Blues Matters 115

Editor’s comment

WELCOME to BM 115

a child, I lost it and replied, “Do not call me a child, I’m a fully grown arse hole!” Things like that can make you collapse with laughter! (or not).

I have to thank those of you who have been in touch praising BM and the team for keeping it together and getting the issues out there for you and bless you all.

I hear you out there… yes, we’re here again with another dose of your favourite Blues medication folks.

We’ve been in lockdown just like all of you, shielding as well and so far, so good as they say. I reckon we all know someone who has had a brush with ‘the virus’ and as far as I know that is the worst I have heard in our world. We still don’t know where we are going and whether to listen to politicians or scientists, but wouldn’t it be great if they worked together!! Sure, we’d all feel that bit better, wouldn’t we?!

Things can get tense at home, together with no breaks and when my wife called out for me to stop acting like

While the world goes crazy, we keep our focus on the Blues for you, music will always get us through to the other side. We are proud to cover Blues for you by all artists from all over the world. We are simply a Blues publication and we do not get involved in anything else.

Our thanks go to the gentleman and Blues master that is Eric Bibb for his words.

I am very sad to report that our Mairi is retiring as this issue hits the streets. We will miss her for the spark we shared and the joy she gave to all. Bless you and stay well.

Lastly: Age is simply a case of mind over matter - if you do not mind, then it does not matter!!

Enjoy your issue

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Contributing Writers: Bruce Alexander (USA), Tim Arnold (USA), Roy Bainton, Eric Baker (USA), Steve Banks, Adrian Blacklee, Eddy Bonte (Bel), Colin Campbell, Laura Carbone (USA), Norman Darwen, Erik Damian, Dianne Dodsworth, Dave Drury, Ben Elliott (USA), Barry Fisch (USA), Sybil Gage (USA), Stuart A. Hamilton, Stephen Harrison, Trevor Hodgett, Barry Hopwood, Stacey Jeffries (USA), Rowland Jones, Adam Kennedy. Jean Knappitt, Brian Kramer (Sw), Frank Leigh, Andy Lindley, Gian Luca (USA), Ben McNair, John Mitchell, Glenn Noble, Toby Ornott, David Osler, Iain Patience (Fr), Alan Pearce, Dom Pipkin, Sharon Ponsford, Simon Redley, Darrell Sage (USA), Paromita Saha-Killelea (USA), Glenn Sargeant, Dave ‘the Bishop’ Scott, Graeme Scott, Jon Seymour, Andy Snipper, Dave Stone, Matty T. Wall (Aus), Don Wilcock (USA), Dani Wilde, Steve Yourglivch

Contributing Photographers:

Arnie Goodman, Jennifer Noble, others credited on page. COVER IMAGE BY Alex Solca.

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.

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LADY BO & GENDER DIVERSITY

Diversity in music is really important. If we have role models of all sizes, colours and genders, it inspires inclusivity and opens doors for the next generation. As a tutor to 16-18 year old college kids, I regularly see first hand the impact of diverse role models on aspiring young musicians.

2020 is a pivotal time for music; there is a significant increase in the number of young women entering the music industry in both creative and business roles. That being said, it is still a man’s world.

The USC Annenberg Inclusion Initiative recently published its third annual Inclusion in the recording studio report, which examined the gender and ethnicity of music creators across 800 US singles chart hits from 2012 to 2019. Here are the findings:

• Just 21.7% of artists were women.

• Just 14.4% of 2019’s leading songwriters were female.

• Only 2.6% of producers were women.

• And study leader Dr Stacey L Smith reported that the music industry had “virtually erased female producers, particularly women of colour, from the popular charts”.

As a female artist, I find these figures disappointing. Gender of course does not affect creativity or talent – so why are there fewer women having success in music?

Here is a more positive fact to share with you all though. Fender CEO Andy Mooney has spoken of a fantastic rise of female guitar players:

“The fact that 50% of new guitar buyers in the U.K were women was a surprise to the U.K. team, but it’s identical to what’s happening in the U.S,” he announced. “There was also belief about what people referred to as the ‘Taylor Swift factor’ maybe making the 50% number short-term and aberrational. In fact, it’s not. Taylor has moved on I think playing less guitar on stage than she has in the past. But young women are still driving 50% of new guitar sales. So the phenomenon seems like it’s got legs, and it’s happening worldwide.”

I hope that this will translate to more female guitarists having successful music careers in the not so distant future. Many of these young women, like myself, got into guitar when they discovered female role models –for me it was Susan Tedeschi!

WORDS: Dani Wilde

So who were the very first female guitarist role models in popular music?

Well, in the 1930’s we of course had Memphis Minnie and Sister Rosetta Tharpe. Memphis Minnie famously beat Big Bill Broonzy in a guitar dual at a Chicago nightclub, winning herself a bottle of whisky and a bottle of gin. Big Bill Broonzy said that she could “pick a guitar and sing as good as any man I’ve ever heard.” Sister Rosetta was a gospel singer and guitarist, and her innovative guitar style inspired rock and roll stars such as Chuck Berry and Elvis Presley. When Elvis was still a boy, he used to rush home to listen to Sister Rosetta on the radio at the end of the school day. These women were both hugely inspirational, but they were also just two women out of hundreds of successful men. In the 1940’s there were no new female guitar players rising to prominence in popular music. In the mid-50’s, Rockabilly artist Wanda Jackson rose to fame. Wanda was a captivating performer who played some mean, edgy rhythm guitar but she would always hand it over to her male co-members to take the solos.

Lady Bo

In 1957, New York guitarist Peggy Jones (aka Lady Bo) was on her way to a session on 125th Street. As she passed the Apollo Theatre, she was stopped by a man who wanted to know what she was carrying in her case; that man was Bo Diddley. “Why? What’s it to you? Do you think I’d be carrying this around for looks?” Peggy had replied. In an interview with Lea Gillmore, Lady Bo recalled how the man continued: “I’m Bo Diddley, playing here at the Apollo and you look good carrying that. If you can play then you got something going on.” He then invited her backstage to meet the band and encouraged her to let him hear her play.

“When I opened my case he laughed louder than anyone I’d heard before.” recalled Jones. “I wanted to know what was funny? Hysterically he said ‘what is that?’ He had never

seen a Supro guitar. I said, ‘Now that’s a dumb question! First you probably never saw a girl carrying a guitar down the street before…” Peggy continued to set Bo straight: “then you insult my axe! I listen to Wes Montgomery, Kenny Burrell and Charlie Parker and I THINK I’ve heard of you! Do you think that’s funny?” He said, ‘No, but I like your attitude, let’s play something.’ I said OK and the rest is history.”

Lady Bo joined Bo Diddley’s band, replacing Jody Williams who had been drafted for military service. In doing so, she became the first female guitarist ever to be hired for a major act. She was also the first female lead guitarist in a highly visible rock n roll band. Jones and Diddley took the blues and reimagined it, becoming pioneers of the new rock n roll sound that would influence Elvis Presley, Buddy Holly, The Rolling Stones, The Beatles and the future of popular music.

Bo Diddley and Lady Bo soon developed an intuitive understanding of each other’s styles:

“By 1959, I was proficient in Bo’s unique tunings, had a photographic memory and played in unison with him and thus added a further

dimension to his already dynamic sound, was bold as he on guitar both on records and on stage” she would recall. “You couldn’t tell one guitar from the other, unless you were there.”

The pair would trade rhythm playing, riffing and soloing, weaving in and out of each other. Rolling Stones guitarists Ronnie Wood and Keith Richards, who were big fans, subsequently favoured this approach.

“Do you think I’d be carrying this around for looks?”

PHENOMENAL BLUES WOMEN

“I emerged at a time when there were no other female lead guitarists and spent years as the lesser known band member in the career of Bo Diddley. It seems you were ignored if you played an instrument.” she recalled. “Record labels, promoters, forgot your name like you didn’t exist. Most photographers and newspapers edited the girl guitar player (me) out of photos that went to press like it wasn’t important.”

Lady Bo toured and recorded with Bo Diddley from 1957 to 1963, appearing on Chess Records singles including Hey! Bo Diddley, Road Runner, Bo Diddley’s A Gunslinger, and the instrumental Aztec for which Lady Bo composed, arranged and played all the guitar parts.

“I am a female executive in a man’s world who deserves more pay for what I do,” Lady Bo voiced in an interview in the year 2000. “Think about it. After Memphis Minnie, Rosetta Tharpe and forty-three years ago there wasn’t anyone else. I am a history of a woman in music all by myself!”

in the UK, Warner, Sony and Universal, the average difference in pay between men and women was 29.6%.

Something I really admire about Lady Bo is that she knew her worth. She would call out the gender pay gap injustice in her interviews, and would challenge the industry to do better by her. Not only was she an innovator, she was also a great businesswoman who took control of her career. Her self-assured, take-no-prisoners approach matched her fiery guitar playing.

Lady Bo had always been confident about her talents. She had grown up surrounded and consumed by great music:

“I was raised in a household where artistic development was encouraged. By age three, I had a natural instinct of rhythm and movement with enormous musical sense in pitch and timing.” She continued “I was classified a child prodigy.”

Lady Bo recollected how her Mother was a singer, a dancer, and a licensed cosmetologist and her Father a Saxophonist who turned to mechanics after the war.

“When he was in the Army, my mom and I practiced singing and dancing together at home in front of a huge wall-to-wall mirror he installed in the living room.”

Sadly, even in the year 2020, women in the music industry are underpaid. A law was passed in 2017 that required any UK company with over 250 employees to release their gender pay gap statistics. The results were shocking to some, and for others confirmed what many women already suspected. In 2018, across the three biggest music labels

Born in Harlem, NYC, in 1940, Lady Bothen Peggy Jones - attended the High School of Performing Arts where she studied tap and ballet. She was a semi-professional dancer from the age of 6. She also trained in opera from the age of 9, showcasing a 4-octave range and immense drive and discipline. She bought her first guitar at the age of 15:

“At age twelve my first instrument was a uku-

“the average difference in pay between men and women was 29.6%”

PHENOMENAL BLUES WOMEN

lele used to accompany myself while singing scales. I attended on scholarship The High School of Performing Arts in New York as a dance major, studied drama, music theory, several instruments and worked as a model. I bought a guitar after seeing Mickey & Sylvia at the Apollo. My song writing and arranging had already begun. The guitar was my goal.”

After winning on Amateur Night at the Apollo Theatre as a vocalist, she signed a recording contract with a major label and formed The Fabulous Jewels, a guitar, bass and drums R&B trio. During her time with Bo Diddley’s band, Lady Bo maintained her independent career as a songwriter, session musician, and bandleader. The Jewels became a top R&B band on the East Coast club scene. In 1962, Lady Bo left Diddley’s band to concentrate on The Jewels and other musical projects.

In the 1960’s, The Jewels cut a number of singles for MGM Records, including the energised Northern Soul tune “We Got Togetherness” in 1966. Peggy also contributed percussion to the 1967 psychedelic hit “San Franciscan Nights” by Eric Burdon & the Animals, and toured as a session guitarist with James Brown as well as Sam & Dave. In 1970, she re-joined Bo Diddley - but this time she brought The Jewels on tour with her.

“It was the crowd of people that attended the BO DIDDLEY concert in San Francisco, 1970, who proclaimed that I should be called LADY BO, in honour of Bo Diddley, as a compliment to me and as a title” she would later tell interviewer Lea Gilmore. “Bo made an announcement: ‘At this time I would like to introduce to you my guitar player for many years, her name is Peggy.”

He went on, “it was her and me that you hear

on all my records and, oh yeah, we are not related!” Peggy recalled how the chanting then began: “Lady Bo! Lady Bo! Lady Bo! We are gonna call her Lady Bo!’ Bo hit a chord then said proudly “Yeah!”

Lady Bo would later rename her band the Family Jewel. The group stayed together into the nineties, touring regularly with Bo Diddley. In her later years she would perform as Lady Bo and the DC Horns.

Although she favoured Gibson Guitars, Lady Bo was also recognised for her innovation, playing blues on a Roland guitar synthesizer, an instrument not typically used outside of the prog-rock genre. She continued to tour into her 70’s and then passed away in September 2015 at the age of 75. Her husband, Wally Malone announced his wife’s death on Facebook, stating, “Today is one of the saddest days of my life. My wife and partner of 47 years has been called up to that great rock & roll band in the heavens to be reunited with Bo Diddley, Jerome Green and Clifton James.”

Lady Bo was a phenomenal role model who has inspired generations of female blues and rock guitarists. In a music industry that was anything but diverse, she broke down barriers. She was the first - she paved the way for Cramps’ guitarist Poison Ivy Rorschach in the 1970s and the Riot Grrrls of the ‘90s, as well as contemporary blues artists including myself, Joanne Shaw Taylor, and Samantha Fish.

In the year 2000, when asked how she would like to be remembered, she replied “Lady Bo, First Lady of Rock n Roll, Blues, and Queen Mother of Guitar – An American Legend!”And I think quite rightly, that sums up just how important the Lady Bo’s legacy is.

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ROBERT JOHNSON

FALLING ALL OVER ONCE AGAIN!

I clearly remember when the very first image of Robert Johnson was published in the Rolling Stone magazine, in February 1986, the Rock & Roll Hall of Fame issue, when he was included among the inductees.

I was working at the famed Manny’s Music in New York on 48th street and just picked up a copy of the issue and could hardly put it down, I carried it with me throughout the day.

Not many back then had the full appreciation for Robert’s music, this was years before the CD boxed set would be released, and the best you could do was to try and find used copies of the out of print Columbia LP’s in used record stores. But there were no images of the man to be seen other than the drawings that graced the covers of the two King Of The Delta Blues Singer albums.

One afternoon Jorma Kaukonen; famed member of Hot Tuna, Jefferson Airplane and

blues guitarist extraordinaire came into the store and I helped him pick up an acoustic guitar to use for a show he had in town that night and as I escorted him out to a waiting taxi with his guitar, I couldn’t help but take the opportunity to lay this on him.

“Jorma, have you seen the new issue of Rolling Stone?”

“No I haven’t picked it up yet”

“Well, they published an actual photo of Robert Johnson in it.”

I held the magazine out to him, opened up to the page featuring the photo of Johnson; a self-taken image in a “5 cent photo booth” revealing a very haunting, stern looking Robert, posed with a cigarette dangling from his lip, embracing a Gibson guitar and suddenly another piece of the puzzle as well as mystique around the legend arose.

He grasped it gently, just gazing down and taking it in.

WORDS & ILLUSTRATION: Brian Kramer

“Everybody in the world now had an image of Robert Johnson to go with the music”

“Wow, so that’s what he looks like? Man, look at those hands!”

He handed it back to me and with a big smile and I felt a sense of pride that I had popped Jorma’s cherry for first experiencing RJ’s likeness. Everybody in the world now had an image of Robert Johnson to go with the music.

A few years later the studio portrait of Robert, all decked out in a pinstriped suit and sharp hat would feature prominently on the boxed set CD release of all 29 tracks that would launch Johnson’s incredible blues to a new and eager generation of fans. Over the years there would be claims of other photographs as well as video, but none were truly authenticated. Even the one that surfaced which also featured the likeness of a young Johnny Shines that was published in Vanity Fair Magazine got a lot of flak by the “blues historians” for not being legit, but essentially it was not entirely disproven either.

I am still siding with it being him. Now, this photo surfaces on the cover of a new book; Brother Robert, written by Robert’s half-sister, and blues lovers are falling all over themselves on social media, excited about it. The photo was given to her by Robert, from that same day as the other photo booth session, she was right there as they were taken, and she has caringly kept it for over 80 years. And it is something to behold!

My initial response was so beyond words that I had to capture it another way. With no gigs during this Covid-19 pandemic period, I have taken to my first talent; drawing, and have been doing commissioned personalised illustrations for folks by mail order. This has gotten me back in peak shape again and I have started on a whole “Blues Legends” series of drawings. I was so intrigued by seeing this newly published Robert Johnson photo, I just had to try and capture my delight with

pen and paper.

I used three of the existing authenticated photos to create a full body image depicting Robert. This gave me the opportunity to once again study and take in the wonder and mystery of the man and the few images that make up his legacy. I truly tried to capture the spirit of what Robert Johnson’s music and legacy has meant to me and how it impacted my life, since first hearing him over 40 years ago.

I also personally asked a few notable BM Blues friends what their initial responses and impressions of this photo were as well;

Catfish Keith;

“The newly revealed Robert Johnson photo brought a burst of joy to my heart. The photo brings a tenderness. It is intimate, and ‘Brother Robert’ this time reveals a warm and vulnerable smile. It shows that our hero is a real human, just a sweet kid. My generation, and older, have known and loved and studied his music for over 50 years, from those two Columbia LPs, and everything that followed. We can put the myths aside. This photo brings a new fondness, like you would have for your long-lost son. It’s heartwarming, and fantastic.”

Eric Bibb;

“My heart smiled when I saw this recently unearthed RJ photo. His inner light is shining and it’s nice to see a gentler side of the man, whose legend has been painted in darker tones. Shine on!”

PIC: KEITH PERRY

Ian Siegal;

“My gut reaction on seeing the photo was that I was in no doubt it was Robert Johnson. The fact it hasn’t surfaced until now does not reduce the impact! And in fact, it’s caused quite a stir and if nothing else caused a resurgence of interest in the man and his beautiful music. Long may that continue!”

Steve James;

PIC: WILL IRELAND

No o Ne shOuld face c A ncer aloNe

“When the first Robert Johnson record came out on Columbia in the early ‘60s, it was the first full length album of an artist of this kind and quality that a lot of guitar kids like me had heard. It was sort of an underground thing at the time, and we were pretty freaked out about it. Decades later, after greater recognition (and all the spin and lip service that goes with it), the guy is still a watermark example of refinement and intensity of musical performance.”

No mums. No dads. No brothers or sisters. Not your next-door neighbour or the lady from the corner shop. No grandmas. No grandpas. Not the chap from the chip shop or the noisy lads at the back of the bus. Not your best mate. Not a single stranger. No one whatsoever. No one should face cancer alone.

And I conclude this piece in appreciation of yet another renewed interest in Robert Johnson with a quote by Bob Dylan from a recent New York Times interview;

“Robert was one of the most inventive geniuses of all time. But he probably had no audience to speak of. He was so far ahead of his time that we still haven’t caught up with him. His status today couldn’t be any higher. Yet in his day, his songs must have confused people. It just goes to show you that great people follow their own path.”

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RADIATING THE 88s

CRESCENT CITY MEETS THE COPENHAGEN

WORDS & PICTURES: Dom Pipkin

Towards the end of February, I tripped over to Copenhagen to take part in ‘Vinterjazz.’ It says jazz, but as we all know, blues finds its way into jazz festivals and the genre lines get blurred.

I owe my trip to the efforts of the wonderful Johan Bylling Lang - an excellent saxophone player, composer and bandleader who shares my love of (and frequent visits to) New Orleans. During my stay I played solo and duo shows, guested with the vibey Chris Tanner Trio in a more, jazzy capacity, and led my own house band in some wonderful gigs.

Music tastes and trends move in waves of influence and imitation. Away from the bright illumination of the pop zeitgeist, blues and jazz traditions, which have mostly if not exclusively originated in America, manifest themselves in the more “specialist” realm of musical consciousness often through the efforts and passions of individual artists, sometimes on an evangelising mission, sometimes just lucky and popular. In the UK the complex blend of blues and rhythm that constitutes New Orleans piano was introduced to us by Diz Watson (as far as my research goes), and in Denmark that same introduction was made a little later on by the modest and much-loved Esben Just. I’ll introduce you to him properly later, first let’s take a trip to Copenhagen’s Mojo Blues Bar.

