To get to see the Blues Barn in all its glory full of Blues fans and Blues music was an experience I will never forget Gigs here are very laid back as the bands are just asked to be themselves and do what comes naturally. The two boys turned up looking very Rock and Roll, cool hats, long hair and Chelsea boots to discover that Barry and Aaron both hail from North London. It was going to be a great night.

The set started with the first song Aaron wrote entitled Rosalene, and immediately the small (invited guests only) audience was hooked. The boys performed a mix of their own stuff, and a few covers and for Barry and myself the outstanding tracks were Midnight Ride, Shine On, Medicine Man, Red River. The harmonies of Micky Pearson and Aaron Gardener were sublime. A cross between, Neil Young, Bob Dylan and Tom Petty. Totally at ease, the guys bantered with the audience, W W W.B LU E S MAT TE R S.C O M

played off-the-cuff tunes. After the event involving the audience, the drink flowed, and this for me is as great as live music gets, up close and personal.

So, day two. Barry knows Felipe, Laz and Jack from his visits to Ain’t Nothing but The Blues Bar, so when they arrive it was a meeting of old friends, and as Jack has played the Blues Barn before with Tom Brundage and Mike Ross, he felt right at home. Set up began, (musicians don’t travel light), and the excitement mounted.

Scene setting was fun, with props being requested of Barry, playing cards, a barrel, poker chips and a replica gun - as well as vast amounts of Jack Daniels. No doubt Barry’s Blues Barn will see further video film use, and its flexibility, together with its amiable host, Barry Hopwood, is why these artists just keep coming back, as I most certainly will. For upcoming events go to FB page Barry’s blues Barn JEAN KNAPPIT

LEE AINSLEY’S BLUES STORM ACOUSTIC SET

EMSWORTH BLUES CLUB 12TH JULY 2019

The beautiful seaside village of Emsworth has a loosely kept secret which is the Emsworth Blues Club. This Club is a society of dedicated blues lovers that meet in the performance area at the back of Hewitts Coffee Shop for the best blues that the South Coast has to offer. From the welcoming staff to the beautiful interior, Hewitts is a wonderful venue. The evening of Friday 12th July was humid and sultry and set the scene perfectly for the first acoustic set by Lee Ainsley’s Blues Storm and the dusky, cool interior of the intimate venue gave respite from the sticky evening air. Blues Storm normally perform their own unique blues rock repertoire in full electric mode. However, this time they stripped their stunning music right down to its well-shaped and soulful core. The acoustic grouping featured Lee on lead vocals, Tori on lead vocals and acoustic guitar, Elliot on the only electric instrument of the evening, and finally Nathan, who forsaking

Albums

his beloved bass, provided the rhythmic backbone as well as backing vocals.

Whether in electric or acoustic format, this band always delivers a professional and polished performance and the audience knew they were in safe hands from the first note. The beautifully woven tapestry of their set drew in threads from their own interpretations of both old and new classics such as the vintage Bill Withers song Ain’t No Sunshine, through to the edgy No Good from Icelandic band Kaleo.

Blues Storm added to the vibrant colour by bringing in original compositions from Lee, Tori and Elliot. The hard-hitting Fed From The Bottle written by Lee and Elliot started proceedings. The younger members of the band show such maturity and skilled song-writing abilities with offerings such as Lady Loretta by Tori, and Pins & Needles

by Tori and Elliot. In an interlacing of time-honoured acoustic music and modern media, the performance was also streamed live online to the Electric Land Blues social media platform. Lee Ainsley’s Blues Storm have now proven that they are able to give belting performances in both acoustic as well as electric mode.

DIANNE DODSWORTH

KENNY WAYNE SHEPHERD, THE BOILER SHOP, NEWCASTLE 19TH JULY 2019

When Kenny Wayne Shepherd formed the supergroup The Rides alongside Stephen Stills and Barry Goldberg it not only gave him another creative outlet for his work, but it also gave him the means to express himself in new ways.

Regarded by many as one of the great blues-rock guitarists of his generation, up until recently little attention had been given to KWS the vocalist. But following a word in the ear from bandmate Stephen Stills the Louisiana guitar slinger took up the challenge laid down by the CSNY legend to sing more on both The Rides studio recordings as well as their live CONTINUES OVER...