The Mojo has been around for decades and has that delicious dark and murky ambiance so beloved of historic music spaces, and it was here that I was honoured to be paired in a “piano battle” with Hans Knudsen. Knudsen has played professionally for the longest time, and he’s worked with everyone including New Orleans sax and singing legends Lee

Allen and Lillian Boutté (the wonderful Lillian, with whom I have also had the pleasure and who is currently unwell back in her home town appears frequently in the blues and jazz history of Denmark, having extensively toured there.) I didn’t know Mr Knudsen before our onstage meeting, but I can tell you that he is an encyclopaedia of blues piano, with a shared love of the music of James Booker. We talked of his days hanging out with Champion Jack Dupree, once a Copenhagen, or rather Christiania resident, and of the poetic blues of Percy Mayfield. As we traded licks in this two-piano setup there was never any clashing or imposing of style, just pure musical support and encouragement. I love Hans’ way with a slow blues and his superbly crafted boogie-ing. The piano battle turned out to be full of heart and soul, with a packed house and contributions from many fine local musicians - Chris Tanner, Johan Bylling Lang, and powerhouse vocalist Sahra da Silva. Knudsen, himself, is the kindest and most generous musician you would ever want to spend time with.

Other piano players were out that night too. I looked across the stage and there was Esben Just replacing Knudsen at the opposite piano. Sparks flew as his obvious command of the instrument burst out on a funky version of the Mardi Gras Mambo. Then in the second set I decided to rock a version of Junco Partner, and this time a fresh-faced Chris Copen joined and demonstrated some very impressive James Booker left and right-hand stylings. I was beaming. The night grew long and beer was drunk.

The piano battle was matched in enjoyment by two great club gigs I got to lead in subsequent days with a full New Orleans styled

funk / RnB band. The quality of the musicians was impeccable - listening, building, playing to the crowd and with taste and pizazz in equal and requisite measure. These guys all play regularly together, but to be able to just slot in and feel that level of support and passion is a true honour. There’s love for the New Orleans blues sound in that city, and I was keen to use some of my time there to delve deeper into it. I needed to talk to these piano players.

Cut to a stylish split-level apartment to catch up with Esben Just. We had met once before when we had chatted about piano playing at a Norwegian festival we were on. Just showed me a James Booker lick that has become part of my piano language to this day. I hadn’t heard much more about him in the intervening years, but I certainly felt the power when we jammed together at the Mojo a few days before this meeting. Just is modest, peaceful. He had learned classical piano as a kid, then started exploring the blues, and a trip to a local record store brought him in touch with the music of James Booker. The very same Hans Knudsen had been over in New Orleans and connected the young Just to piano players Tom McDermott and the UK’s own export Jon Cleary.

It wasn’t long before Just had to make his own trip to Louisiana where the love affair was cemented. His influential trio, Skipper Just Frost, started to make waves when their debut live album was well-received, and on the back of this Just became known as the sound of New Orleans piano in Denmark. If you haven’t heard him then I recommend you head over to your favourite online platform and check out some of these trio recordings. Better still go to his website and order a CD or two. What marks Just out is how much original music he writes, and his willingness

and bravery to embrace the Danish language as a medium for his art at least as often as English. Yes, you can also hear plenty of English lyrics, for example check out the beautiful album simply entitled ‘Trio.’

Just has thoroughly absorbed the piano worlds of Dr John, James Booker and Professor Longhair and his output inhabits the funkier, soulful elements of the genre. He has worked with many visiting artists and is ‘first call’ for much of Scandinavia. He has performed as a sideman, and until the world went into its current lockdown status was about to embark on a solo tour of his own songwriting. He describes his position in life right now as happy, and we end up swapping New Orleans stories, and discussing the inherent sadness that gave rise to such joyful music.

One of the younger piano players influenced and nurtured by both Knudsen and Just is Chris Copen. Chris and I hung out at his piano and talked about history and the future. I was introduced to this 25-year-old as Christian Bundgaard, one of the things we discussed was his realisation that this was possibly not a zippy enough name on which to base an international career, hence the change. Chris has a great piano facility.

His parents encouraged him and exposed him to much live blues music as a teenager, and the young artist realised that he was more fulfilled and truer to himself by diving deeper into the rich world of New Orleans piano than to try to work as a session man, or to be seduced by the more mathematical world of contemporary jazz. As well as telling me that he’s always felt like an older soul he describes how the story of the notes and musical phrases is far more important to him than any theory or technique behind them. Like Just,

Copen has a rounded language based on the influential and known New Orleans legends, but he’s again keen to move this genre forward, to add something new and to make it his own. “Dr John was forever reinventing or re-stylising his sound on each record he made,” he tells me. He worked with contemporary producers, and pursued interesting collaborations, both strategies that Copen seeks to embrace.

He plays me some of his writing, it’s for a full band, and it has echoes of that rich voodoo sound Dr John was so known for, but it’s still Copen’s own, and has darkness and funkiness in spades. What’s also worth mentioning about Copen is that he’s already recorded piano with the legendary John Boutté (that family again) out in the Crescent City (he’s been friends with John for some years now) and had plans in place to bring the artist over to Europe this summer. Sadly, these plans are a little on ice at the moment, like so much live music.

So, I can report that Denmark is doing well. What a vibrant and energetic piano and New Orleans blues scene there is there; so many talented and knowledgeable piano players spanning three generations; great bands, and from what I experienced a good level of engagement from a multi-age crowd. Check out some of these players (Emil Otto too) and watch out for their movements in the future.

Until next time…

www.esbenjust.dk

www.christianbundgaard.com

www.facebook.com/itsemilotto

www.dompipkin.co.uk

CROSSROADS BLUES IN THE MOVIES

What is your abiding memory of 1986? Was it, Diego Maradona’s Hand of God goal to knock England out of the Mexico World Cup? Was it, Halley’s Comet streaking across the sky or even Richard Branson breaking the record for the fastest crossing of the Atlantic by boat?

For blues fans it may well have been a cinematic event, as that is the year writer John Fusco had his first film released - Crossroads. The movie that now is regarded as a cult classic was inspired by Fusco’s own adventures as a young bluesman, without which he states he probably would not have been

able to write the film that so many of us have enjoyed. Fusco returned from his travels and earned a GED (General Education Development) before he attended NYU Tisch School of the Arts and the rest, as they say, is history. Although you may know him for his musical exploits, other notable films that have blazed from the pen of the man who wrote the song Drink Takes the Man, are Young Guns, Young Guns II and The Highwaymen. You may have also caught an episode or two of a miniseries that he is behind - Marco Polo.

Director Walter Hill who was in the big chair for 48 Hours, The Warriors, Southern

WORDS: Michael Renouf

Comfort, and The Driver had Arlen Roth teach Ralph Macchio, who portrays Eugene Martone (who will forever be known as The Karate Kid) blues and acoustic guitar techniques. The other main character is Willie Brown played by Joe Seneca (Malcom X, A Time to Kill), who before his acting career sang with The Three Riffs and wrote ’Talk to Me’ which was a big hit for Little Willie John before being covered by, amongst others, The Beach Boys and Bobby Vee.

Steve Vai’s casting as Jack Butler was a masterstroke. Previously Keith Richards, Johnny Winter and Jimmy Page were all considered or showed interest, but it was decided they were too well known and that casting one of them could mean the viewer was watching them instead of the character of Jack Butler and it could backfire. John ‘Juke’ Logan is the blues harmonica coach and Ry Cooder has two credits one for blues guitar and another, music by.

The movie starts off with a man stood at a deserted crossroads who we soon learn is Robert Johnson when he records Cross Road Blues. We first meet Eugene when he is playing amateur detective trying to track down old bluesman and friend of Robert Johnson - Blind Dog Fulton. His reason? Blind Dog

would possibly know the mystical lost song of Robert Johnson and in Eugene’s mind if he can get to meet Johnson’s old compadre - he is going to use his powers of persuasion to let him record it.

The young white Eugene finds his quarry at Eastwick Security Rest Home but is knocked back when the old black man does not want to see him. Not one to give up lightly, Eugene

manages to get a job as a janitor at the facility and tries to strike up a friendship with Willie Brown - Blind Dog’s real name. Eugene hears the old man playing Harmonica (although the real-life Willie Brown was a guitar player but for obvious reasons his instrument was changed in the movie) and this just furthers his belief that he is on the right track. Eugene plays guitar to Willie who admits he has the ‘Lightning’ but nothing else.

Eventually the old boy cracks and admits to the young man, who is learning classical guitar at The Juilliard School, that he is the person Eugene is searching for. Willie promises to teach Eugene the lost song, if he will break him out of the institution he is currently residing in and take him to Mississippi and

along the way Eugene will learn what it really takes to be a bluesman.

Willie is not always honest with Eugene and others - for instance he does not need his wheelchair and does not admit his real reason for trying to get back to the crossroads where first Robert Johnson, then he, made a deal with the Devil. Shortly after Willie informs Eugene that ‘Muddy Waters invented electricity’ they stop at a pawn shop where they pick up a Pignose and a slide along with an electronic guitar.

Director Hill sees all his films as westerns in one form or another and you will often see western paraphernalia in his movies that are not in this genre. For instance, at the pawn shop there is a row of rifles.

The unlikely companions have to hobo to get to their destination and along the way meet

a young runaway, Frances (Jami Gertz) who joins our intrepid duo and gets romantically involved with Eugene.

Soon “The Mud duck” and “Mr. New York” are busking outside Lloyds bar before he chases them off, an action he will soon regret thanks to their new female companion. When they arrive in a small town called Weevil near their final destination the townsfolk have segregated themselves, the whites party on one side of the road and the blacks the other, so, our 3 travellers do the same.

Unfortunately, thanks to Frances’s light fingers, not only do the young lovebirds lose the gun that Willie had given them for protection, but they become persons non gratia on their side of the street. They decide to join the OAB (old age bluesman) and soon feel unwelcome again, leaving Willie with no choice but to call Eugene up on stage - the eagle eyed

amongst you may have spotted Frank Frost and Otis Taylor amongst others in the band - where with Blind Dog on the harp and The Lightning Boy on his newly acquired axe they bring the Jookhouse down after getting the bar rocking with Willie Brown Blues, so much so the bar owner says thank you with three Benjamin Franklins.

Eugene is on cloud nine until his girl hightails it the next morning, something Willie isn’t overly upset by as this is the sort of experience, he feels his young protege needs to really sing the blues.

Just to compound Eugene’s day Willie tells him there is no lost song - he really wanted him to feel the blues on this day.

They are soon at the crossroads of the film’s title when Scratch’s assistant shows up - shortly followed by his boss, the man or should I say demon Willie wants to see. He tries to get his contract cancelled but surprise, surprise, the Devil says no but is prepared to strike a bet. If Lightning Boy can beat his guitarist from Memphis, Jack Butler

(Steve Vai) in a cutting-heads duel he will tear up Willie’s contract but if he loses...

Just before Eugene goes on stage Willie goes all in on Eugene and hands him a Louisiana voodoo charm as he knows he will need all the help from this world or any other to win. In a scintillating finale the two guitarists battle back and forth, each of them upping the ante until Eugene falls back on his classical training, something Jack just cannot match, and Scratch (played by Robert Judd who sadly passed away before the film was released) has to admit to a rare defeat and rips up Willie’s contract.

The final scene sees the veteran and his now more rounded pupil walk off into the sunset discussing what the future holds. An excellent film with a cracking soundtrack with the likes of Terry Evans, The Wonders, Ami Madison, Sonny Terry, Ry Cooder and even Joe Seneca himself pitching in “The blues ain’t nothin’ but a good man feelin’ bad thinkin’ ‘bout the woman he was once with.”

BLUES MAKING A MARK

WORDS: Matty T. Wall PICTURES: As Credited

Okay, I want to talk about protest songs. The world is going through great turmoil at the moment, constant media reporting, climate change, coronavirus, left and right of politics, and the George Floyd/BLM incidents have left the public in a state of fear, mistrust, anger and yearning for solutions. 2020 has been a rollercoaster of tragedy and sadness.

In my days of growing up, there was no shortage of protest songs. From arguably the most powerful protest music band I have ever heard– Rage Against the Machine in the 90s, then back to 80s rap, then going all the way back through the punk era in the 70s, and all the way back to 60s Bob Dylan, MC5 etc. and beyond.

But the blues has had protest songs too.

‘Mississippi Goddam’ by Nina Simone, ‘Strange Fruit’ by Billie Holiday, and even right up until recently by Gary Clark Jr with ‘This Land.’ The blues genre has stood up for racial and social injustices, the overarching struggle that African Americans have had to deal with for centuries. I tell you it is hard listening to the stories that my blues friends in the USA, like Eric Gales, Toronzo Cannon, Marquise Knox are telling about their own experiences of racism that keep happening to them every day.

Like it or not, it is a real issue that they face, and I am reminded by them again and again, and reminded by listening to the

greats going back 100 years when blues was born. Blues you could say was probably the original protest music of our modern era, coming from the slaves to the farms, mixing African beats and holler with westernised instruments and harmony. And we love it. We really do.

Here in Australia there have been bands and artists that stood up against actions in society that they saw as wrong and let their grievances out in song so we could connect and ponder the powerful messages within. Most people know that Australia was founded as a British convict colony, on Aboriginal land from many different Aboriginal tribes and cultures. But both convicts and in some parts of Australia, native peoples, were simply free labour to build infrastructure that a modern country would need. Aboriginal settlements were pushed further and further away from the prime land positions that were settled by the colony and so began a struggle for rights and dignity by the aboriginal people that is ongoing even today.

So, when we talk about protest music in Australia, the rights and recognition of Aboriginal people really is number one. So, keeping in the blues/folk vein and talking about some songs and artists that have this passion in Australia, it is hard not to be impressed by one of the classics of Australian folk songs, the writings of Paul Kelly & Kev Carmody in the song ‘From Little Things, Big

“the rights and recognition of Aboriginal people really is number one”

John Butler by Sean Clohesy

Things Grow,’ the story of a 1966 aboriginal land protest that helped to bring about the Aboriginal Land Rights Act of 1976. Indeed, from little things, big things grow. This song was released in 1993, coming after the huge success of one of Australia’s greatest protest bands – Midnight Oil, who reigned supreme in the late 80s. Although they are more rock than folk or blues, but nonetheless brilliant.

Yothu Yindi also came along in the 90s, as a protest band, singing about the plight of the first nations, but again, this was not blues, more dance and rhythmical music.

from Midnight Oil in this respect. Still to this day he is relentless in his pursuit of social justice. I think this was really the start of a protest music movement that was swept up in the Australian blues and roots circles, thereby attracting many younger and passionate fans to the Australian ‘roots’ and blues genre. John Butler, originally from the USA, started his band in Fremantle, Western Australia, before taking on the world with his socially aware brand of Aussie blues and roots.

Into our more modern times, the artist known as Mojo Juju, singing about her part Aboriginal and part Filipino ancestry that has put her front and centre in regard to personal negative racial experiences here, sings a track from 2018 called ‘Native Tongue.’ Quite a dark and powerful track, very much in the vein of ‘Strange Fruit’ that has an ominous and foreboding tone. We are starting to see more female artists coming out with protest music which is really great to see, and vital for music as a whole, in that music thrives on bringing different styles and expressions together to make new again, such is the cycle of music.

Kev

Carmody

by Maria Boyadgi

Then in the 2000s, John Butler came to the fore, leading the charge with a new style of blues and roots, with protest at the forefront of the lyrical and social roots music movement. John Butler has since campaigned for: Indigenous peoples’ rights, environmental rights in opposition to mining, protesting oil and gas companies’ destruction of native habitats, freedom of West Papua from Indonesian rule and many other causes.

He has most definitely taken up the torch

Blues in Australia came through the touring American and European jazz artists, and the first Australian Blues LP was recorded by an artist known as Georgia Lee. She performed in Australia in the 40s and 50s and is credited as being the first Aboriginal artist to sing and perform blues songs. I have written about her in the very first article I wrote for Blues Matters over a year ago. Definitely a cycle happening, and one we can be very proud to encourage in Australia.

As I am drawn personally to dark protest songs, I decided to cover two on my 2nd album ‘Sidewinder’. Firstly, a Sam Cooke

classic, and also a modern-day Crossroads meets Mississippi Goddam by the brilliant Chris Thomas King. I put a musical spin on both, but in some circles, it was seen as risky to be singing songs like this. Clearly, we have a very long journey ahead of us.

As the world progresses further and further, there will be societies that are at the forefront of that progress, and others left far behind. As the world becomes closer and more connected, this will become more magnified, and a topic for introspection and struggle for many decades or even centuries to come. It

Kelly

by Wendy McDougall

will be an ongoing conversation for a very long time I would think.

Let us just be grateful to those artists who choose to create immortal songs and soundscapes that give us the ability to stand side by side with their experience. From struggle comes some of the greatest music ever written. That’s what I truly believe. Until next time, stay cool and keep listening to the power of the blues.

Paul

DISCOVER THE UNDISCOVERED

DIANA REIN BLUE BLOODS

WORDS: Steve Banks PICTURES: Steve Polacek

Diana was always destined to play the blues. On her website there’s a home video of an 8-year-old Diana on centre stage at The Backroom Blues Bar in Chicago, joining in on a version of Stormy Monday. As she said about the evening, “That night was the birth of the road I decided to take and who I am today.”

Chicago is a long way from her country of birth, Romania, which her parents left when she was three. Interestingly, Diana returned there in 2019 to fulfil a dream she had had for a long time, by playing at the Brezoi Blues Festival. Music runs in the family, her aunt was a famous singer there and Diana said that, “To be able to be in front of 10,000 people and speak her name and hear the applause was really a full circle moment for me. Getting to play my music for everyone was the icing on the cake”. Diana speaks with great gratitude to her parents for the struggles they went through to get her and her sister the freedoms that they themselves didn’t have. “It gives me a lot of appreciation for them and for America.”

Strangely enough, despite having had such an early debut into the Blues scene, Diana made her first big break in acting and featured as a very cute little girl in Home Alone. (She features as Sondra McCallister in a

lovely scene with Joe Pesci as Harry Lyme) She also went on to write and feature in a short feature film entitled “Gypsy Gift.” But the Blues was always in Diana’s blood and after a college break, amongst other things, she began to write songs and play guitar again. She persevered with “Dedication, Devotion & Love” to become the performer she is today. She quotes Philip Sayce as being a great inspiration in this learning process. Her sound is very reminiscent of Stevie Ray Vaughan (She has his initials tattooed on her left wrist.) and several of the tracks on her latest album “Queen Of My Castle” are a tribute to the great man himself. The progression in her 3 albums is clear to see, as she has developed into a great blues rock performer. It would also be very remiss not to mention that her vocal style has been compared very favourably with Bonnie Raitt.

Diana has had such a wide experience of life and is evidently a multi-talented and gifted artist in many fields, but she has now found her direction in Blues music. On the title track of her second album, Long Road, she sings, “It’s been a long road and now I’m coming home”. Blues fans will be pleased to know this!

www.dianarein.com

MARY JO CURRY BLUE BLOODS

WORDS & PICTURES: Supplied

Mary Jo Curry, a one-of-a-kind vocalist from Illinois and she started her musical career in the theater as a singer and actor. Nine years ago, while out for the evening, she heard music coming from a little club and was “pulled” into the sound of the blues.