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 12 9

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CELEBRATING WOODSTOCK FESTIVAL SILVERSTONE

26-28TH JULY 2019

The band was nearing the end of its encore I’m Going Home, the vintage blues and American rock ‘n’ roll medley finale, when the festival crowd surged towards the front to get a better glimpse of the provincial musicians who had upstaged their better-known contemporaries. Many of the thousands gathered here represented the hippie counter-culture by wearing colourful outfits adorned with beads and carrying flowers. By now the sun was setting and their silhouettes contrasted starkly with the red flames on the skyline, a chiaroscuro of glorious proportions. Leo Lyons, the bass player, waved to the fans as the show ended, followed off stage by the charismatic lead singer and guitarist acknowledging the vociferous ovation.

Whilst sounding like a rerun of the famous New York Woodstock festival which propelled Ten Years After to global stardom, this was ‘The Fifty Years After Party’ at the record-breaking Silverstone Classic rocking and racing event attracting 109,000 people to the legendary Formula 1 Circuit in the UK. Fancy dress had been encouraged and Hot Air Balloons lit up the festival arena for the appearance of Ten Years After legend, Leo, who had graced Woodstock 50 years ago. This time he was with his latest band Hundred Seventy Split, a power trio with front man Joe Gooch and drummer Damon Sawyer.

Rapturous applause had greeted the opening song, Love Like A Man with the most distinctive, mesmeric riff in rock history courtesy of Alvin Lee who was the focus of this tribute. Alvin sadly passed away in 2013 but his music lives on through the dedication of his family. Whilst Alvin is irreplaceable, Joe Gooch respectfully fulfils the role, albeit with his unique style, and has the skills and empathy to do this having replaced Lee in Ten Years after for nearly a decade. All five songs from the 1969 Festival were in tonight’s set starting with Willie Dixon’s Spoonful the deepest

of the blues, sung with power and passion

by Gooch. Interspersed with these were other Ten Years After classics all written by Alvin, notably the psychedelic 50 Thousand Miles Beneath My Brain followed by his greatest hit, I’d Love To Change The World.

The former showcased the energy and dexterity of the sprightliest septuagenarian on the planet as speed-fingers Leo duelled with Joe, frenzied fingers blurring across the frets. Good Morning Little Schoolgirl was always a fans’ favourite and how the audience loved Leo’s breathtaking bass solo of a velocity and variety rarely seen on that instrument. I Can’t Keep From Crying Sometimes was a master class in blues/jazz guitar improvisation from Gooch backed up with Damon’s expressive and technically supreme drumming as the tempo rose and slowed down in waves, all carefully controlled and choreographed

by Lyons. Unlike the original festival, the temperature soared towards the 30s and was set to rise even further with the epic I’m Gong Home, the national anthem of Ten Years After.

This supreme spectacle was the ultimate tribute to Alvin, Ten Years After and the peace, love and music ethos of a festival which both changed the world and the role of youth in society. Those music lovers standing in the arena and sitting on the grass banks of the famous racing track who were fortunate enough to witness this event and to feel the spirit of the occasion would have been invigorated and inspired by a very special commemoration.

THE BISHOP

GEOFF MULDAUR

ELETO ROOMS FOLKESTONE 31ST AUGUST

We are blessed in Folkestone with several small venues that stick their necks out to provide good live music and the Eleto Rooms is one of them, so as soon as I saw the flier go up for Geoff Muldaur, I booked tickets at once. Local singer songwriter Nina Clark was opening for Geoff and I sought out the organiser and asked if Geoff could spare time for a short interview and this is the result; Geoff had

PAG E 12 8 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

only done three gigs and all were in Kent and it was because he had been recording in Amsterdam and having time free before he flew home, contacted the organiser (John) who is a friend of his and promptly arranged these three mini concerts. Nina was great although I missed part of her set because I was chatting to Geoff. It was one of those awkward moments when I had to confess to Geoff that I hadn’t really heard much of his music, and that it was his wife Maria who was better known to me for her songs. Unfazed by this, we chatted about the Blues and the fact that Geoff didn’t think that his music could easily be labelled or slotted into any specific slot or genre, but Geoff did agree that he did play a lot of the original Blues singers, and that he had just finished recording an album of traditional acoustic Blues supported by a 5-piece chamber group, thus giving those particular songs a complete new lease of life, to quote Geoff directly, he said that ”most of it is Blues but some of it is more Artsy Farty”. Geoff agreed that he wasn’t gigging as much as he used to, so I considered myself lucky for having caught him while he was here. Geoff said that hearing him playing might kick off some curiosity within me and I may seek out the words and music of his peers and forerunners. We talked about sites like Wikipedia and the fact that you can find out all sorts of things that may or not be true, but are none the less entertaining, and Geoff invited me to pinch anything from his bio that is up on the web for all to see and tempting though that offer is I shall be up front and honest and admit that rightly or wrongly, the above is all my own work. Having run out of chat we said our mutual thanks and shortly afterwards, I settled back to watch and Hear Geoff play.