This is where she met guitarist, Michael Rapier, and her relationship with the blues began. After sitting in at a couple shows, Mary Jo was asked to join Rapier’s band. They were playing a gig when touring artist, James Armstrong, heard her sing and said, “We’ve got to get you recorded.” Armstrong was so sure of Mary Jo’s ability that he volunteered his time to produce her debut album. The self-titled album opened the door for Mary Jo to be introduced to an audience outside of Central Illinois. The musicians on this album were Armstrong’s touring band, joined by Rapier on guitar. The album debuted at #1 on the Roots Music Report Classic Blues Chart and held the top spot for three weeks, finishing with 23 weeks in the Top 10 and #5 for the year 2016. Three songs from the album reached #1 on the RMR Classic

Blues Charts.

DISCOVER THE UNDISCOVERED

Following this success, the band went through some changes. Mary Jo and Michael were introduced to Chris Rogers, an outstanding bass player, and Rick Snow, a premiere drummer, both based in Central Illinois. Together Rick and Chris locked musically and provided the rhythm section needed to propel the band’s sound. This is a tight band whether performing live, in the studio, or composing music. The four-core members are often joined on stage by Brett Donovan and Ezra Casey on keyboard, and Brian Moore on saxophone.

The sophomore album, Front Porch, is an introduction to the Mary Jo Curry Band. 9 of the 11 songs were written by the band, and they produced the album in its entirety. This album has a strong “live” feel to it and captures the excitement Mary Jo generates on stage. Guest artists Albert Castiglia, Andrew Duncanson, and Tom Holland added their skills to some of the tracks, creating an exciting album. Peter Merrett (PBS106.7, Australia) writes, “It’s a given that Mary Jo Curry is in a league of her own as far as singing the Blues… instantly recognizable in a world of soundalikes.” And here’s what Blues Matters has to say, “It’s one of the best blues albums I’ve heard in a long time. Do yourself a favour and get it.”

Check out Front Porch and the Mary Jo Curry Band and discover this great album and band.

www.maryjocurry.com

BLUE BLOODS DISCOVER THE UNDISCOVERED

DIK BANOVICH

WORDS: Iain Patience PICTURE: Supplied

Dik Banovich is an acoustic bluesman based in Brittany, France. With over fifty years behind him at the blues-front, he has weathered many changes in styles, genres and opportunities but remains rooted in the blues end of the business, though he does cross-over to modern Americana with ease from time to time.

Originally from Scotland, Banovich was mostly raised in Chicago which is where his love of both guitar and blues seems to have blossomed as a kid. From Chicago he returned as a young adult to Scotland where he worked the then widespread folk-club circuit for many years dabbling in bluegrass (including television appearances) and roots music generally but always picking blues for his own personal pleasure and out of choice. Eventually, however, Banovich moved out to France around twenty years ago, looking for work as a bluesman and playing many clubs and festivals as he fought to get his name known throughout the country. Over the years Banovich has played the length and breadth of the hexagon, from major blues festivals including TerriThoaurs Blues – maybe one of the best smaller, intimate festivals in the country and where he is a lauded repeat

performer to La Charite sur Loire, La Cheze Blues and numerous others. This year, 2020, was probably due to be one of his busiest but, like everyone else, Covid-19 stooped play, otherwise he’d have been working pretty much flat-out across much of Europe. In recent years Banovich has put out a few self-produced albums, each featuring his fretwork at the core while also ranging from his traditional, old-school blues attack through some more general folk-roots based material. A few years ago, in 2018, his Acoustic Roots & Blues release gained traction across much of Europe resulting in an increased presence and profile for the Scottish-US blues import. Now, a few months ago, Banovich released yet another album, ‘In Transit,’ a tongue-in-cheek title that reflects the life of many touring musicians with a life on the road and a support tour bus that often becomes like a second home. Again featuring delightful, clear and ringing fretwork with some mandolin-work thrown in for good measure, produced and aided by his partner, Jackie Calley, the album has covers of blues standards like ‘Motherless Child’ to ‘Sitting On Top Of The World ‘in the mix, and is probably the finest release by Banovich to date.

does! Which leads us to Black Lives Matter…

I’m grateful for this opportunity to be a part of the expanding public conversation growing in the wake of the public death of George Floyd. Having been brought up in a household led by parents who were actively engaged in the Civil Rights movement of the Sixties, I am encouraged by the recent global wake-up that the tragedy in Minneapolis has prompted. The conversation about the racism shackling our lives to a brutal recent past and poisoning our present has been going on for centuries. Laws have been written and passed.

But new legislation is meaningless without an overhaul of our core beliefs and attitudes regarding race. Any student of history will know that the idea of dividing the one human race into separate ones, based on skin pigmentation, is merely an attempt to justify exploitation and promote the lie of White Supremacy.

sexist notions and replacing them with truths rooted in the awareness of the divinity in us all is, first and foremost, a question of consciousness. It comes down to being ready to take a more truthful look at

Ultimately, the elimination of fearful, racist, ourselves and our history.

Encouraging each other to acknowledge our connectedness, open our hearts and cultivate compassion is what will bring about real change.

We need to get to know ourselves, each other, our history and our neighbors better. We need to know the heroes & sheroes behind the Blues music we love. We need to hear parts that didn’t make it to the liner notes.

more of their story - the

So, I salute you, Blues Matters!, for taking us deeper into the heart of the Blues.

Friends, go well, stay well, …his own thoughts as a bluesman on the issue of BLM, I’m sure our readers would welcome this coming from a US black bluesman with a huge global following. (I last spoke to Eric at Cahors Blues Festival a few years ago after his sound check. I commented on the fact he used the ‘N’ word when singing Lead Belly’s ‘Bourgois Blues’ and him being the only bluesman still doing it, which I personally think is right, and he simply said that was how the song was written and Lead Belly sure knew what inequality and being black meant back when - Iain P

“Our lives begin to end the day we become silent about things that matter.”

- MLK

JOYFUL BLUES FOR TROUBLED TIMES

the best reviewed blues album of 2020 10 instant blues & roots classics

including “stranger than today” and “troubled man” featuring Ruthie Foster

shawnamos.com

SEEING IT STEPHEN DALE PETIT AS IT IS

WORDS: Steve Banks PICTURES: As Credited

With a new album just released on a steady drip-feed basis from digital to disc over the next few months, our Steve Banks discussed the recording process, the delivery and the difficulties faced by Stephen Dale Petit achieving a successful, new project in the trickiest of times.

Mmm…I dunno, I think Klaus was doing it. First of all, he’s done black so that it’s a canvas. It’s as though it’s been painted black.

Did I spot Portmeirion on there?

You did. Portmeirion is an amazing place.

Tell me a bit about recording the album itself.

When I got your album to review it was like Christmas, It’s an absolutely fantastic piece of work. It’s like the opposite of anything on Spotify, it’s a real joy to hold.

I suppose it’s an instinctive reaction to Spotify and all things digital, where you’re not even getting the bare bones, which you get with the CD booklet. You do have some artist management, or whoever does it, filling out their pages like for an album and there’ll be something resembling liner notes, but still, it’s not the same thing as holding it in your hands and forming a relationship with a physical object. The whole release was vinyl-centric.

How did you get Klaus Voormann to do it? (The artwork)

I asked him, and he was reticent at first. He was up for doing an album cover, but he needed to hear the music. And in the meantime, it was at one of his artwork book signings and Paul Jones entered the room and helped to seal the deal. He still wanted to hear the music, but he wasn’t quite so circumspect.

Did you give him a brief?

He went through a couple of ideas. He did some stuff and I liked this one.

It’s got a real late sixties/early seventies feel to the artwork. Was that the intention?

We’d done this tour with Walter Trout, with Jack & Sophie, and we pretty quickly came off those dates and just went into a rehearsal room and I would bring in ideas. That’s kind of how it started and there were various shows that happened in that year. A festival in Germany and so on, and I just kept on writing things. In any event, all that came to a place, where we were ready to record and I flew everybody over to Nashville and we had a week with the best recording man on the planet, Vance Powell.

He’s done a really good job. There’s a real feeling of power and a lot of energy comes through. Had you finished your treatment as you were doing all this?

That was still ahead. One aspires for dynamics and I guess I’ve always wanted something that had a bit of rocket-fuel about it.

I think the album has captured that. There’s also an incredible range of styles on the album. Was that intentional?

It’s kind of the way I see an album, to be honest, because I started to notice that; it keeps being brought to my attention and I never used to think about it. I don’t want to make a blues album that’s predictable, or a collection of singles, which is what albums started being and I certainly don’t like the look of an album by X, where you get ten versions of the same song and a ballad for size. If you’re a fan of X you know what you’re getting. It’s

like Rocky 1,2,3 & 4 you know what you’re getting, but it’s all so predictable and I never saw the point, because music is meant to be about mystery and magic, spontaneity, adventure and excitement and freshness. In that you can find places of warmth and familiarity. I don’t understand setting out to make a record by formula, that’s basically hemming in the creative instincts.

Yes, I can see that. There’s so much variety on the album.

What’s become clear, I think, is also one of the albums I ‘nicked’ from my parents’ record collection was The White Album by The Beatles and I think that had some sort of causal effect in what I think an album is. But then again, you listen to Cream and those records, there’s a wide diversity of ‘genres.’ I don’t even recognise ‘genres,’ it’s music really. You know, Cream did that, Hendrix, maybe to a lesser extent, and the records that were made in that period were explosions of creativity. I suppose it was a quest to return to that.

And one that I think that did it; I loved the version of Stepping Out.

You know, we were there for six days. I wanted to cut the song, but if it didn’t come off, I wasn’t going to spend extra time to get it, so we just did it like a palate freshener, like ginger with Sushi. That song has haunted me since I was a kid.

Yes, it’s definitely got something about it. I came to the Beano album backwards, in order chronologically. I heard Cream and Hendrix and all sorts of people, before I heard the Beano album, with John Mayall, featuring Eric Clapton.

Yes. A lot of people did it that way. Started with later stuff and then went back.

Yes, I started to get my head round the

instrument and I had a moment with Cream and with Fresh Cream, some of the stuff on there had me stupefied, unable to speak because it was just insane, what he was doing to my teenage brain. And I had figured out quite a lot by that time. I’d seen and met B.B. King and I was a sixteen-year-old, so I came to Beano just before London about 18 or 19. I was speechless. We did it in the set for the Walter (Trout) shows. I purposefully, I guess, wanted to inject some personality of my own into it. And then I thought ‘No, I just want to nail it. I just want to f****** nail it.’ I’ve never heard anybody do that. It’s so powerful and so magic and out of love for him and how he played and the whole period. To me, it’s just the ultimate tribute of love.

Talking about going back, I think that Soul of a Man is another standout track.

It’s sort of a blues theme, which turns out was pretty accurate. A dystopian perspective. So, with 2020 Visions you’ve got “ghost towns” and ‘Now is forever, the new truth dawns.’ lyrics on them, it’s almost as if people wrote them today, and I’m trying to say that with as much amazement as anybody else might feel, looking at how perfect a fit it is, setting out why Soul of a Man is there.

2020 Visions has got the lyrics that suit what we’re living through. Were not quite to a war, but everything, bar the first shots being fired. And Soul of a Man is what it says on the tin. And then there’s this song Venus. Why is man living on Venus? Well, cos it got too f***ed up living on Earth. So, Soul of a Man just made sense. And Zombie Train is the other one. The lyrics on that, it’s triangulating between those three, really, 2020 Visions, The Fall of America and Zombie Train. I thought there needs to be something about the meat of the matter, cos the rest is all talking about descriptors involving alienation, fear and trepidation and I felt Soul of a Man would at

least reposition the focus. I think it’s quite a posit as well. The lyric talks about teachers and lawyers and doctors and the expert class. The expert class are fabulous, but they shouldn’t be running things unquestioned.

Yes, I think that’s really come across in the present situation.

Yes, look at the modelling that was done for this pandemic. It’s just so far wrong it’s insane. But I don’t want to be championing the Blue or the Red.

Speaking of pandemic, it must have been so frustrating to have a finished product with so much effort and creativity ready to launch and to have it all stopped.

Yes, however, I’d gone through it when I had the cancer diagnosis. So, in a certain sense this was ready for the launch pad as the treatment began. And so, obviously, I had had cancer whilst making the record, but was unaware, aside from things not quite being right. So, we had to pull it and just put it on idle until we could figure out, first of all, if I was going to make it through. That was the first consideration.

Yes, it’s definitely not been a ‘straightforward release.’ Is a relaunch date a possibility?

We’re doing digital on 12th June, that’s the launch date and the physical is going to be September. In a certain way it’s a rolling release, with the formats coming out in different stages. It does sort of suit the elasticity of time at the moment. The sense that time is elastic. It’s so bizarre.

It really is. Have you been in touch with the band?

Well, Jack Greenwood; I met Jack through Phil May and he died not long ago now and so we were all in touch.

Well let’s hope things start to improve and it’s okay for a physical launch of the album in September.

Yes, thank you. Just finally I wanted the album to be a tribute to the bent note on a guitar, that was one of the overriding themes, if you will, as part of the manifesto.

On behalf of Blues Matters! Magazine, thank you for your time and for the insight into the making of 2020 Visions.

www.stephendalepetit.com

SHAWN

AMOS a blues pilgrimage

WORDS: Steve Yourglivch PICTURES: Fred Siegal

The Reverend Shawn Amos has evolved into a remarkable Bluesman since a journey of self discovery that allowed the blues into his heart.

The long respected collaborator and musicologist at Rhini Records, and with Quincy Jones and Solomon Burke had his Demascus moment in Italy and has never looked back, now is the time for the Reverend to rise up.

Ruthie Foster on that, she does a wonderful job with that.

I have to say I’m really enjoying the new album It’s called Blue Sky, and it’s just come out in the last few days, you’ve managed to blend a real kind of retro feel into a very contemporary record as well which is a really big achievement I think.

I’m not sure how I can continue my blues, which is the most important musical Journey I’m on but the same time bring into the conversation pieces of my past musical life, sort of challenge myself a little bit musically.

Yeah. Well, I think that’s probably what I meant when I said contemporary because you know, you haven’t gone the route of you know, just regurgitating those old blues riffs. In fact on each album I think you’ve achieved that more and more.

Yeah, I agree. I’ve always loved the blues and loved the history of the music and looking at and respecting its roots and also realizing that its roots are going to be forgotten as people don’t continue to be practitioners of this music. And then so, I think it’s important on one hand to you know, play the music referentially and to keep it alive. I have much respect for the genre and all the great Masters, but I’d also like to contribute new to the conversation.

Looking at the track-listing, Troubled Man is probably the most traditional kind of Chicago type Blues on the album. You’ve got

There are few songs that musically speaking are blue songs in terms of form and structure. Counting Down The Days is a straightup blue song in terms of musical form, as is 27 Dollars, but it wobbles around lyrically and goes beyond our traditional Blues topics. I think from an arrangement perspective and the instrumentation choices things get a little interesting. But yeah, Ruthie is just so strong on that track.

It certainly feels like you’re pushing the envelope more and more.

You know, when I first started making music, I was doing sort of Americana Roots World, I decidedly pulled up that bridge behind me and almost pretended it didn’t exist at all. I didn’t talk about it or reference it. I really kept that stuff sort of under wraps not out of any embarrassment, I was proud of that work, but I did just felt like I couldn’t relate to it in some respects. I just wanted to feel like a blues musician and now I don’t want keep parts of myself under wraps.

It’s well documented that you’ve worked previously with Quincey Jones on his musical biography and also with Solomon Burke, are those experiences seeping into your blues persona now?

When I first started to actually play blues seriously, which was about 2012, I was so overwhelmed by what the music was doing to me as a performer. It just literally changed my DNA. It was so completely absorbing that I couldn’t imagine experiencing any other sort of music. It felt like I had arrived home, unlocked a part of my history. When that happened, I didn’t even write any material, I just played old Muddy Waters and Junior Wells songs, it felt like I was holding hands with my ancestors. That gave way to wanting

to write blues songs. Eventually the songwriter part of me started to come back to life, and as a writer you observe, and you comment on those things. Throughout writing this album I went through a lot of upheaval in my personal life, a divorce, moving from LA to Texas, a real disorientating time.

I don’t know if in the USA you have the equivalent of what we call the blues police?

Anything contemporary alongside the blues is frowned upon.

(Laughs) Yeah, we have them! You know I

might be disqualified because of my background or geographical position, or my level of education or blackness. The blues for me afforded the opportunity for the first time in my life to understand my own blackness and to be proud of it. More than hip hop or sports culture.

That’s interesting because I believe your first solo album was inspired by Harlem.

Yes, that album was inspired by the Harlem Renaissance in the 1920s. I felt a connection between that and my own parents and the later migration from the South to the North, There was this flowering of creativity, painters, musicians, all kinds. People like Cab Calloway and Joshua White. In the 60’s the same thing happened in Chicago. Discovering all of that history was huge to me.

The social and political side of the blues is often overlooked, people know about the cotton fields but it’s romanticised. They were incredibly tough times.

Yeah, the street side of a culture gets romanticised over the intellectual side, like gangster rap. I think as black people we do ourselves a disservice allowing certain things to be celebrated while allowing other parts

of the culture to be relegated to the side.

You seem to be saying that 2012 was your Road to Damascus blues moment. There must have been blues in your psyche prior to that.

I was a student of blues in a musicologist, intellectual way. I came to blues first through literature not recordings, and then I bought the albums I’d been reading about. I was at college and in my holidays I would drive to blues places in my car making my own kinda blues pilgrimages. So in that way the places, the stories and traditions caught my imagination before the music did. And then of course the music got me and I bought the Chess compilations and Robert Johnson box sets, you know all the stuff the blues police would want you to buy. I was a good student. I knew all the songs, all the musicians, who played with who, who moved to which line up, all of it, but I refused absolutely to write a song. That would be way too predictable! Then I was invited to play in Italy by a former bandmate because being black I offered

authenticity and he knew I knew the songs. At first I said no way. But hey, free vacation in Italy. So, I thought Ok, no one is gonna see me do this, I’m miles from home, and for the first time the music was being lead by my heart not my head. It was oh wow, how much deeper I felt it. It changed everything.

LUCINDA WILLIAMS

WORDS: Iain Patience PICTURES: Provided

The Devil’s In The Detail

Lucinda Williams may be in self-imposed lockdown, but her spirit remains wild, free, raucous and rebellious. Thankfully, most would say. Catching up with Williams at home on the eve of the release of her 14th studio album, ‘Good Souls, Better Angels’, she throatily laughs and is clearly having a ball, despite the self-imposed confinement that COVID-19 has brought to the global musical fraternity.

After around forty years in the business, Williams is little short of being a true US national treasure, a musician who unceasingly holds the power to surprise, inspire and delight with each passing year. Indeed, in recent years her albums have truly grown in importance and strength, never slowing or slipping quietly from attention. With each new release, she seems to carve out yet another unexpected slice of extraordinary emotion and power.

Both previous releases, ‘Down Where The Spirit Meets The Bone’ (2014) and ‘Ghosts of Highway 20,’ (2016) were delivered on her own label and set the tone for her continued visceral view of life, love and pretty much everything in between. “Good Souls, Better Angels’ is another offering that continues that trajectory with absolute assurance and raw emotion at its howling heart but is released by Nashville’s leading Thirty Tigers label.

In some ways Williams blurs musical edges with every new offering, post-punk blues and Americana merge with disturbing imagery and fearless honesty giving her work a truly unique vibe and essential commanding significance. With three Grammys already in the bag and accolades that most would virtually kill for, Williams is never one to sit back on her lauded laurels but instead pushes on always working the road – and with her strident lyricism now complimented by her husband and manager, Tom Overby’s input and production help. Her trusted road-band, guitarist Stuart Mathis, bassist David Sutton and drummer Butch Norton, all add their assured flourishes to the new album which Williams describes as being: “Really pretty stripped-down. Ray’s studio has cool, old equipment and we’d been working on the road touring the 20th anniversary of ‘Car Wheels On A Gravel Road,’ which Ray originally produced back in 1998, so when we got into the studio again it all came together in about two weeks. It felt like we were all on fire.”

again, divorce might be on the cards, I quip. Williams howls with laughter: “You’re a real funny guy,” she says.

Of course, one of the wonderful things about Williams is the sheer impossibility, not to say pointlessness, of trying to categorise her music, or slip her into a musical box. Genres simply and genuinely dissolve when Williams, with her genre-stripping vocal delivery, roars round the next musical corner: Americana, country, rock and blues, all have their place, all tell a story, and all are included in her unbridled passion and power. This is a lady with stories to tell and a voice that soars above such pointless exercises. When I suggest this

“it was a cross between Howling Wolf and Iggy Pop”

So, I ask, is this lockdown hurting, preventing promotion of the new album and the usual necessary support tour-work? Williams thinks not: “Well in reality I’m here at home doing interviews, speaking to lots of journalists about it all, so maybe that’s even better! I’m doing a lot of press and that’s filling up time. I’m taking it one day at a time. I have downtime. Last year I was out on the road so much, so this does give me that downtime.”

And maybe, after it’s all over, after who knows how many months indoors with your husband and manager, and you’re free to hit the road

latest release marks something of a departure from her usual fare, Williams laughs and heartily agrees: “Yea, well I’m really happy with how it turned out. I went into the studio with much more than we recorded here. So, I’ve some songs that are ready and will make it to the next album. They’re not all like these,” she explains, hinting at the darker nature of some featured on ‘Good Souls, Better Angels,’ songs that don’t just scrape at the surface of difficult themes but deeply slice into and expose them mercilessly.

The current incumbent of Pennsylvania Avenue takes a hammering; and Williams own, alarming personal domestic violence experiences are reflected in the lyrics too. When I express my horror at the domestic

violence issues featured, Williams is frank and forthright: “It was me once. I found myself in that place, in one of those relationships. He’d drink whisky and become a sort of Jekyll and Hyde character. There’d be this change in his personality, really terrible. It was as if he didn’t know who I was! I’ve written about him before, my songs ‘Jailhouse Jesus’ and ‘Buttercup’ are both about that time, about him too. I was kinda nervous about including the song on the new album at first. We were in the studio cutting it and a real big, famous rock-star was there listening. He said he didn’t think I should include it. Maybe better to put it out as a ‘B’ side to a single, but not as an album track. I had a doubt in my own mind. But the others there were really supportive, so I put it on the album.”

Turning back to the album and its different feel from much of her previous output, Williams agrees: “We went into the studio with my road band. Usually I bring in others, musicians and singers, and I sort of harmonise along with them. But we all talked about it and didn’t do that this time. I think it really adds something to it all. I had a listening party in New York City and Jesse Malin told me the album had a sound, it was a cross between Howling Wolf and Iggy Pop. I loved that. It was exactly what I wanted, what I was aiming at,” she laughs again.

The entire production was ‘organic’ she confirms, never strictly or purposely planned: “I had an organic perspective for this one. I was in the studio again with Ray Kennedy – we worked together on ‘Car Wheels’ (on a Gravel Road). So, I feel I’ve come full circle here with this one. Ray has this Nashville studio. I was asked to go along, check it out. And it was just right to cut something there. Although, originally, it was never the plan to record another whole album with Ray at the time. But

when I got there into the studio, it was obvious right away. And with Ray engineering again, it just had that sound. He just knows what I’m looking for.”

Williams is pleased when I mention the raw, blues feel and vibe that is evident with the new release, and she confirms a love for that rough-edged, raw Delta sound, an admiration for blues legend, Robert Johnson, that has bubbled its way to the surface here: “I’ve always loved the imagery in Robert Johnson’s songs. Those really dark Delta blues are sort of biblical. I was inspired by Leonard Cohen, he dealt with that in his songs, and Bob Dylan and Nick Cave. The Devil comes into play quite a bit on this album,” she quips.

Parting company, I tell Williams we once met briefly at Scotland’s wonderful Celtic Connections Festival a few years ago. She appears to ponder the thought before chuckling and saying that she remembers the gig, had a great time back then in Glasgow, and she hopes our paths will cross again sometime soon: “I hope we meet up again, come and say hello, wherever, or maybe whenever, that might turn out to be!”

www.lucindawilliams.com

(Lucinda Williams has had a prolific recording career and space only permits us to list her most recent albums)

KING MARCUS El Dorado in sight

WORDS & PICTURES: Adam Kennedy

Guitar player extraordinaire Marcus King recently released his new album, El Dorado. This being the US-based artist’s debut solo album as well as his fastest-selling release to date.

Having recently moved to Nashville, King teamed up with versatile Black Key’s frontman Dan Auerbach who produced the album at Easy Eye Studios in Music City itself. King’s latest offering went on to top several charts both domestically and internationally, whilst also simultaneously garnering a whole raft of praise and adulation from critics and the media alike. To anyone who has heard the album, this should come as no surprise. King has talent in spades, along with a whole lot of soul to boot.

You’ve just released your debut solo album, El Dorado, on Snakefarm Records. Could you tell us a little bit about this album?

Me and Dan Auerbach always knew that we wanted to work together. We’ve known each other for a couple of years and then when I moved into town the opportunity kind of arose. We started writing together and we started working towards this album. It was all pretty organic, and once we started working, it was pretty magical. We cut eighteen songs in three days. He’s got a system dialled in over there and he’s got a similar work ethic to me, long days and we knocked a lot of stuff out.

So, how much of the album did you have ready to go when you got to the studio? Were those tracks already formulated and demoed, or did the material come together naturally in the studio?

Well, it was a little bit of both. There was a two-week period where we sat and wrote. We also wrote with some different cats in Nash-

ville like Paul Overstreet, Pat McLaughlin, Ronnie Bowman and Bobby Wood. I brought a lot of ideas because the record is somewhat autobiographical. It’s kind of a coming of age story. It tells a story from the age of 17 to 24, which I am now. So, it’s like the beginning to the middle, or whatever. So, in those two weeks, we had all the work tapes done and we’d demoed the songs that we were cutting, and we’d play it for the band in the studio. Dave Roe the bass player would chart it out, and we got in there with a ten-piece band and we cut everything live.

So, the album is doing very well. It’s gone in at the top of multiple charts in the US and here in the UK, since its release in January. Have you been overwhelmed by the response?

Yeah, I’ve been taken aback would be an appropriate response. I’m pleased with how it’s doing, but I was also really confident in the record. Suffice to say with it being my first solo venture, you don’t share any criticism, you don’t share that with anyone. It’s all on your shoulders, but also that kind of makes the reward a little bit sweeter too. But with that being said, my band is rocking the new tunes. It becomes very interesting live.

What was it like to work with Dan Auerbach, how did he help shape or influence the sounds or styles on the record?

He’s like an artist, he works with a lot of different textures. He’s like a painter, he gets all these different textures and makes the painting come to life. He’s got a tremendous amount of foresight and he can see for miles as to what this one little adjustment is going to mean - not only in the moment but a year from now. And even when I listen to the record, or I hear it on the radio or an airplane, I hear little nuggets that I didn’t notice before. I sometimes go back

“my band is rocking the new tunes”

and listen to certain tracks just to apply some of the production to the live show. You kind of get the basic meat and potatoes of the song, and then there are all these great touches that Dan is really good at adding. He’s created his own sound, but at the same time, it’s not recycled. It’s fresh, but it’s also the same cats that produced that sound that we love. So, it’s just like, it’s fresh, but it’s original too. It doesn’t feel derivative when those cats are playing that music.

Yeah man, we love it here. This has always been such a great attentive audience - really sweet, super kind and receptive to what are offering. I think with this new material we will start to see a little diversity in the audiencewhich is great. By that I mean, we have a lot of cats who are guitar fans, which is always such a favourite fan base of mine over here. Somewhat intimidating but also super sweet, super interested in like my gear and everything and I love that. And some folks are coming now that are more interested in the songs and dancing. So, it’s a good blend of audiences that come together and that’s all the show is about really. It’s just capturing a moment together and just kind of being on the same page, at least for two hours.

Do you have a favourite track on the album?

You recently released a new video for the track ‘Wildflowers and Wine’, could you tell us a little bit about that song and the inspiration behind it?

Oh yeah man, a beautiful lady at home was the inspiration on that track. She was living in Virginia. I just drove up one day and picked some wildflowers along the way - it was a long drive. I got some wine and we danced to some Al Green records. It was really just a lovely night that I recall. And Ronnie Bowman helped me with that one, he’s a really good romantic writer. So, it was great to partner with him on that.

You’re about to kick off your UK tour here tonight in Leeds. I know that you’ve been over here before. Are you excited about bringing this new album to UK audiences?

I think ‘Love Song’ is my favourite to play. I like opening myself up, being as vulnerable as possible lyrically and vocally. When I get to sing ‘Love Song’ on stage it’s a moment for the band to dynamically shift to a lower gear. And I can kind of open up on that one vocally.

I understand that music has always been in your family. I know that you’re the fourth generation of King’s who’ve taken up this trade. Have you always known that being a musician was your chosen path?

Yeah man, I never had any other thought. I would just assume that this is what I would do. I kind of had blinders on and forward was the only direction I knew how to go. So that’s how it’s always been. I’m trying to think of the right way to put it. There is an Outkast song about rocket ships not having rear view mirrors and I’ve always related to that notion of there being no reason to have any kind of backup plan. If it doesn’t work out, it doesn’t work out, but I’m just going to fight because it’s just therapy

“I feel like there are true blues artists and real purists out there”

and it’s my way to release. It happens to be going well, which is fantastic, but selfishly it’s my release of energy. But it’s a beautiful thing to share with everyone.

Your sound traverses quite a wide musical landscape from blues to rock to soul to jazz. Where do you feel most at home?

Oh man, I feel like I’m just being a chameleon. I just grew up being influenced by a lot of different music. So, it’s a treat for me to be able to bring that to the stage. And my band are all kind of quasi-chameleons as far as the way that they approach music and all these different styles. For a while, I struggled with the idea that I didn’t have a true identity in the music world. I’m trying to take hold of the title that’s been given to me because I get called a blues artist or a southern rock artist and all these monikers are kind of the ones that I never claimed to be. I never felt like a blues artist because I feel like there are true blues artists and real purists out there like Christone ‘Kingfish’

Ingram. People like that preserve this style of music and I feel like I just kind of bastardized it and just use the parts of it that suited my needs. So, I feel kind of like a mutt musically. But I would say that the closest thing would be soul music to me. All these different styles they are just kind of an outward projection of what’s going on in my soul and my spirit.

El Dorado by Marcus King is out now via Snakefarm Records.

IMAGE BY Alysse Gafkjen

A NEW HOME FOR THE BLUES

WORDS: Stephen Harrison PICTURES: As Credited

In 2018 Mike Zito and Guy Hale came up with an idea to form their own record company, Gulf Coast Records, based in Nederland, Texas.

The main idea was to concentrate on regional artists, up and coming artists, and friends already well established in the world of blues music - and Mike Zito is no stranger to the blues. Born in 1970, in St. Louis, Missouri, Mike Zito has a career not only as a blues artist, but also as a singer/songwriter and producer. He was a member of Royal Southern Brotherhood between 2012 – 2014. Primarily a blues/rock band, it included Devon Allman on guitars and vocals and Charlie Watson on Bass. Formed in New Orleans in 2011, the band released four albums. Zito and Allman had known each other since 1999 when the pair worked together as

managers of a guitar store. Zito started his own recording career in 2000.

He has released 12 solo albums and a recent compilation album which is a tribute to Chuck Berry. In 2018, his album ‘First Class Life’ reached No1 on the Billboard Blues Chart. I recently spoke with Mike Zito and Guy Hale to ask them about their latest venture. And as an added bonus, I also briefly spoke with Albert Castiglia who recently signed to Gulf Coast Records to release his latest album, ‘Wild and

Free.’

Is the record company mainly concentrating on blues artists?

Mike. Well, it is certainly blues-based Americana, but we are open to all

styles of music.

We hope to help bridge the gap between blues and the many genres

MIKE ZITO by FRANK ZERBST

GUY HALE by FRASER HALE

it has influenced. The Gulf Coast region of America is diverse in musical styles and they all kind of cross pollinate. We believe if the artist is good, and the music is good, the genre is just a label.

Will you be releasing all your future material on Gulf Coast Records?

Mike. I have one more record to release with Ruf Records later this year. Thomas Ruf and his label have been so good to me over the years. I will complete my last recording with Ruf and then begin to record new albums for GCR in the future. That is most certainly the plan.

In addition to releasing future albums on Gulf Coast Records, Zito, along with Guy Hale, is looking to support the future of local artists in a big way. As Mike said when we spoke, Gulf Coast Records is to record and promote artists from many genres that are based in the blues or have influenced it such as Americana. Roots music such as Blues and Americana is at the heart of American culture and musical history. Quite often these genres mix and weave and intertwine with each other, each playing a vital part without trying to take centre stage.

centre stage.

How did ‘The Project’ come about?

Guy. Mike and l had been friends for a few years and when l sold my construction business to retire early, about two years ago, he asked me what l planned to do. I told him l was going to concentrate on songwriting and finishing off a couple of novels l had drafted a few years back, before my business had grown and become a monster that took over my life. He suggested we start a label. We both knew artists who were good enough to have a record deal but had never had the opportuni-

ty. We were pretty sure we could discover new talent and grow it from just being a Blues label into something that was home to great music of any genre that sprang from or contained the Blues. So, Rock, Soul, Funk, Americana even Jazz. We will not limit it if the music stands up. That’s what appealed to me and Mike, so we did it.

How did the concept come to fruition?

Guy. The basic concept was to help great musicians put their best work out. Mike’s a fine musician, songwriter and producer. I’m a songwriter and l am pretty good at the executive producing, we also have Kid Andersen as part of the Gulf family, and he has produced several of our records as well as being a Gulf Coast artist with a record coming out next year. Kid and l work on a lot of projects together and it was Kid who introduced me to John Blues Boyd. We wrote the ‘What My Eyes Have Seen’ record together and it got John nominated for a BMA for Best Album by an Emerging Artist which was one of my proudest moments. Seeing a true Bluesman being finally recognised for his talent.

Gulf Coast will continue to develop with our family of artists, and l am just finishing a novel with a soundtrack that Mike is recording which may…and it is a big may, be made into a TV series. The book and the soundtrack will be out in May next year and it is taking Mike into a dark Blues Americana genre. Zito like you

“The basic concept was to help great musicians put their best work out”

have never heard him before and l have to say he sounds great.

So, it is all about the music and everything that springs from the music. Mike is like a brother to me…you know those younger irritating ones that are full of great ideas and don’t let you rest for a moment and l have to say l find it a real joy. And I thought being retired would bore me to death. One final point, l noticed that Albert said he would sue us if we tried to drop him from the label. I think he has failed to realise that this is in a hostage situation and he is not going anywhere! Mike and Joan Mallotides our wonderful media guru are virtually Mafia and Laura, Mikes lovely (and much younger wife) is from Texas, so if Albert does try and escape, he will not get far!

so far for Gulf Coast Records, ‘Masterpiece’ which was released in 2019 received a Blues Music Award and earlier this year he released his latest album, ‘Wild And Free’ on the label.

What persuaded you to sign for Gulf Coast Records?

Albert. My previous record label passed on ‘Masterpiece’ and GCR offered to pick it up and release it. I agreed before they even gave me the terms. I have known Mike for about 15 years, and Guy and I have been friends for about five years. Two better people in this business you will never find. Their trust in me and belief in my talent meant so much.

Are you going to stay with Gulf Coast Records now? Do you feel comfortable with the label?

Albert. I am a very family-oriented person. Mike and Guy are all about family too. GCR is family. I do not plan on going anywhere. I believe if something works, there is no need to leave. If they try and dump me, I will sue them (laughs).

Thanks Guys! So, what we have is a family-oriented label that has a great team and great camaraderie, with an understanding that binds them all together. I, myself think the future is very bright for Gulf Coast Records and all who sail in her.

Albert Castiglia is an American blues singer born in New York city in 1969. He joined Miami Blues Authority in 1990 and was subsequently voted Blues Guitarist of the Year in 1997. He has worked with many fine and notable blues musicians throughout his illustrious career including, Junior Wells, Pinetop Perkins, and Billy Boy Arnold. He has supported ZZ Top and Elvin Bishop during his formative years on the road and is now considered to be one of the finest blues artists of his generation. He has recorded two albums

Gulf Coast Records Artists

Odds Lane

Diana Rein

Albert Castiglia

Tony Campanella

Billy Price

The Proven Ones

Jimmy Carpenter

Sayer& Joyce

Kevin Burt

www.gulfcoastrecords.net

ALBERT CASTIGLIA by NORMA HINGOOSA

WORDS: Colin Campbell PICTURES: Emma Lee

BE YOURSELF KARP PETER

Peter Karp is a consummate singer-songwriter, who’s songs are full of passionate heartfelt lyrics and emotion.

He is a spellbinding performer, skilful guitarist, and pianist who blends roots music styles to incorporate blues, Americana and rock ’n’ roll. His latest release, ‘Magnificent Heart’ again shows his gift for insightful storytelling with tales from the road and the people he met along the way. We caught up with Peter to talk about it and the influences on his career.

Hi Peter, how are you and where are you today?

Home in Nashville, Tennessee, at my Facebook broadcasting centre. This is where I do my live shows now that I can’t get out on the road. I’m in seclusion but when I’m not on the road I’m always in seclusion, just me and my dog, we like it like that!

How are you coping with the lockdown imposed by the pandemic Covid-19?

No problem, I live in a rural area. We practice social distancing twenty-four hours a day, for the last five hundred years! I worry about my children. My daughter works in a Hospital in New York City, she’s a Social Worker.

How do you stay connected with your fan base during this time?

I perform two Facebook shows a week. It’s a little lonely! I miss the energy of a live concert. I miss the smell of women, the perfume, everything. I miss the molecules moving around. I love to play and meet people. My agent gets upset. She’ll book me in some Theatre, and then the night before it I’ll show up in a pub and play all night! I like the social aspect!

Is live streaming like a rehearsal for you, what do you use it as?

I’ve found it inspirational. I’m taking songs that were maybe straight-

“Don’t sing about whiskey and women, Willie Dixon told me, when you don’t know shit about it!”

ahead Americana sounding and turning them into boogie-woogie. A bit like Bob Dylan doing his shows now, you don’t know what he’s playing until someone turns around to you and says, “Was that ‘Blowing In The Wind’?” That’s when you get to the nitty gritty of a song, you can dress it up with a band, or play harmonica or guitar over it, but if you can’t just sit down and do a tune and move people to laugh or cry then you don’t have a song!