I believe that you don’t want a set list, and so I didn’t note.

All of the many song titles that we were treated to, other than to say they covered everything from Blues through to Jazz, with even some Children’s songs in there. And as Geoff will be on the flight home now, you aren’t going to be able to pick up from the shirt tails of this W W W.B LU E S MAT TE R S.C O M

short chat. Thanks for a great evening’s entertainment, and as I have now purchased some of Geoff’s work, I will be better placed to chat with him again, so thank you Geoff, thank you Nina and thank you John for organising it.

DAVE STONE

JACK HUTCHINSON AND THE STONE THIEVES BARRY’S BLUES BARN AUGUST, 2019

Barry’s Blues Barn, in Witham, Essex, (see BM edition 108) is quickly becoming famous, or should I say infamous, as the focal point for friends, family and Blues artists to gather, so I headed there to see what it was all about and enjoy Aaron Gardner and Micky Pearson of the Stone Thieves with Jack Hutchinson filming his official video for his new album, Who Feeds The Wolf.

For me this was as much about the venue as the gig itself. Two firsts, one going to Barry’s Blues Barn and seeing a newly discovered band, The Stone Thieves, who put on a brilliant acoustic gig; and secondly, witnessing what I know will be the first of many official music videos filmed at the Blues Bar. To get to see the Blues Barn in all its glory full of Blues fans and Blues music was an experience I will never forget Gigs here are very laid back as the bands are just asked to be themselves and do what comes naturally. The two boys turned up looking very Rock and Roll, cool hats, long hair and Chelsea boots to discover that Barry and Aaron both hail from North London. It was going to be a great night.

The set started with the first song Aaron wrote entitled Rosalene, and immediately the small (invited guests only) audience was hooked. The boys performed a mix of their own stuff, and a few covers and for Barry and myself the outstanding tracks were Midnight Ride, Shine On, Medicine Man, Red River. The harmonies of Micky Pearson and Aaron Gardener were sublime. A cross between, Neil Young, Bob Dylan and Tom Petty. Totally at ease, the guys bantered with the audience, W W W.B LU E S MAT TE R S.C O M

played off-the-cuff tunes. After the event involving the audience, the drink flowed, and this for me is as great as live music gets, up close and personal.

So, day two. Barry knows Felipe, Laz and Jack from his visits to Ain’t Nothing but The Blues Bar, so when they arrive it was a meeting of old friends, and as Jack has played the Blues Barn before with Tom Brundage and Mike Ross, he felt right at home. Set up began, (musicians don’t travel light), and the excitement mounted.

Scene setting was fun, with props being requested of Barry, playing cards, a barrel, poker chips and a replica gun - as well as vast amounts of Jack Daniels. No doubt Barry’s Blues Barn will see further video film use, and its flexibility, together with its amiable host, Barry Hopwood, is why these artists just keep coming back, as I most certainly will. For upcoming events go to FB page Barry’s blues Barn JEAN KNAPPIT

LEE AINSLEY’S BLUES STORM ACOUSTIC SET

EMSWORTH BLUES CLUB 12TH JULY 2019

The beautiful seaside village of Emsworth has a loosely kept secret which is the Emsworth Blues Club. This Club is a society of dedicated blues lovers that meet in the performance area at the back of Hewitts Coffee Shop for the best blues that the South Coast has to offer. From the welcoming staff to the beautiful interior, Hewitts is a wonderful venue. The evening of Friday 12th July was humid and sultry and set the scene perfectly for the first acoustic set by Lee Ainsley’s Blues Storm and the dusky, cool interior of the intimate venue gave respite from the sticky evening air. Blues Storm normally perform their own unique blues rock repertoire in full electric mode. However, this time they stripped their stunning music right down to its well-shaped and soulful core. The acoustic grouping featured Lee on lead vocals, Tori on lead vocals and acoustic guitar, Elliot on the only electric instrument of the evening, and finally Nathan, who forsaking

Albums

his beloved bass, provided the rhythmic backbone as well as backing vocals.

Whether in electric or acoustic format, this band always delivers a professional and polished performance and the audience knew they were in safe hands from the first note. The beautifully woven tapestry of their set drew in threads from their own interpretations of both old and new classics such as the vintage Bill Withers song Ain’t No Sunshine, through to the edgy No Good from Icelandic band Kaleo.

Blues Storm added to the vibrant colour by bringing in original compositions from Lee, Tori and Elliot. The hard-hitting Fed From The Bottle written by Lee and Elliot started proceedings. The younger members of the band show such maturity and skilled song-writing abilities with offerings such as Lady Loretta by Tori, and Pins & Needles

by Tori and Elliot. In an interlacing of time-honoured acoustic music and modern media, the performance was also streamed live online to the Electric Land Blues social media platform. Lee Ainsley’s Blues Storm have now proven that they are able to give belting performances in both acoustic as well as electric mode.

DIANNE DODSWORTH

KENNY WAYNE SHEPHERD, THE BOILER SHOP, NEWCASTLE 19TH JULY 2019

When Kenny Wayne Shepherd formed the supergroup The Rides alongside Stephen Stills and Barry Goldberg it not only gave him another creative outlet for his work, but it also gave him the means to express himself in new ways.

Regarded by many as one of the great blues-rock guitarists of his generation, up until recently little attention had been given to KWS the vocalist. But following a word in the ear from bandmate Stephen Stills the Louisiana guitar slinger took up the challenge laid down by the CSNY legend to sing more on both The Rides studio recordings as well as their live CONTINUES OVER...

B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019 | PAG E 12 9

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performances. This experience catalysed Shepherd’s appetite to sing more on his compositions, which in turn has fed into his latest studio album The Traveler. This new dynamic has allowed lead vocalist Noah Hunt to take a break from time to time giving way to KWS to flex both his vocal cords as well as his lightning-fast fingers. The Boiler Shop in Newcastle has witnessed many historic events since its construction in the 1820’s, being the former workplace of engineer Robert Stephenson and the birthplace of the Stephenson’s Rocket. However, the events inside of this huge warehouse space are now more of a musical nature instead of industrial. It’s been five years since Shepherd was last in the North East, and anticipation is high for his return with a packed-out crowd in attendance on Tyneside. Kenny Wayne Shepherd wastes no time showcasing his latest offering with recent single Woman Like You kicking off the proceedings. Back to back songs from The Traveler quickly follow, including an incredible cover of Buffalo Springfield’s Mr Soul and a blistering airing of Long Time Running at the top of the set. From the off, this new band dynamic features strongly in the show with Shepherd taking vocal duties on tracks such as Talk To Me Baby by Elmore James via The Rides and I Want You from current release The Traveler. And its songs such as the astounding I Want You that perfectly represents how contemporary blues should sound and feel in the present day. We are currently encountering a spell of balmy weather here in the North East of England, and the classic Heat of the Sun seems perfectly fitting on a beautiful summer’s evening such as this. Shepherd truly wows the Tyneside crowd with his emotive yet fiery playing during this monumental display of guitar mastery. Despite the emphasis on The Traveler tonight’s set is peppered with a healthy dose of classics and fan favourites. Tracks such as the incredibly infectious Diamonds and Gold, Texas blues number Down For Love and the beautiful Shame, Shame, Shame all feature in the show. A three-song encore that features smash hit Blue On Black and concludes

DEBBIE BOND PHOTO: JAN VENNING

with Shepherd’s take on Hendrix’s Voodoo Chile brings the night and the concert to its explosive finale. The aforementioned number also allows KWS to showcase his flare by channelling the great man himself whilst simultaneously adding his own embellishments and unmistakable stamp on this timeless classic. Whilst the old guard may be fading, with the likes of Buddy Guy the last in the line of the blues greats of yore, the baton has been passed to artists such as Kenny Wayne Shepherd amongst other rising stars of the scene to carry the blues forward into the 21st century.

ADAM KENNEDY

DEBBIE BOND BAND LLANDOVERY, WALES JULY 6TH, 2019

Debbie Bond arrived in Wales to kick-start her 2019 UK tour, a set of gigs spread across the country and carrying her into late September before returning home to a deep southern blues state, Alabama.

Accompanied by her partner, Radiator Rick Asherson on keys and harp, the band also featured Mickey Baker on drums.

Llandovery is a delightful, Welsh market town within ready range of Swansea and a good crowd made the trek to catch the band play a blistering set that soon had

PAG E 13 0 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

many on their feet, on the floor, bouncing along freely to the excellent music on offer. As an opener to a tour, Bond could hardly have hoped for more. The place was alive with pleasure and her voice seemed stronger and more focused than ever, while Asherson also added support vocals along with his usual keyboard flair and gripping harp when needed. The result was a gig that inevitably set the bar high for the remainder of the tour. Bond pushed on way into the early hours, with repeated, much demanded and welcomed encores and an engaging set-list that highlighted her many years experience at the sharp-end of the business,, where she has played with many US blues greats including the truly legendary Johnny Shines (a roadrunning buddy of Robert Johnson), Eddie Kirkland, Willie King and countless others over the years. This was Alabama blues delivered with fire and flair, a genuinely wonderful gig that must have introduced Bond and her Alabama blues music to a new audience while bringing a juke joint vibe and jive to a normally sleepy Welsh town. Anyone looking for a worthwhile gig should look no further than Bond and her band which will also feature leading UK bluesman, drummer Sam Kelly, and sax player Ray Carless at many of the gigs.