In your mind. what would you say makes a good song, great?

I think it’s in the communication, human communication and feeling. For me, a lot of it is the lyrics, but there’s dance music that drives people crazy and makes them take their clothes off, so I want in on that! I have songs where I know the women will get up and respond.

So, how do you grab an audience?

I was in the game, then out, to raise a couple of kids. Then I started playing again in a small shot and beer joint. This was a mother raping, father killing place with the dregs of society… those are my people! I soon learnt what I had to do to connect with them. The easy thing to do is play Led Zeppelin or the Rolling Stones. But to play my own material, I figured out some tricks. I’d write a song about something and give it a bass line incorporating ‘Midnight Hour’. If you have a couple of tunes like that, then you can get into your esoteric. If you give, you shall receive! That’s how that works, its musical karma!

Were your family musical?

No, my brother’s tone deaf and my father never whistled. I had a great uncle in Vaudeville, I think, that I got that gene from. I was playing music at four years old. I picked up an accordion and started to play. The whole family went, “oh my God, behold!” I have never had lessons, I’m self-taught on vocals, guitar, and

piano. I learned everything by hanging around musicians and watching and listening. I got a master’s degree two years ago, I got accepted into a programme because of my history in music but I have no formal education. I was there with these people who were writing symphonies and jazz things. I got up played my instrument and warbled a few songs and they went crazy “How do you do that?” There lies the yin and yang of music, ideally you have both.

For those not tuned in to your music yet, how would you describe your musical style?

I would call it singer songwriter blues. Mick Taylor called me, Americana blues. That defined what I do. I love playing guitar and slide guitar. I grew up listening to blues and Hank Williams, Bob Dylan and Van Morrison. To me, Willie Dixon was an Americana bluesman. His songs are clearly from the American Songbook. So is Robert Johnson, he was lyrically rich and had incredible imagery. More than the simplicity of some blues.

Do you have a song-writing technique? When I was a kid, I’d seek out writers. My mother was a writer. I spent two days with Willie Dixon; I also talked to Tony Joe White, Jackson Browne, and Bruce Springsteen. I learnt a lot from a screenwriter when I was younger in class. The screenwriter was an older woman who wrote television shows in the 50s and 60s when it was all live. She took bits and pieces that she would hear people say. She’d write things on pieces of paper and put them in her purse. When she got home, she had a table that was a beer barrel with a piece of wood on it, the middle had a hole, and she’d put these scraps in the hole of the barrel. After six months she’d take the wood off and turn the barrel over and the paper would fall on the floor. She’d then get a pad and write down what was said in no particular order, but she

would make a plot line out of them. That’s how I started writing songs, with pieces of things and then write a story. From the story, I write the song and connect it into a rhyme scheme. Finally, I sit and work a melody into it. Sometimes I just pick up a guitar and repeat things that are in my head! It’s not good to overthink sometimes!

Do you have any favourite venues you really like playing?

In the States, places like the Turning Point, I wrote a song after that place, in New York state. Most places where I can make a connection and the sound is good. I like playing in Germany also.

the music. My guys here didn’t study anything. They grew up in it, it’s part of their lifestyle just like in any culture. Europeans appreciate Americans when they play. They still emote; they may not get the language.

Are you still friends with Mick Taylor?

He’s a modern day Robert Johnson, he’s doing well. He’s the one who opened doors for me. When I was learning guitar there wasn’t a guitarist who didn’t try to copy Mick’s licks when he was in the Stones. When we played together, sometimes I forgot to sing, I would just start to watch him. He would say “are you going to sing or what?” What separates him from other guitar players is he’s on the upper stratosphere with guys like Derek Trucks and Eric Clapton and Stevie Ray, that Pantheon of Gods. The difference is Mick is an improviser. I would call him the John Coltrane of blues rock. He might start with a theme but then he would paint himself into a corner and then come out with a rush of sound. He has real feel, not colour by numbers!

Who else influenced your music career?

Do you prefer small venues or festivals? Both, they are two different shows. In small venues it’s like stage acting, you bring people close. On bigger stages, you project out; you have to be more demonstrative.

Do you find there is a difference between American and European audiences?

The Europeans appreciate the artistry by in large, regarding the American music. When I first went over there, I would pick up musicians in different countries for my band, but people want that American “thing” that swagger. The German bass player played like a scientist and he played great and he’d studied

Hank Williams, Bob Dylan, Elmore James, Freddy King, and John Prine. I did some music on John’s Oh Boy record label, it’s the reason I moved to Nashville. My first two records were on that. I heard, ‘Hello In There’ by John Prine when I was twelve, that first John Prine record spun my world. I thought then, you can be Mark Twain with a guitar!

What is the best advice you’ve had musically?

It’s all about the work, that was from Willie Dixon. He said “be yourself”. No matter how things are in your life keep straight and keep working. Don’t write a song on a record that is filler. I believe that. I love all my songs. I get

“In small venues it’s like stage acting, you bring people close. On bigger stages, you project out”

them to a point where I feel they should be. When the song is created, that’s the control I have, so keep your eye on what you do!

Let’s talk about your new album, Magnificent Heart, what’s the backstory to this?

I’m maybe at an age where I have a better overview of life, more humility and more compassion. These songs were made out of that. Some stories are from people I met on the way. I also draw on personal experiences a lot, for better or worse. There are songs here that have been dogging me for a while, things I have wanted to say to myself or to other people.

‘Scared’, is a song: I lost my wife in 2009 to ovarian cancer. She was a poet and she wrote a poem called “Scared” different from the song. I changed it and kept some of her words, that’s how it came about. My son plays guitar on that track, for me it’s the family come full circle. He’s a songwriter, we may write something together. He’s inherited my musicianship and her kind heart. My wife heard it and was very supportive of everything I did. ‘Chainsaw’ was born in the studio, the band clapped and played along. I wrote it for another blues artist but took it back, I like that one. I finished recording the record last summer. Then I got into this thing with the record label, I held back then signed the deal in Europe. Then the pandemic hit! We played a lot of these songs live; the shows have changed because of this hard hitting record. ‘Face The Wind’ has a string arrangement, I don’t usually put this type onto a record but people liked it. Usually with the blues crowd they may not latch on to it. This is the record I really wanted to make. Genre bending is the norm now. Don’t sing about whiskey and women, Willie Dixon told me, when you don’t know shit about it!

You have some great musicians on the new album.

When you have good material and good songs,

musicians come to you. They want to play on records they can take a little ownership on. People like Kim Wilson, and Jason Ricci have always been supportive. Paul Carbonara, he’s one of my oldest friends, he played with me before he went to Blondie. I said to him “You’re gonna leave this band to go play and stay in four star Hotels, play Wembley Stadium, are you out of your mind. You may not have this job when you come back!”

Anything else you’d like to tell Blues Matters readers about?

It’s all out there in my songs and music. I’ll give you a piece of trivia. My son said “I can’t believe you played with Run DMC” the band I was in played on The Kings Of Rock. The younger generation say that’s cool! Humans are all frail, music gives us solace. There is a spiritual connection between us.

Well it’s been great talking to you, good luck with the new release, hope to see you play sometime soon.

Let’s hope so, bye!

Félix Rabin

FRENCH CONNECTION THE

If you caught Samantha Fish’s recent sold-out UK and European headline tour you might have stumbled across young guitar slinger Félix Rabin opening the show.

Last year Rabin travelled to the US to record his debut six-track release, which is titled ‘Pogboy’. And even though the French born artist is only in his twenties, he shows skill, flair and talent beyond his years. Rabin certainly turned a few heads on this recent run, showcasing a sound that perfectly represents blues music in 2020.

Adam Kennedy recently caught up with Félix Rabin at the Brudenell Social Club in Leeds before his show with Samantha Fish to discuss his new EP, his touring activities as well as his introduction to the blues.

You are out on the road with Samantha Fish at the moment. This is the second night of the tour here in Leeds. How has the tour been going so far?

It’s wonderful. Everyone is very nice to us, which is surprising because you know, sometimes it’s not the case, so it’s very cool. The venues are awesome as well. We’ve had a

very good time. I’ve never played in Paris and I didn’t play a lot of gigs in France. So, it’s going to be amazing to play there because the venue where Samantha is playing is a very popular venue in France. So, to play like my tenth gig there in France on that stage, for a French guy is incredible.

With a tour like this where you are having to introduce yourself as the support. How do go about approaching a set like this? Do you try and mix it up a little bit?

Well yeah, that’s something we do. Like when we toured with Wishbone Ash, a year and a half ago, I was listening to the music that they’re doing and then you are trying to find that compromise of still playing your music but then also feeling the vibe of the artist you’re opening for. And I think it’s wise because, for example, you can’t play a metal gig for a country artist - that wouldn’t work. So, I’m trying to take the songs that I think are going to fit with the audience and the artist as well.

You’ve got a new EP coming out which is titled ‘Pogboy’. It’s quite a cool and unusual name for an EP.

WORDS: Adam Kennedy PICTURES: Chiara Ceccaioni

Do you want me to explain why? The reason is that we’ve been to LA to record the EP. And the producer/sound engineer is a guy who worked with Van Halen. That was the idea to have a guy that recorded guitars like that. And so, in the studio tracking the guitar, there’s an effect I use a lot, which is called the Pog. It’s an octave pedal. He said why are you using so much of that? I was like well I just like it. He was like okay well from now on I’m going to call you ‘Pogboy’. And so, when I was thinking about the name of the EP, I was thinking it is cool. It’s kind of a nickname thing. So yeah, so that’s the story.

Did you have a vision for what you were trying to achieve with this particular EP?

The first objective was to go to America, because most of the artists I’m listening to being French have always been English music, like all from the UK or all from America. I’m a fan Hendrix, Gary Clark Jr and Pink Floyd. I thought to go for the American sound in the production, the recording would sound like what I was wishing to achieve and that’s why we went there.

In terms of the music itself, it’s a six-track EP. I tried to not do just a blues or rock or country or pop record - I like to mix things up. The first song is very rock, whilst another one is more pop. Then there is one which is a more of a funky soul number and another one is more blues orientated. I like to show that I can do this and that as well as all of the music that I like to do. And I think for an EP, or a first official one, it’s great to showcase all of the stuff that I like to do.

So, is this EP going to be a precursor to a fullblown album?

the year or early next year. And probably another EP after that before I do an album. Maybe the next EP will be like a preview or will compliment an album that will come later on. But this one is just an EP in itself.

The first time I saw you perform you took to the stage from the back of the room and made your way through the audience. Is that your intention to take people by surprise? They’re not expecting that, but it makes a big impact.

That’s something we didn’t do last night for example, because I don’t want it to be just like a gimmick. That’s part of the whole thing. On a normal set of at least 45 minutes you have the time to do that and then go back after later on in the set and feel like it’s natural - it’s not forced. So yesterday I didn’t do it, but tonight I’m wondering if I actually should do it because that’s the thing you remember from your first gig. The thing is that by doing this introduction it takes, I would say three or four minutes at a time to go through the crowd. And then that’s one song gone, that’s the compromise - but maybe tonight.

So obviously you’re quite young being 24 years old. I mean blues music is not a genre that the younger generation listens to these days. What was your sort of introduction to blues music?

Not this one. The plan is to record two singles during the summer, probably for the end of

Well, Hendrix mainly. And even Pink Floyd. I discovered Gilmore’s playing and when I started to understand what influences he had he was mainly saying that it was blues. And so, from there, it was Hendrix and Stevie Ray Vaughan. Step by step you’re discovering someone new - but it was natural. I started to play metal music when I was sixteen and I worked for months. I bought a very good Ibanez guitar, a very expensive one - I was very young. I was like I want a

cool, shredder guitar. And I was playing metal for one or two years. And then one summer I worked more than I expected - I was working in a factory, like a summer job. And I made more money and I thought, well I have money left, I’m going to buy another guitar. And I bought a Strat and I think the Strat, it’s incredible.

I had the Strat and from there I started to play other music and I started to interest myself in other genres. And I discovered later because I sold the Ibanez, but when I had both of the guitars, I realized I couldn’t play anything other than metal music on the Ibanez. And so, when you have that Strat, the feeling itself, you just want to play something else - that was a big part as well. And I discovered John Mayer at that same time as well and then Gary Clark Jr, later on.

What’s your favourite song to play live at the minute?

Honestly, if it’s an opening set, I like to play ‘Voodoo Chile’ because it’s like everyone is discovering us for the first time. And when I play ‘Voodoo Chile’, I know it fits perfectly with what we’re doing. And it’s like the point where everyone in the room is like - oh. Because we introduce a song that they all know, and it helps you to get closer to the audience. You bring a song they know, but they don’t know you. And I think it’s more interesting when people are discovering you, than when you’re an established artist. I think when you are being discovered, so like when you are an opening act, I know the effect it has because

it’s effective.

‘Voodoo Chile’ is an interesting song to play live as well. I think because there’s a lot of people who cover ‘Voodoo Chile’. But I always think that whenever you hear it, everybody does something a little bit different with it. If you watch Kenny Wayne Shepherd play it, he’s channelling Hendrix. If you watch Dan Patlansky play it, it’s off this planet, and unique. Everybody does something a little bit different with it. Even Stevie Ray Vaughan, like the way he covered ‘Little Wing’, it’s a different song. He did an instrumental version whereas Hendrix was singing it. And ‘Voodoo Chile’ that’s a cool thing as well. I mean Hendrix songs overall I think are great because you can model them and change them. It’s still going to sound like Hendrix, but you can make them very personal.

So, do you prefer to add your own little touches in there, would you say?

Well with ‘Voodoo Chile’ at some point we just play something else. You know, like it fits. But for example, in ‘Voodoo Chile, the way he is playing the verse, it’s only on one note, which is like the core note. And what I’ve done, we are playing a blues structure, but we are going on the fourth. It’s still ‘Voodoo Chile’ but it’s played differently. So yeah, we are changing stuff, but it still sounds like Hendrix.

but it’s probably the last one, it’s called ‘The New Blues’ - that’s a blues song. And the cool thing with that is that we play the song and then when it’s my show and there’s no curfew, the improvised part at the end can last for a half-hour. And that’s when I go in the crowd. And the last gig we had as a headline show was in mid-January in France and the gig lasted two hours and fifteen minutes, as a trio. And that part was like at least 40 minutes. Just drum solos - you can do anything I mean that’s what I love.

With that kind of scenario, you’ve got to have a really good read on the rest of the band. You have to be in tune with one another to be able to go off and jam for forty minutes.

They’re two very, very good musicians. I don’t know who is doing the hardest part following me or being myself and being able to follow the guy who is giving to me. Because with bad guys, everything sounds bad, but they’re very good guys. So, it never felt hard to do with them. And I make them work as well.

Felix Rabin’s “Pogboy” E.P. is released on September 25th via www.felixrabin.com

• Pogboy (EP) 2020

• Down Our Roads 2016

And then the song I prefer to play in my sets,

GUITAR KING

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.

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MICHAEL LIFEBLOOMFIELD’S IN THE BLUES DAVID DANN

NO ORDINARY BLUES MAN

He is after all one of the hardest working performers on the worldwide blues stage, as he told me during the course of this interview, in each and every year for the last 32 he has been on tour for eight months. Except maybe while he endured a life-saving liver transplant that has certainly left him feeling humbled and grateful for life, a fact reflected in much of the lyrical content of his recordings from ‘Battle Scars’ onwards. 2019s Survivor Blues album was a high point, gaining unprecedented rave reviews and award nominations.

It was always going to be a tough act to follow but Walter knew he had the songs, or most of them at least, and he has emerged from The Doors keys player Robby Krieger’s private studio with a work that equals and might just edge that opus. Entitled ‘Ordinary Madness’, it focuses on Walters songwriting skills, with a little help from wife and manager Marie. Having immersed myself in its 11 tracks I contacted a locked down Walter at his home to talk about the songs and the process.

Hello Walter, how are you? Are you coping with being in lockdown OK?

Steve, hi, I’ve been expecting your call. I’m doing OK considering this is the longest single time I’ve ever been home. We’ve had to cancel an entire Summer of touring, but you know I try to remain grateful for being alive and having a career and a family.

It’s interesting that because of the situation we’re all in some of the songs on the album take on a different complexion to when they were written.

You know I think you’re right. I think everybody in this lockdown is experiencing a little bit of ‘Ordinary Madness’. Mental things that we go through and I think you’re right and that’s a little bit about why we’re releasing it now, it speaks a bit about the times we’re living in. The anger and the madness and the fear every day, is the line from the song.

‘Ordinary Madness’, the title track and opening of the album has that dark foreboding intro that sets the tone for the whole album. Survivor Blues was always going to be difficult to follow and you seem to have solved that by writing deeper and being more reflective lyrically. It was kinda like ‘Survivor Blues’ needed to be followed by something very different. Let me go back though and explain. For ‘Survivor Blues’ I went to the label with this idea. I said, guys, this is what I’d like to do. I’m known as a blues artist, I’ve got established blues credentials, I want to do two albums simultaneously, one to be called Blues and one to be called Songs because I’m also a songwriter; published over 250 songs. They’ll be different albums and you can release them as a package deal. They thought that was a great idea, so I started to write this album at the same time as ‘Survivor Blues’. I finished ‘Survivor Blues’ and then I had to go out on tour so I couldn’t finish this record. When I got back from months of touring and it was time to work on this again, I took what I had recorded and pretty much threw most of it away and started over. I wrote what I thought were better songs than I had recorded. I can tell you this as honest as I can be in songwriting and as open as I can be lyrically of myself. The only other thing I think that’s been this honest is ‘Battle Scars’.

Yes. It’s interesting that you say that, I felt that too. Of course, ‘Battle Scars’ was a highly emo-

Walter Trout is a cornerstone of the blues, he really needs no introduction here.

WORDS: Steve Yourglivch PICTURES: Alex Solca

tional album that must have been incredibly emotional for you to write. I’m sure the fan base found it emotional to listen to. Yeah, you know playing live, when I do those songs from ‘Battle Scars’ I kinda relive them. It’s not always fun to play the ‘Battle Scars’ songs because it takes me right back to an experience I had during that time.

They are very hard-hitting songs. This album is very strong too and highlights your skills as a songwriter as well as a performer and guitarist.

about the songs but don’t worry you’re gonna get plenty of guitars.

Let’s go through some of the songs, ‘Ordinary Madness’ really sets the tone, and then you go into ‘Wanna Dance’ which is upbeat and celebratory in many ways.

That’s what I was trying to do, this is what my wife describes as my singer/songwriter album. Now I have tried to put a lot of guitar in there. I mean there’s plenty of guitar on it but the focus on this one is the songs. I was just trying to make the best record I possibly could, and I did want there to be guitars on there. The ending of ‘My Foolish Pride’ where I play a long solo over the progression, if we were trying to write just for radio, we would have just ended the song.

I think most songwriters would agree the song takes precedence, it’s about what the song needs. You don’t add stuff that isn’t needed or take away anything that feels right. That’s absolutely right! Like on ‘Ordinary Madness’, I thought this is the title and opening track, we’re gonna hit them right at the beginning with that guitar solo. Here you go, you want guitar, here’s some guitar. This is

It is. The thing about dancing is it’s a metaphor for let’s celebrate that we’re here. Let’s celebrate the time we have. Live our lives to the fullest. Those two lines, “we ain’t gonna live forever baby, so let’s dance”. Let’s not get bogged down by the insanity of this world that we’re living in. Yes, it’s tough sometimes but let’s be grateful for what we have and let’s live life to the fullest because we’re on borrowed time. I’m painfully aware of the borrowed time thing y’know. I’m aware of that every day, I try to wake up now and I’m in Southern California with a nice window next to the bed, I open the curtains and there’s a nice blue sky and the oceans a block away, and I go what am I grateful for today. And I have plenty to be grateful for and I try to approach each day like that.

And then it’s ‘My Foolish Pride’ which is really an introspective song that highlights the songwriting.

Yeah, there’s an interesting story about that. This whole album sorta came to be by me realising that I still have, even though I’ve been sober for 32 years and my perspective has changed since my transplant, I still have those inner demons. Ghosts that kinda haunted me through my life that caused alcoholism and drug addiction. That shit doesn’t go away, you just learn how to keep it in a proper perspective. A lot of times when I’m with the band in the van and everyday we’re doing 6 or 7 hour

“I started singing those lines to myself and boom I had the song. It was very quick”

drives I will sit in the back and I will look out the window and watch the world going by and I will start getting self-reflective, thinking about my life and myself and how far I’ve come and have yet to go. Something my therapist told me to do was write some notes about yourself. So, I have this little notebook and I found these jottings on one I had written, sometimes I try my best, but I fail, and I know that happens to everyone. And then I try to hide away my shame and end up getting wrapped up in myself. I looked at that and thought ok there’s a song. Now I had to write the rest of it, but the first four lines were just some notes I wrote about myself never intending it to be lyrics. The melody just happened man. I started singing those lines to myself and boom I had the song. It was very quick. It’s one of my favourites on the album, it’s almost hard for me to listen to cos it tears me up. It’s as honest as I can be. Singing it was really emotional, often Eric Corne, my producer, wants me to sing the song five or six times to get the best version but I sang this once or twice and told him I can’t sing it anymore. We have to take what we have and make the best of it.

‘Heartland’ follows that, and it feels as if that’s about moving on and taking stock. It is and it’s about realising that sometimes you have to move on if you want more out of your life. If you have dreams that you wanna follow. An interesting story about that song is that I had a dream that my wife and I were watching a TV show called Heartland and in the dream the theme song came up and I woke up in the middle of it, and I was lying here at 4.00am thinking to myself I really don’t like that show but I like the theme song. Then I realised it’s not a show, there is no theme song and you better f’ing record it quick which I did into my phone. And I had, “Alone at the break of dawn, a young girl sits on a fence, and she can’t stop crying in the Heartland” with the melody and I recorded that in case I couldn’t remember.

I played it to my wife, and we young man sits on a fence it could my dream of being a musician I

dream so I’m gonna keep it a girl.

looks back, she’s thinking about

runway at Copenhagen, she looked bye Denmark and started weeping. about going into the unknown and your gonna follow your dreams

I played it to my wife, and we discussed it and said if I make it a young man sits on a fence it could be autobiographical. It could be about me living in New Jersey and realising that if I wanted to follow my dream of being a musician I had to get out of New Jersey, I had to move to LA or New York, and I chose LA. But then I thought, no. There’s enough autobiography on this record, let’s make it about someone else. It was a girl in the dream so I’m gonna keep it a girl. And then the last verse where she looks back, she’s thinking about what’s ahead and hopes to find on her quest but also thinks about what she’s leaving behind. That reminded me of Marie, she moved over here from Denmark to be with me in 1990. We were sitting on the airplane, as we left the runway at Copenhagen, she looked out the window and she said goodbye Denmark and started weeping. That last verse is about her. It’s about going into the unknown and leaving familiar things behind. If your gonna follow your dreams you have to take that chance.

It’s like being at a crossroads and knowing once you take this step you can’t go back. Yes, and you know what you’re leaving but not what’s ahead. That’s a very profound feeling. When I was 22, I had $150 and I got in my car and drove to LA. to try and be a musician. I could’ve stayed in New Jersey, I had a band, we didn’t work that much.

you’re leaving but not what’s

I lived with the band, it was ok, but I wanted more out of life. I was at, as you say, that crossroads of where you gonna go.

Did you ever imagine you would reach where you are now?

I hoped. I didn’t know. I believed I had something to offer the world musically. I always believed that from the time I was 14, that I was put here to play music for people. I actually knew that from when I was a little kid, I didn’t know what instrument it would be. I thought I was gonna be a trumpet player. As far as where I am today, I hoped. Maybe there’s a chance that if I hadn’t come to LA and got strung out on heroine maybe I would’ve been further along than I am today. I can’t get into thinking about

the past I get up every day and I’m grateful I have a career. This is my 29th album and I’ve got a beautiful family who I’m supporting by playing my guitar, what more could I want.

As you say you’ve done that. You played with Canned Heat and John Mayall, plus people like John Lee Hooker in the early days. Yeah. I played with John Lee Hooker and Big Mama Thornton, Percy Mayfield, Lowell Fulsom, Eddie ‘Cleanhead’ Vinson, Peewee Crayton. I played with Bobby Hatfield from The Righteous Brothers, and Joe Tex. I had quite a run as a sideman. Are you familiar with Jesse Ed Davis?

Absolutely, a very gifted player. I first discovered him on the early Taj Mahal albums. Well I played with Jesse Ed for two years. When I first moved out here, I managed to get into his band. You know he was playing with John Lennon and Bob Dylan and then I was playing in his band. I learned so much from that guy and I tell you that my solos on ‘My Foolish Pride’, those are kinda my homage to my mentor Jesse Ed Davis. He taught me so much music. He was at the Concert for Bangladesh with George Harrison and Bob Dylan and as you say played on Taj Mahals first three albums. He’s on ‘Walls And Bridges’ and ‘Rock’n’Roll’ by John Lennon. He taught me quite a bit and I’m still very thankful for it. He was a dear friend and a mentor.

The first time I saw you perform live was in my home city Norwich, ‘Prisoner Of A Dream’ had just come out. Oh man, that was about 1990, was that at the Waterfront?

That’s right. You brought a fresh-faced young lad up on stage called Danny Bryant. Yeah, that’s right, I did. I believe the first time he got up on stage he played with me at The Robin 1, it’s no longer there, not The Robin 2 in Bilston. He came and sat in when he was about 15. He has grown up to be an incredible performer. I am so proud of that guy. He is like a son to me. I started showing him stuff on guitar when he was about 13.

It made me think of that hearing you talk about Jesse Ed, because you in turn have mentored lots of young talent. Like Danny and Lawrence Jones plus a few more. Right, I played on Lawrence’s first album. I played on Ainsley Lister’s first record. Mitch Laddie, I had him come over and play at The Paradiso, he was 16 and I got him up and featured him and he got his first deal with Provogue. I made sure the label owner was

gonna be there. I love seeing young guys who are going to carry this on. Another one I think is outstanding is Chantel McGregor, I’ve seen her from the start of her career, and she is just an incredible talent.

Going back to the album, ‘All Out Of Tears’ was a collaboration with Teeny Tucker and is a very personal song. Was that a difficult song to be involved with?

My wife and I were in Memphis for the IBCs and Marie was a moderator on a panel called Women In Blues on Beale Street. Afterwards we saw Teeny and said ‘hi, how you doing?’ She said, ‘’I’m ok except my son recently passed away.’ We gave our condolences and then she said, “my heart is crying but my eyes are dry. I’m all out of tears.” I immediately asked her if that was something she had read or heard. She said, “no, I just said it cos that’s how I feel.” We have to make that a song I thought. My wife and I came up with the tune, she also helped with the lyrics. We used Teeny’s words as the chorus. I have to say I had quite a hard time singing it.

Did you ever know Teeny’s father?

No, I never met him, but I know who he was, Tommy who had the hit ‘Hi Heeled Sneakers’. I might have met him in my early days but been too drunk or drugged to remember, a lot of those times are a fog. I don’t know why John Mayall put up with me for so long. But I’ve been sober for 32 years now, not a beer nor a joint.

And then the track ‘Final Curtain Call’ has obvious metaphors about end of life etc, it seems to have an almost Led Zeppelin intro and a Middle Eastern feel running through it. Well yeah, I wanted to write a typical bluesbased song around a twelve bar but that had some interesting aspect to it rather than just a normal twelve bar. I came up with that lick. We tried it different ways, on one it sounded a bit

played on Ainsley Lister’s first record. Mitch

like Rod Stewart on ‘Gasoline Alley’. We ended up playing it on guitar and every now and then doubling it on the harmonic. The message in the song is really about dealing with ageing. I’m nearly 70 years old and there’s a couple of tunes on here dealing with ageing.

You mentioned Marie writing lyrics earlier. I think she wrote all of them for ‘Heaven In Your Eyes’.

Yes, that’s right. She helped on ‘Ok Boomer’ too, and half of ‘All Out Of Tears’. To my surprise I was sitting around with an acoustic guitar and I said listen to this melody I have, it’s really beautiful but it has loads of syllables, it needs so many words I’m not sure what to do with it. If I cut the syllables the melody goes away. I had one line, “I see heaven in your eyes.” She said play it again, she went off into another room and 20 minutes later came back and said here’s your lyrics. It kinda blew my mind. When we recorded it, I wasn’t sure how it would end up, but we’re really pleased with it. And that outro just happened spontaneously, we’d finished the track and the band just dropped in, we had to just leave it in, it sounded so cool. I’m looking forward to doing this one live, I have a feeling it could end up going for twenty minutes.

And then we come to ‘Make It Right’. As we said earlier if you were sitting down knowing about the situation the world is now in you couldn’t have written more accurately. On this I had a groove, I had been listening to Al Green. Inwardly I was trying to write an Al Green soul song. It got pretty rocking but that’s another one about relationships, like sometimes things come between you and you’ll never reach an agreement. You have to agree to disagree and the love we have will get us past this. Relationships take work, it’s not always easy.

What I felt about the song was that it’s clearly about making a relationship work but you could also take it as society at large. It could be political, bringing different factions together to co-exist.

Man, I hadn’t thought about it like that, but you know what, you’re right! It can be a metaphor for something much greater than just having an argument with your love. You just made it right, dude! I think you’re onto something there. I might have something in my head for when we play it live.

How did ‘Up Above My Sky’ come about?

This is an interesting story this was another dream. I got up one morning and walked into the kitchen and said I just dreamed I was playing a song called ‘Up Above My Sky’. I couldn’t remember how it went only that I kept singing those words. Again, she walked away and came back 30 minutes later and said here’s your lyrics. She goes, I had this thought, that people use light and dark as a meaning for positive and negative, good and bad, it dawned on me that in the darkness, at night you can see to the end of the universe but in the daytime you can’t see past that blue sky. In the darkness you see further. So, all of the lyrics were by Marie apart from the title which was in the dream. Eric Corne calls the song Wally Floyd, he said when he first heard it, “do you think you’re turning into Pink Floyd.”

The last track ‘OK Boomer’ is a bit tongue in cheek.

It is, I thought after all this heaviness let’s have a little bit of levity. The album starts with ‘Ordinary Madness’ which says I’m all fucked up and ends with hey, but I’m ok. I thought you know I’m fed up that, ‘OK Boomer’ had become a derogatory expression. Marie sat down and she wrote the first verse and I wrote the rest of it.

You said this is your 29th album, when you get back to playing live there’s a lot of material to choose a set list from. It always is, we’re looking forward to doing a lot of this album. Usually when I write for a new album, I have in the back of my mind can we do this live. There’s one I’m not if we can, which is ‘Up Above My Sky’. Some songs we do, and my tour manager comes out and plays second guitar cos it needs two. The majority though we can do live and probably will. On three of the songs I recorded at the same time as ‘Survivor Blues’ so the keys on those is Skip Edwards. On everything else keys are by Teddy Zig Zag who’s in the band. He was the live player for Guns and Roses and Alice Cooper and spent 12 years with Slash. And Johnny Griparic, the bass player, was also with Slash for 12 years. I basically have Slash’s band. Johnny is a spectacular bass player. I’ve played with some of the best and he’s my favourite, he seems to intrinsically know what my music needs.

Let’s hope we see you all live again soon. Well I’m meant to be back in the UK in January.

Let’s see what happens. I should have just got back from a European tour, so I hope it’s gonna happen. I’m chomping at the bit to play live. I played in club bands from 1969 but I started touring seriously from 1979 when I joined Canned Heat, I’ve toured eight months a year ever since then. I’m not used to being home for three or four months like this, I’m experiencing ‘Ordinary Madness’ man.

www.waltertrout.com

DISCOGRAPHY

Walter Trout has had a prolific recording career and space only permits us to list his most recent albums.

• Ordinary Madness 2020

• Survivor Blues 2019

• We’re All In This Together 2017

• Alive In Amsterdam 2016

• Battle Scars 2015

• Walter Trout – Best of 2014 the Provogue Years

• The Blues Came Calling 2014

THEY CALL ME

Bobby Rush won a Grammy Award for his 2017 album, Porcupine Meat. He is an inductee to the Blues Hall of Fame. He has received multiple Blues Music Awards and a B.B. King Entertainer of the Year Award.

His newest album, Sitting on Top of the Blues has gained great plaudits and continued success. Also, this year he’s brought out a single, ‘Dolomite Kid’ which was inspired by a Netflix production, Dolomite Is My Name, in which he made a cameo. Here, we caught up with Bobby during his recuperation of Covid-19 and the conversation went something like this…

How are things with you Bobby, are you recovering well?

I’m up on my toes! I was sick for

a while, but I’m good! I’m in Jackson, Mississippi it’s about 75 degrees. I’ve been self-isolating for two months and, yes, I’ve been writing songs for a new album. This will be a twelve track with just me and my guitar, acoustic stuff.

Dolomite Kid, how did that come about?

It came from that movie Eddie Murphy and a few other artists were in, a film about a guy I worked with, Rudy Ray Moore. We must have done a hundred shows back in the 60s and 70s. I played a part in it. I’m one of the few guys that played with their own name!

How much do accolades like getting a Grammy mean to you as a musician?

They mean everything to me; it lets people know what I am doing. It lets me know in my heart I was on the right track all of the time! When I won the award, I cried about it, I was in the right place at the right time. I had the right

WORDS: Colin Campbell PICTURES: Bill Steber

management and people could see what I was doing.

Talk about those days playing the Chiltin’ Circuit, it must have been interesting?

This was something I enjoyed and loved because that’s all I really knew. We played Juke Joints and small Clubs, 99% was a black audience, it’s all we knew and the only places we could get work. Then I went to Chicago where we played to a white audience but behind a white curtain. They wanted to hear my music but didn’t want to see my face, as a black man!

How did that make you feel at the time?

I didn’t know then what I know now. At the time I felt they didn’t want to see me just because…if I knew, I probably wouldn’t have been able to take it. When I did find out why they didn’t want to see me, and it was because I was black. I did not like that racist scene, and I was sad about it. When I was a young kid, I didn’t have to work for white people or pick cotton for them. My Daddy contracted us. I worked in the field all day long for a dollar a day, but I did it for my Dad. That’s why I didn’t know. My church was black, my school was all black, everything I did was with black people. I didn’t know until I grew up that there was a white and black issue.

You have your own record label now, Deep Rush Records, how did that come about?

It came about because I couldn’t get a record company to let me do what I wanted to do. They told me what they wanted to release, what I was supposed to sing, how to sing it and they just control you! The album I won the Grammy for was called Porcupine Meat. There’s no record company in the world wants to put out Porcupine Meat. I had this idea in my mind almost fifteen years before I released

it! When I did put it out, you saw what happened; I got a Grammy for it!

You had some calibre of guest musicians on the album Porcupine Meat, didn’t you?

Who ever thought those guys would want to be part of a Bobby Rush album? They’d been watching me all the time. I’m so grateful to Keb Mo and Joe Bonamassa and all my guests. Scott, my producer encouraged me so much and his wife. Everyone was so kind to me. I was on fire with everyone around me and all of the Louisiana musicians in my home State.

What’s the best advice you have had musically?

The best advice was from Albert King, Muddy Waters and Howlin’ Wolf. At the time I didn’t think it was advice. Muddy waters said in 1955, “Be good at what you do, work hard at what you’re doing, you’ll be a superstar”. Make a lot of money out of what I was doing for free, I didn’t know! Actions speak louder than words though.

Is it true you drew a false moustache on yourself so you could get into clubs when you were younger?

I went to clubs at sixteen years old. The club owner knew me, but I put the moustache on, so the public didn’t see how young I was. He let me in a back entrance, and I drew it on. I grew a moustache later but cut it off at twenty-five. James Brown endorsed me he said, “Let’s cut our moustaches off” Ray Charles did too! I grew it back after eight years, he didn’t!

What keeps you motivated to stay a bluesman in your eighties?

I’ve got this rhythm with me. Somebody said I was funky with my lyrics and I was told I did

“What I mean by the title is I’m on top of my game”

folk funk. I love B.B. King, Muddy Waters but also Louis Jordan, and jazz. You can hear a little of these elements in me and when you put them in a pot and stir it up that’s when you get a Bobby Rush soup! I love all kinds of music.

Talk about your last album, Sitting on Top of the Blues, what was the production process like?

It took three or four months to finish. It took time to pick the songs. It was hard to beat coming off a Grammy album. What I mean by the title, is, I’m on top of my game. As an old man playing the blues, I understand the risks of playing them.

What song is special to you when you sing it?

I guess, Chicken Heads. It’s a true story. My dad said you can lose your heart but don’t lose your head. My Daddy warned me about pretty girls wanting you to do things you shouldn’t! Just because they call it pretty don’t mean you should touch it! Porcupine Meat looks nice, but you dare not eat it, it will prick you!

Who was your greatest influence when you were growing up?

Louis Jordan and my father were influences. Muddy Waters for the way he held himself. Howlin’ Wolf for his vocals. So many in the business embraced me. Benjamin Wright (Gladys Knight’s pianist) and of course, Buddy Guy as well. He’s a good businessman. He’d do things to keep the blues alive. He shared with me how he suffered like I did, not making money until he was sixty.

There are so many good songs on this album, what’s your favourite to sing?

I like singing, Dog Named Bo. That’s a true story for me. It was when I was a kid, my Dad didn’t want this girl to marry me, because being a musician wasn’t a real job. He set the dogs on me!

You, self-reference a few tunes such as Bobby Rush Shuffle why is this?

I want to show my harmonica off. I want people to know I’m a bluesman, who plays harmonica and guitar. I want people to know the harmonica is the oldest instrument; most of the black guys have not made it popular other than Little Walter. All the white guys want to sound like the black guys you follow me!

How do you keep the blues alive in a modern world?

The best way is to walk the walk and practice what you preach. You can’t tell me the blues is alright, because you’ve got the House of Blues over in the US and they play anything but the blues! If you love the blues and want to be true to them then play them, don’t be ashamed. I’m not ashamed of who I am or of being black. Wherever I go I just play the blues. I believe in spiritual things because that’s a road map of life telling me what I should or shouldn’t do. I’m a blues singer. I may have a funky rhythm, but I want the world to know I’m a blues singer, harmonica player, and guitar player and I’m not ashamed of it!

Do you have any preferred venues you like to play?

“They wanted to hear my music but didn’t want to see my face, as a black man!”

I love playing the smaller venues. You’re always in love with the roots of the tree you came from. Where you can reach people in the audience with your hands, I love that, but you can’t make a living out of that. I love the 100,000 arenas but you can’t touch them personally! It doesn’t give you the same freedom as playing one on one.

Any stories from your times on the road?