IAIN PATIENCE W W W.B LU E S MAT TE R S.C O M

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CERT

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performances. This experience catalysed Shepherd’s appetite to sing more on his compositions, which in turn has fed into his latest studio album The Traveler. This new dynamic has allowed lead vocalist Noah Hunt to take a break from time to time giving way to KWS to flex both his vocal cords as well as his lightning-fast fingers. The Boiler Shop in Newcastle has witnessed many historic events since its construction in the 1820’s, being the former workplace of engineer Robert Stephenson and the birthplace of the Stephenson’s Rocket. However, the events inside of this huge warehouse space are now more of a musical nature instead of industrial. It’s been five years since Shepherd was last in the North East, and anticipation is high for his return with a packed-out crowd in attendance on Tyneside. Kenny Wayne Shepherd wastes no time showcasing his latest offering with recent single Woman Like You kicking off the proceedings. Back to back songs from The Traveler quickly follow, including an incredible cover of Buffalo Springfield’s Mr Soul and a blistering airing of Long Time Running at the top of the set. From the off, this new band dynamic features strongly in the show with Shepherd taking vocal duties on tracks such as Talk To Me Baby by Elmore James via The Rides and I Want You from current release The Traveler. And its songs such as the astounding I Want You that perfectly represents how contemporary blues should sound and feel in the present day. We are currently encountering a spell of balmy weather here in the North East of England, and the classic Heat of the Sun seems perfectly fitting on a beautiful summer’s evening such as this. Shepherd truly wows the Tyneside crowd with his emotive yet fiery playing during this monumental display of guitar mastery. Despite the emphasis on The Traveler tonight’s set is peppered with a healthy dose of classics and fan favourites. Tracks such as the incredibly infectious Diamonds and Gold, Texas blues number Down For Love and the beautiful Shame, Shame, Shame all feature in the show. A three-song encore that features smash hit Blue On Black and concludes

DEBBIE BOND PHOTO: JAN VENNING

with Shepherd’s take on Hendrix’s Voodoo Chile brings the night and the concert to its explosive finale. The aforementioned number also allows KWS to showcase his flare by channelling the great man himself whilst simultaneously adding his own embellishments and unmistakable stamp on this timeless classic. Whilst the old guard may be fading, with the likes of Buddy Guy the last in the line of the blues greats of yore, the baton has been passed to artists such as Kenny Wayne Shepherd amongst other rising stars of the scene to carry the blues forward into the 21st century.

ADAM KENNEDY

DEBBIE BOND BAND LLANDOVERY, WALES JULY 6TH, 2019

Debbie Bond arrived in Wales to kick-start her 2019 UK tour, a set of gigs spread across the country and carrying her into late September before returning home to a deep southern blues state, Alabama.

Accompanied by her partner, Radiator Rick Asherson on keys and harp, the band also featured Mickey Baker on drums.

Llandovery is a delightful, Welsh market town within ready range of Swansea and a good crowd made the trek to catch the band play a blistering set that soon had

PAG E 13 0 | B LU E S MAT TE R S! | O CTO B E R-N OVE M B E R 2019

many on their feet, on the floor, bouncing along freely to the excellent music on offer. As an opener to a tour, Bond could hardly have hoped for more. The place was alive with pleasure and her voice seemed stronger and more focused than ever, while Asherson also added support vocals along with his usual keyboard flair and gripping harp when needed. The result was a gig that inevitably set the bar high for the remainder of the tour. Bond pushed on way into the early hours, with repeated, much demanded and welcomed encores and an engaging set-list that highlighted her many years experience at the sharp-end of the business,, where she has played with many US blues greats including the truly legendary Johnny Shines (a roadrunning buddy of Robert Johnson), Eddie Kirkland, Willie King and countless others over the years. This was Alabama blues delivered with fire and flair, a genuinely wonderful gig that must have introduced Bond and her Alabama blues music to a new audience while bringing a juke joint vibe and jive to a normally sleepy Welsh town. Anyone looking for a worthwhile gig should look no further than Bond and her band which will also feature leading UK bluesman, drummer Sam Kelly, and sax player Ray Carless at many of the gigs.

IAIN PATIENCE W W W.B LU E S MAT TE R S.C O M