Worst times were when no one paid me. On the stage is a good feeling, apart from when they didn’t want to see your face. Going between gigs you might not have a place to stay and back then you couldn’t eat with white people; you had to go to the back for a sandwich. It’s a bit different now, but you may still not have the money to pay for accommodation. As a whole now, musicians don’t have a black and white issue. We get on like a family. There’s going to be changes after this Covid-19 virus, and we have to get used to it. We’ll miss shaking hands and hugging. On stage after a concert I will want to do this, but we might not get the chance. I’m a people person!

Yes, as humans we need that connection with other people…

You said it, we are all connected it doesn’t matter where you come from. We are one person. When I can’t see or feel my fellow man, I feel bad, it’s the connection!

Is there anything about Bobby Rush that people don’t know about?

I’m a blues singer but I’m also a biblical studier. I’m not a religious nut because my Dad was a preacher. On January 29th, I got sick. I had the symptoms of Covid-19. Got the fever down then they sent me home. My body was strong enough to get rid of it, if I had it. I feel better now than I did for twenty years.

Is there anything in music you have not accomplished?

I have a Gospel album, I cut years ago I want to put this out sometime!

What do you do when you’re not making music?

I like reading and studying. Looking back over my life and looking at what I did not do. Now I’m concentrating on the things I can’t do. You can’t do anything about this virus but stay at home and stay away, love your neighbour as you wish to be loved. Finding the outcome of this is something we can’t do. I’m going to do the best for others; it’s all we can do, help others help themselves. The sick need the help not the ‘well’. The blues comes from poor black people raised in cotton fields. I’ve survived that! I’m so thankful I’m here to talk to you!

It’s been a pleasure speaking to you, thank you.

Thank you, bless you man! www.bobbyrushbluesman.com

CATCHING A KAT

AN

INTERVIEW

WITH KAT PEARSON OF KAT & CO.

WORDS:

Steve Banks PICTURES: Alessandro Corona

Caught-up in the Covid-19 lockdown, we found Kat Pearson of Kat & Co hitting the high notes, optimistic about the future and looking forward to life on the road again.

Hi Kat (& Co!) Hope you’re all well in these very weird times?

Yes, these times are unprecedented, I’ve managed to stay well so far as I went into lockdown about a week before London due to an underlying health condition. However, Francesco, our producer and guitarist, took a pretty hard blow from the ole’ Covid!

I imagine (and it’s probably very much the same for all performing artists) you’ve found it very frustrating over the last few months. How have you coped?

At first, I went into this weird mental state. It felt like I was sitting in a corner of a room with no lights on. In actual fact, I was just in my bedroom with the blinds closed watching movies and drinking wine…which lasted a couple of weeks then I got bored of that! I began to cope by keeping a daily routine of physical exercise and vocal exercise. I picked up my guitar and started to practice and make plans of what to do when all of this is over.

Looking at your past gigs, you’re very much an international touring outfit. It must have hit you all pretty hard.

In February we were on tour in Northern Italy to promote our new album and 3 weeks after we arrived back in England, Italy went into lockdown followed shortly by every other country in Europe. From then on, and rightly so, it was one cancellation after another and our chances of promoting the new release now relies entirely on social media and magazines like Blues Matters!

Are there any positives to come out of the situation?

Oh yes, I think so. It feels like a reset button has been pushed, it has given us time to step back and look closer at the administration side of running a band. As you know these days as an independent artist, we need to be savvy in marketing and business as well as being creative. We’ve looked at improving our brand and how to promote it better and expanding our knowledge in how social media can work for us.

What were you in the process of doing when lockdown was announced?

We were in the process of planning tours in Scotland and Ireland and we were finalising dates for our next Italian tour which was scheduled for the beginning of October. Now every single event has been cancelled or rescheduled to 2021, and this has been particularly hard for artists like me whose income relies on performances and CD sales. Are you making any short-term plans? It’s difficult to make plans for live performances as it stands. We are waiting until the Government opens venues and festivals again. Hopefully by the time this edition of Blues Matters comes out we may know a bit more.

And long term?

We have just released a new album under my name called ‘My Roots’ (2020) and we had just started promoting it when this pandemic hit, killing our campaign momentum. That’s why we are planning a follow up to consolidate the Kat Pearson brand. Have you managed to keep in contact with the rest of the band? (on-line rehearsals or gigs?)

We are always in contact, but we are taking it easy when it comes to our work schedule for obvious reasons.

Have you enjoyed any of the livestreams that have been available?

There have been some great global concerts, I’ve especially enjoyed the “Virtually Green Note” performances. The Green Note is an independent London venue where we regularly perform, it’s a small speakeasy kind of place and the virtual concerts have translated that feeling into our sitting rooms.

Your excellent album, ’Blues is the New Cool,’ was released in 2016. Is there anything new in the pipeline for Kat & Co?

Kat & Co. is a fantastic project that gave us the opportunity to explore other ways of playing the blues. Reviews and critics have always been supportive of our sound, perhaps because that kind of experimentation offers an opportunity to the genre to evolve and

This is great news, where can people listen and/or purchase this new release?

‘My Roots’ was released at the beginning of January 2020 and it’s the first album released on my name. It’s available for streaming and download from every digital retailer out there, but we always ask our fans to visit my website at www.katpearson.com where they can purchase it directly from us; it is absolutely secure and it greatly helps us to raise much needed revenue at this difficult time. Plus, it is the only place where those of us who are still interested in a hard copy, can order a CD.

You say that this album is about your roots and that you recorded it the old way. Can you tell us something about the songs and lyrical content?

I am extremely proud of this work; there’s so much of me and my story in this record and there are songs in it that touch a nerve every time I get to perform them. Songs like ‘Ode to My Mother’ which was long overdue, and it reminds us of how mothers are always there for us, carrying the load of the family, sometimes without recognition. Or songs like ‘Where I Belong’ and ‘The Truth’ where I explored the sentiment of love and how we can feel at home with someone if only we are capable or being honest to each other.

modernise itself. Unfortunately, the British music scene didn’t give it the space I believe it deserved so we put it on hold for the time being. Plus, after two albums, I felt the need to go back to my origins and record an album the old way, with musicians in a room just playing songs as if in front of an audience, with no clicks, or overdubs and all the post production work that a project like Kat & Co usually entails.

And, of course, there are songs about my family history going back a couple of generations; in ‘Cane Creek.’ I remember my father telling me how it was to spend time in the countryside as a kid. Memories recounted through the eyes of a child have a special fairy dust to them and we are particularly fond of this number. Or ‘Labour’s Train’ set in the ‘troubled white sixties and America is no joke, when you are proud to be black but still trading on hope.’ The last verse in particular seems to resonate with the anger of the black

“there’s so much of me and my story in this record”

community which is engulfing the news these days; lines like ‘daddy keeps on saying, this is just like the old days / like those on the plantation, we are still living in chains / you got to love and educate yourself, remember every day / that we still carry them chains, when we board the labour’s train.’ In fact, this last song is the one that triggered the whole idea of writing about my past.

I started to think back about my ancestors/ family’s journey from when they were brought over from Africa over 400 years ago, and how they had to survive after they were freed…I can see how this legacy had an effect on me generations later.

My Grandfather’s Grandmother was a slave, her attitude and ways of rearing a family were passed to my Grandfather. By the time my Grandfather had a wife and eleven children, he was never allowed to own the property they lived in. It is by no stretch of the imagination to think, had my Grandfather been allowed to purchase his property and possibly hand it down to his children, there is a good

possibility that I and my siblings would have benefited from that purchase.

What I’m trying to say is I wanted ‘My Roots’ to reflect that journey, or at least elements of it.

Have you used the same band for the new album?

To really sound different, we felt new people had to be involved. Francesco Accurso is still at my side playing guitar, co-writing the songs and producing the album, but for the rhythm section we invited Marco Marzola (double bass) and his Jazz trio made of Lele Barbieri on drums and Nico Menci on piano. These guys have known each other for years and playing with them was extremely comfortable. Francesco found a studio with a great sounding live room and we recorded everything in a day. We would explain a song to the musicians, try it a couple of times, and then perform it twice and move on to the next one. The result is extremely fresh and exciting, and it gives a clear representation of

what we are about live.

The fact that you chose a Jazz trio to record your latest album perhaps calls for further exploration, especially considering that in the UK bands seem to focus more on the rock side of the blues.

Clearly blues-rock is part of the British musical heritage, and I love the way the music evolved over here through the 60s and 70s, but I am originally from the States and the genre over there has a lot more in common with jazz than rock. Most jazz players in the US can play wonderful blues, and they also tend to add a bit of spice to it, a sort of sophistication which comes from their musical language. So, when we started looking for possible musicians for the album, we opted for people in that camp; Marco (Marzola) was on tour with his trio in the UK and we jumped at the opportunity. The session went so well that we now try and work with them as much as possible, and our recent Italian tour gave us that opportunity.

Italian people seem to love the Blues; how did the tour go?

They definitely do, and they gave us the warmest of welcome. Every single gig was sold out and every location had something special about it, from the beautiful settings of Passignano sul Trasimeno to the historical stage that is the Blue Note in Milan. And to think that only a month later the town was to become the epicentre of the pandemic in Italy; we nearly got caught in the middle of it. I hope things will improve soon and that music will once again allow us to travel places and meet new people.

What are you particularly looking forward to, when some sort of normality returns?

Getting back on stage and going out to dinner with friends.

Personally, I’m hoping that people are going to enjoy and appreciate live performances even more and that there’ll be a big upsurge in attendances. How do you see it?

Oh yes…we need live music in our lives! After so much virtual entertainment, I believe people will be hungry for the real thing, to feel that surge of emotion we experience by watching our favourite artists perform live in a room. I just hope venues and concert halls will manage to survive this crisis and find a way to attract people in numbers. This is something of a concern at a time when live music has already lost some of its appeal, especially with the youngest. And of course big events are always a pull, but we miss small to mid-size venues with a reputation based on the quality of their acts, places where good bands could always get a chance to perform and where people would go, knowing that they will always witness something exceptional there.

There is nothing like good live music.

Thanks for taking the time to talk to Blues Matters! Here’s wishing you and the rest of the live blues scene a speedy return to live performances!

Thank you Steve and see you at a gig soon!

“There is nothing like good live music”

MICHAEL LANDAU

LIQUID QUARTET AND LOCKDOWN

Michael Landau is a name that you may not be familiar with but his talents as a guitarist and composer mean that it is highly likely that he is in your CD collection and you didn’t even know. Having played on albums by Alanis Morrisette, Mariah Carey, Richard Marx, Anastacia, Michael Jackson as well as touring with James Taylor and The Steve Gadd Band to name a few and he is all over popular music in the 21st Century.

He is set to release, a brand-new live record entitled ‘Liquid Quartet Live’ through The Players Club/Mascot Label Group and we had a chat about it during lockdown.

Hello Mr Michael Landau, how are you doing?

We are doing okay staying at home in Los Angeles and I’m with my wife.

One of the first important decisions when making a live record is where do we want to do it? What was it about this particular venue The Baked Potato Jazz Club for you? Well it is in Los Angeles and we play there a lot, so it is kind of another home for me. I don’t usually like playing dry rooms, but this room really works. The tiny stage is in the centre of the room and the audience surrounds you from both sides. In addition, the sound system surrounds the band as well, it’s like you’re inside the P.A., the close proximity of everything gives the effect of everyone

wearing headphones but together in the same room.

Opener ‘Can’t Buy My Way Home’ has a real funky bassline and swinging drum sound. What was the inspiration for that track?

‘Can’t Buy My Way Home’ is a song from one of the bands I was in called Burning Water which I was in with David Frazee who played guitar and vocals on this album and it is a cool track to start the evening with. The band consisted of Abe Laboriel Jr on drums and Jimmy Johnson on bass as alongside David and me.

‘Well Let’s Just See’ has a really fluid guitar tone. That is a brand-new song that we did for those sets.

WORDS: Glenn Sargeant PICTURES: Austin Hargrave

‘Greedy Life’ reminds me a bit of Robert Cray, specifically the track ‘Sittin’ On Top of The World’, but it seemed like you just needed to channel your anger surrounding corporate America.

I can see what you mean about the Robert Cray thing in terms of the verses. That song was from a band I was in called Renegade Creation which I formed with the guitarist Robben Ford. It is quite an angry song, but that stuff is still going on today.

Exactly. If you told me that it was one of the new songs, I would have believed you. ‘Killing Time’ sounded like a Crosby, Stills and Nash track.

Thank you very much I really like how that song came out.

On ‘Bad Friend’ it has this get up and go approach and it sounds like it has hints of ‘Voodoo Chile’ I don’t know if that was intentional or not?

Voodoo Chile?

Yeah at times I thought “Oh he’s gonna go into Voodoo Chile” and then you didn’t and then I thought “Oh he’s gonna go into it now!”

(Laughs) Yeah. I have this effect called a Univibe and that’s very kind of Hendrix-y and Voodoo Chile, I guess. I’ll take that as a severe compliment sir!

Thank you very much! ‘Can’t Walk Away From It Now’ - when I heard the lyrics on this song along with the other tracks, I felt that overall there was a theme of confliction. Like there’s an individual and they are really conflicted about what they want to do next. Would that be a fair kind of statement?

Okay. That’s the other new tune on the record. Those are all David’s (Frazee) lyrics and I really like the lyrics on that one. I don’t know if its confliction, but I just like the sentiment of the tune is nice.

On ‘Renegade Destruction’ lyrically it really makes you think. It’s a lot like ‘Greedy Life’ in many ways. It, kind of makes you take notice and think about what’s happened in the past and what is still going on now. Yeah that makes sense. That was from the same record that I made with Robben (Ford) ten years ago and ‘Greedy Life’ is on that same record. So yeah, we had a bit of a political and environmental thing back then. That does fit in with ‘Greedy Life’ absolutely and it still goes on today. We will keep playing it.

On the subject of environmental songs, have you heard of the American band Spirit? My Dad quite liked them. Spirit? Oh yeah from the Sixties?

Well they have a great song called ‘Nature’s Way’ - I don’t know if you have ever heard that one before?

No, I haven’t - I will revisit that.

It is from that time and it is essentially talking about the environment and global warming before we’d even heard the terminology. Back then though! Wow!

It has this great line where it goes “It’s nature’s way of telling you something’s wrong. It’s nature’s way of telling you in a song.” Oh man!

You play it back now in 2020 and it is still as important, significant and relevant today as it was back then. Back then global warming wasn’t even on people’s radar, but it felt very Nostradamus-y!

Absolutely! I mean people were talking about nature back then, but it definitely sounds ahead of its time.

I definitely recommend that if you like Spirit and it is not one you are overly familiar with you might get it.

Yes, definitely I’m writing all this down! You had a hip Dad! He’s not around anymore?

No, he passed away in February this year. I’m so very sorry. But he’s here in spirit I truly believe that.

Thank you I really appreciate that. ‘One Tear Away’ very psychedelic floaty sound. I’m getting The Doors vibe. I like it as it is really “out there”.

The Doors definitely that’s a good one for me. That’s another track that I had cut with my brother and we had it laying around for a little bit. I played it for David (Frazee) and he is just such a super creative melody maker and lyric writer. I just gave him the track which in itself has a nice vibe - a slow dirge, but he turned it into a whole complete thing, and I was really impressed with it. It had such a nice beautiful creepy feeling about it.

On the last couple of tracks, you have one called ‘Tunnel 88’ and I wanted to ask you is Tunnel 88 a real place?

It is not a real place. But we were in Hong Kong playing a couple of shows and we went out as the promoter took us out to eat and these crazy two girls tagged along as they knew him. They were just really drunk, and they were drinking this stuff called Tunnel 88 and I have always seen it over there. I wrote

that one down and it seemed like the right tune to use it for. Its named after booze!

I wasn’t expecting that, but I like it! You ended with the track ‘Dust Bowl’ which I thought was a nice pleasant way to round off the evening. Was it planned to end it with instrumentals or was it just going that way? We do that sometimes and I think that was the end of the first set as we did two sets that night. Sometimes we like to end the show with a quieter thing instead of a rager. I have been playing that song for two or three years now, but it had never been recorded, just some versions on YouTube. It came out really nice and everyone just gels together.

Here’s a question for you – What makes Mr Michael Landau happy and what makes you angry?

(Laughs) Playing guitar makes me happy, recording, eating good food and a tasty meal. What makes me angry is arrogance and narcissistic people. Stuff like that!

It is really quite funny actually because when I asked that question to Mr Richard Marx, he gave the exact same answer! Oh s***! Richard Marx! Wow!

I interviewed Richard last year in Hyde Park, London he was on the bill with Barbara Streisand who was headlining. We have the same manager. He’s a nice fellow, I know Richard.

He’s lovely, isn’t he? In doing some research on yourself and looking at your session work, I thought “I’ve got a lot of albums with you on!”

That’s funny. There was a lot of recording going on in the Eighties and Nineties for me at least. I was very fortunate to be working with a lot of people and it is fun to look back on that.

You were on Michael Bublé records as well! Do you like pop music then?

I have quite a varied taste really. The second concert I went to at aged eight was James Brown at the Hammersmith Odeon in London as it was known then. James Brown got his guitarists together and said “Right, we gotta stop the show for a minute. We lost a brother not so long ago and we’ve gotta do a tribute!” He brought the guitarists forward and they did ‘Night Time Is The Right Time’ because Ray Charles had just died. Oh man!

It ended up being James Brown’s last UK concert because he passed away soon after. I was gonna say it was not that long after that he passed. Was your Dad a Pretenders fan?

Yeah, he quite liked them. We saw them in Oxford over here. Their guitarist is one of my favourites too James Honeyman-Scott who died tragically way too young. I love that band.

Thank you very much for doing this and for your time. It’s a really great album. Thank you Glenn I really appreciate it. Great to speak with you.

ELIZA NEALS DETROIT’S FINEST

Eliza Neals started to achieve global recognition with the release of ‘Breaking And Entering’ in 2015, and further enhanced her reputation with the 2017 album ‘10,000 Feet Below’.

Last years, ‘Sweet Or Mean’ EP in collaboration with Popa Chubby introduced her to an even wider audience and now her brand new long player ‘Black Crow Moan’ seems destined to secure her space in the blues hierarchy. This is blues-rock of the highest order, with featured guests Joe Louis Walker and Derek St Holmes (Ted Nugent) notching up the guitar levels.

I caught up with Eliza via cross Atlantic phone to talk about the album and find out more about her background.

Hiya Eliza, how you doing?

Hey! I’m OK. I’m in New Jersey right now and we’re pretty alright.

OK, I know you are a Detroit girl really. I am, I grew up in Detroit, now I tend to split my time between New Jersey and Detroit. While a lot of people put releases on hold you actually brought yours forward. Yeah that’s right. It was gonna be released in May, but I figured people wanted new music to hear and being independent I could get it out there. It was a lot of hard work getting the masters done and all the pressing and stuff while under quarantine, but we did it and lots of my fans are thanking me and are pleased to have it. And I’ve done some virtual online performing too. I hope we can soon get back to the real touring and keep

WORDS: Steve Yourglivch PICTURES: As Credited

the momentum going.

I guess that being an independent is an advantage sometimes. Absolutely. Between writing these songs I was able to release that EP with Popa Chubby, which helped keep my fans happy, you know they kept asking when’s the new album coming out? It’s taken two years I wrote most of it working out on my piano.

You’ve got some great people on this album. You seem to have a knack of getting great guitarists on board your projects. Yeah, I love guitar. I grew up hearing classic rock and blues, and Motown, all that kinda stuff. I’ve been lucky I guess that they like what I write on piano. When I approach them, I show them the piano orchestrated songs, I play it for them. For instance, when I met Popa he was in New York, the idea was to ask him to produce, and invite him to sing on a couple of tunes cos I love his voice. Popa’s bass player is my East Coast bass player too, Lenny Bradford. I got to meet Joe on the Blues Cruise and we became friends. I mean he’s iconic as a player, and he produced ‘The Devil Don’t Love You’ on the album. Whatever he had in mind was good for me. He is an amazing guitar player with an amazing voice. We recorded some of the tracks in Nashville so I wondered who I could invite onto the recording there and Derek St Holmes was there and came over and knocked three songs out. He is a legend and such a nice guy. I mean wow, he kills ‘Ball And Chain’. He is so humble we are planning to work together again in the future.

I know you’ve had operatic training and you’ve got these outstanding guitarists involved but nobody is showboating, everyone performs for the benefit of the songs. Well thank you. That’s a big compliment. Yes, it has to be that the song is the first thing.

That was the first lesson I learnt from Barrett Strong who was my mentor and wrote ‘Heard It Through The Grapevine’. He always said it starts with the song no matter what, if you’re the songwriter you know how your song should go. So that automatically makes you the producer. He taught me so much.

I was planning to ask you about Barrett, he’s a legendary songwriter. He took you under his wing, didn’t he? Yes, he did. He is still writing and is a great friend. I met him by chance in a health food shop in Detroit and we’ve been friends for 15 years. You know in between that I went to university and studied opera it’s been a real cool journey. I started singing in clubs, Motown tunes. Put it all together and hopefully that’s what you’re hearing.

The track ‘Black Crow Moon’ sounds very personal, I wondered if it’s autobiographical? I know a lot of ‘Sweet Or Mean’ was very personal. Yes, they were, ‘Pawn Shop Blues’ for instance. A lot of those songs on the EP were from the same stack as these ones but they were ready to go. So, I think both the EP and this album are my most personal songs to date. The ones that were maybe a little darker subject matter I held back for the album.

I found the tracks ‘Watch Me Fly’ and ‘River Is Rising’ both quite emotive. I think so, you know ‘Watch Me Fly’, all artists go through those feelings. ‘River Is Rising’ was inspired by all the hurricanes and disasters. ‘Black Crow Moan’ and ‘Ball And Chain’ were written before the pandemic but are about loneliness and isolation. ‘Never Stray’ is just a wonderful song it’s probably my favourite.

With ‘Ball And Chain’, were you inspired by the Mama Thornton original or the famous

Janis Joplin version that is also pretty amazing?

I love that song. Years ago, I mostly heard the Janis Joplin version and then I started looking for songs that I thought would suit my voice, so I listened to the original and thought wow that’s the one. I love how she sings it and I love Buddy Guys solo. I sorta mixed them together. It’s almost gospel, that beat. I’ve been singing it for a few years now.

‘Take Your Pants Off’ is a fun rock n roll thing to finish with.

Ha…yes, that’s so funny, because I made it up on the spot at a gig and I sang it at the Mustique Blues Festival and a lot of Brits were there and cracking up. I didn’t know pants meant underwear to you guys. It was so funny and made everybody happy, so I figured let’s just end the album with that.

Your sister is on some backing vocals. Did I read that you come from a very musical family?

Growing up both my sisters and me would sing at the piano as an escape. We would do three-part harmonies when we were young. My older sister Valerie who is on ‘Watch Me Fly’ is a classical pianist and a great songwriter. She’s not so keen on playing live, she’s pretty shy. Sometimes I feel like I’m doing it for her cos I know she would like to do it, but some people find it very difficult to go in front of an audience and sing. I find it easy I love being in front of people. Later I got a degree at State University in opera, a lotta people find it hard to believe I can sing opera. To do that there’s a process and technique to learn to keep your voice clean or not clean without harming yourself. I had to learn those techniques to protect my voice because I was singing in Detroit clubs 5 hours a night, 7.00pm to 2.00am, and they were full of cigarette and cigar smoke.

This album is out now. What’s next for Eliza Neals?

We’ve been invited back to the UK and Spain to tour, hopefully in January 2021. If the worlds back, we’ll be back. In the meantime, I’ll try to get this album played and heard by as many people as possible. And I’ve been playing some of the songs on piano online just connecting with the people.

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FÉLIX RABIN POGBOY EP

Hot off the back of a recent European tour with Samantha Fish, Swiss-based guitarist Félix Rabin unveils his eagerly anticipated debut EP ‘Pogboy’. Originally slated for an early 2020 release, the unveiling of the six-track extended player was pushed back to later in the year due to the current Coronavirus pandemic. But, as they say, all good things come to those who wait, and Rabin’s debut EP will finally see the light of day on the 25th of September.

Félix recorded the EP in Los Angeles, California. The title

of the EP itself was derived from a nickname given to Rabin by his recording engineer Ross Hogarth due to his use of one of his favourite effects pedals aptly named the Pog. The aforementioned effect changes the octave of the guitar and can be heard quite prominently during the opening track ‘Walk’. This thunderous opener sits on the heavier side of Rabin’s repertoire and is one of the standout tracks on the EP.

Félix quickly switches pace with a slower, cleaner sound during ‘Moving On’, which adds a nice contrast to the EP opening. The addition of horns adds a nice texture to this song amongst others on

the release. The delivery of the number is heartfelt and emotive. The result is a beautifully soulful composition. The EP showcases the many different sides of Rabin’s artistry. During the latter stages ‘Say (You Won’t Leave Me)’ features a funky yet heavy groove, with a passionate guitar solo. The EP comes to its conclusion with ‘Gone’, which conjures up images of present-day peers such as Gary Clark Jr. With Pogboy, Félix Rabin has delivered a contemporary-sounding EP that perfectly represents blues music within 2020.

ADAM KENNEDY

“a contemporary sounding EP that perfectly represents blues music within 2020”

CLIMAX BLUES BAND - HANDS OF TIME TOUR

Legends Lounge, Germany, 21/02/20

Olching Germany just before lockdown, seems ages ago now. I’m in Legends Lounge, waiting to see the band.

Cool little music bar, friendly staff, good stage and sound and strangely, a bar in the middle of the room, serving a soldout show. The crowd all no nonsense Climax Blues Lovers.

Over five decades the band has evolved into a mature, supremely talented line-up: Lead vocals Graham Dee, keys George Glover, Lester Hunt guitar. Neil Simpson bass, Roy Adams drums and Boysey Battrum on sax, depping tonight for Chris ‘Beebe’ Aldridge. The tour celebrates the new album Hands Of Time.

An air of excitement broken by a cacophony of clapping, whistles and cheers hangs in the room as the fans pile in. The lights dim;

they hit the stage. Bring it on lads — and they did just that, opening the set with Straight Down The Middle, a new and original cut. Silky smooth baritone vocals backed by sublime guitar, sax, keys and rip-tight rhythm section.

Fool For The Bright Lights follows with brilliant Hammond sounds then a trip down memory lane with old favourite Louisiana Blues. We’re momentarily spellbound as Graham almost whispers the lyrics of The Cat. The songs first live outing and The Cat is not the four-legged variety, a cool story with bags of atmospheric charm.

We are seamlessly transported from Pied Piper entrancement with 17th Street Canal, moody and melodic, transfixing everyone in the room, to these puppet masters pulling our strings, lifting us on to our toes, dancing to the tune of What’s Your Name — amazing sax solo and blistering guitar. Hard Luck, 12-bar boogie, the 70’s hit single Couldn’t Get It Right and two Willie Dixon Classics add to

the party vibe. Spoonful is full on with jazzy keys...a different take on the original.

Each artist unleashes an epic solo in the second set — showcasing just how accomplished and versatile these musicians are. Hell yeah!

Set-closer Wrong Time has everyone dancing; a belting song with big sound, Graham steps side of stage while the rest of the band totally own it! He returns to say goodnight - it’s one of those, ‘don’t want this to end moments. After thirteen perfect songs they play out the show with encore Towards The Sun.

The band released their debut album in 1969. Now 51 years on we’re still loving the music and enjoying a new 21st album, crossing Climax flavours – a sophisticated blend of blues, rock, soul and jazz with ‘that’ deep funky groove. An amazing show tonight – one for the memory box. Climax you hit the spot – it’s been a blast!

Yvette Jenkins

HANDS OF TIME

CLIMAX BLUES BAND Independent

The German Hands Of Time tour was stupendous! – couldn’t wait to review the album, released January 2019 and coinciding with the bands’ 50th Anniversary.

The first new music from this line-up features thirteen new original songs and a previously unreleased bonus track ‘Getting There’ with the late and great founding member and frontman Colin Cooper (vocals & sax). The superbly crisp, clear production and ‘climaxing’ sound epitomising everything Climax Blues hits the senses with a kaleidoscope of music genres. A cool blues and funky groove is layered with soft rock, jazz and soul. Graham Dee’s lyrics are cleverly written with creative composition – each song telling a story.

The overall arrangements showcase each musicians’ unique, emotive and polished style – all performed with passion. Supremely talented guys! This is a sophisticated sound, mostly mellow with a mid-tempo feel. A great 21st coming of age album. Graham Dee’s husky baritone, backed by the outstanding lead guitar of Lester Hunt, Chris ‘Beebe’ Aldridge’s amazing sax solo, George Glover’s gorgeous keys, Neil Simpson’s locked-in bass and Roy Adams on drums holding the groove, lend a funky feel to the opening track Kick In The Head, with its catchy hook, great fills, and bags of sax appeal. ‘Straight Down The Middle’ is brilliantly structured with an air of tempered flamboyance. More blistering guitar follows on ‘What’s Your Name’, a song of seduction with a sting in the tail. Sexy funky beat, rumbling vocals, Hammond sounds and beautiful Brecker, Sanbornesque sax solo make this simply superb! ‘Flood Of Emotion’, a melodic love ballad.

If 12-bar boogie is your thing you’ll love Hard Luck, a shuffle with great guitar, keys and some true-grit vocals. Even more upbeat is Wrong Time, a great tune for the boogie floor with a tinge of soft blues/ rock; for that more laid-back feeling Faith has a funky baseline and some cool clean guitar licks.

A dreamy wash of harmonies and perfect sax on 17th Street Canal makes this one of my favourite tracks; a poignant political and social commentary.

‘The Cat’s clever almost whispered lyrics, create an eerie atmospheric feel to this jazzy number with yet another outstanding sax solo. ‘Hands of Time’, the title track, is slinky-smooth with sensual soulful strings and soprano sax.

Don’t expect ‘old school’ rock-your-socks-off Climax – but do be pleasured by the refreshing new creativity that captures the band’s bluesy tradition. This new music is just too good to go unnoticed – give it a listen. If you enjoy a good road trip through the genre gears littered with cool bluesy roots along the way, buy the album, it will not disappoint.

Track List:

VIENNA CARROLL & THE FOLK

HARLEM FIELD RECORDINGS Independent

This is a very interesting release. Field recordings, an accompanying bunch of musicians known as The Folk and including a washboard player (Newman Taylor Baker), and with some material that is performed almost acapella, drawn from Alan Lomax’s trip to Parchman Farm Women’s Penitentiary in 1939. This set however is no historical documentary. It is genuinely listenable and enjoyable, but also extremely educational and yes, political. Try the opening Strawberries And Glory, based around a genuine street vendor’s cry. Vienna Carroll is a strong singer, though sometimes with an air of sophistication creeping in, as on All The Pretty Little Horses, ostensibly a lullaby, though with a real sting in the tail, and performed in a “cultured” 40s / 50s style when such an approach

SAVOY BROWN

AIN’T DONE YET

Quatro Valley Records

was necessary to be taken seriously by a wider audience. It contrasts well with her pointed cover of the blues I Just Wanna Make Love To You, a tough performance for the “new woman” with some exquisite guitar playing by Keith Johnston. There are also nicely individual covers of Robert Johnson’s Come On In My Kitchen and Son House’s Grinnin In Yo Face, a stunning performance with three vocalists and prominent bass playing by Stanley Banks. In some places the album made me think of the use of older material and styles by the more experimental of the jazz performers of a few decades ago (I’m thinking of the Art Ensemble Of Chicago, in particular). Whatever, as I said at the beginning, it is a very interesting release, and I will also add, an intriguing one too.

NORMAN DARWEN

Formed in 1965, Savoy Brown has been credited as being instrumental in the blues rock movement with a staggering forty-one album releases between 1967 and 2019. Still packing venues and making music, the aptly titled Ain’t Done Yet album proves just that. Opener All Gone Wrong has this chugging drum beat courtesy of Garnet Grimm whilst Simmonds guitar cries out like a bird soaring through the sky. Very ZZ Top/swamp blues in delivery but still with their own Savoy Brown signature sound. Devils Highway has a late-night vibe and Pat DeSalvo’s groovy bass blends beautifully with the driving guitar and intriguing lyrics which concoct images of red skies and long highways. Blues rock storytelling at its finest. River On The Rise deals with Mother Nature and the consequences of excessive rain and subsequent flooding - “In twenty four hours, it’ll be over the floor.” An emotive number which sits nicely. Borrowed Time has a vocal effect/delay which could be argued is not necessary but it does help create an atmosphere. Ain’t Done Yet is a real boogie and will sound fantastic in a live setting with crisp guitar solo ringing out. Feel Like A Gypsy with Santana-esque percussion reminds me of Creedence Clearwater Revival at times. Kim Simmonds’ vocal has a lovely textured tone to it. Jaguar Car features an impactful harmonica and is perfect for long summer drives. Rocking In Louisiana has lovely steel guitar and a call and response chorus making it a potential live favourite. Soho Girl is a tale of a woman who “drives a ‘67 Mustang and sleeps with a gun” and the lyrics are intriguing. Closer Crying Guitar is an instrumental. The guitar is purposeful but not aggressive; the perfect balance. In conclusion, Ain’t Done Yet will please long-term followers of the band and collection completist types as well as inspire/ influence younger audiences who were not there at the beginning, thus keeping the genre of blues rock alive as well as the Savoy Brown legacy. Serving suggestion though - best served loud!

GLENN SARGEANT

“extremely educational and yes, political”

BIG E AND THE WILD HAIRS ELECTRIFIED

Silvern Records

While playing at a local venue in San Antonio, Texas, in 2012, Eric Whittington and Dave Duggins having a blast in respective cover bands, chatted between sets about writing and recording original material. Duggins who was raised in Tennessee brought a metal background, both as a drummer and guitarist, his 12 years in England included a stint in a British/American heavy rock band that opened for Saxon, added a classic British blues sensibility to the mix, A native of Texas who loves its amped up blues and sweaty rock, Whittington’s contributions include a gravelly voice born for bluesy rock and roll and a passion for overdriven harmonica sounds. They wrote and released the debut Big E and the Wild Hairs album Bona Fide in 2013, with Eric lead Vocals, Harmonica, Dave Guitars, Drums, Keys and Bass on tracks 5,6 & 8, and Jeff Duggins Bass(all other tracks), Electrified evolves that sound and is a more polished album, containing 11 original tracks written by Dave Duggins and Eric Whittington. Duggins also produced and engineered the new album. Curandero with its driving funky bass line and soulful horns start the album, Mr Cool starts with a hypnotic beat and vocals reminiscent of Mark Knopfler to me, with its heavy thumping drumbeat Can’t Get Enough is a fast-paced heavy rocker. While southern style rock grooves drive along Kept Man. Next up we have an 80’s style British rock number with the harmonica giving Kiss Of Death a more bluesy feel. Title track Electrified conjures up Sabbath with its style and sound effects, staying with the 80’s rock vibe is Slingshot, on the ballad Dangling On A String Whittington delivers poignant anguished vocals, on Up To You the wah wah guitar gives a funkier edge to the sound, When The Devil Comes Down The Mountain features plenty of harp giving a more bluesy rock vibe, finishing the album with the southern rock blues grooves of Got a Little Groove, this is an album with a retro 70’s/80’s blues rock feel to it.

EVELYN RUBIO

CROSSING BORDERS

SeaSpeed Productions

Evelyn Rubio was born and raised in Mexico City. She has amassed a bunch of top-class musicians, including members of The Phantom Blues Band. I was lucky enough to review their latest album a couple of months ago, so when I saw that they were involved, I knew I was going to love this album. The album kicks off with One Last Time with a real funky grove. Evelyn’s voice is raspy and gruff, so is perfectly suited to the funk/ blues style of tune such as this. John Sklair on guitar keeps this tune firmly on track. Still On Your Side continues in a more bluesy vain. This lady has a blues vocal that you only find every so often. Powerful and commanding, but also an understanding of delivery. On top of all that she plays a mean saxophone throughout the entire album. He Did Me Wrong But He Did Me Right is not your average song title. And this is not your average song. It is sultry blues at its finest. Evelyn’s vocals are amazing here and the backing of her superb band is exquisite. When You Say You’re Sorry is just another jewel in the crown. This whole album has so much going for it in so many ways. The thing that strikes me about Evelyn Rubio is her understanding and feel for blues music. It shows huge dedication to her craft. Border Town is a very soulful tune with a generous helping of blues thrown in for good measure. Cruel has a kind of smoke-filled bar- room appeal. Swing, with a touch of Jazz, you could almost imagine Nina Simone singing this. A compliment. Besome Mucho is acoustic blues at its absolute best. Sang entirely in her native Spanish tongue she delivers a masterclass in acoustic blues. Throw in a blues harp and what you get is a stunning conclusion to a stunning album. I am certain that in a live setting she will raise the bar even higher. One to keep a close eye on.

STEPHEN HARRISON

SHIRL

AMERICAN FOLK BLUES FESTIVAL

VARIOUS ARTISTS

R&B Records

This European package tour was first organised in 1962 and introduced audiences to the leading blues performers of the day. Manchester Free Trade Hall hosted the only UK date on the tour, an event attended by Paul Jones, Alexis Korner, John Mayall, Jimmy Page, Mick Jagger and around 2000 other blues fans. As Page explains: “It was not only the first time that I would actually see artists like John Lee Hooker and T-Bone Walker perform, but it was also the first time I met the Stones. We were all like-minded enthusiasts and in those days we regarded the artists we were going to see as idols. David Williams, author of First Time We Met The Blues, was at the show and his insights, alongside those of Keith Richards, illuminate the detailed, illustrated cover notes. The festival recording was dominated by the sensational appearance to tumultuous applause of Sonny Terry and Brownie McGhee at their most raw and authentic best, singing Kansas City Blues, I’m Leaving In The Morning, I’m A Poor Man But A Good Man and Easy Rider. John Lee Hooker had opened the show but his singing was distorted and so does not feature on the album. Memphis Slim performed Broonzy’s Just A Dream, his trademark rolling blues piano underpinning his grandiose vocals. Willie Dixon was Sittin’ And Cryin’ The Blues, his voice warbling and playing his bass with power and superb technique. Walker sang his self-penned Call It Stormy Monday and My Baby Is Now On My Mind plus the finale Bye Bye Baby with the Ensemble, Walker playing more in the style of the 40s than the 60s. This 1962 American Folk Blues Festival album recorded in Manchester is pure blues history and will appeal to all aficionados.

THE BISHOP

STEPHEN COOPER

STEPHEN COOPER AND THE NOBODY FAMOUS

Fleetwood Studio

Right from the first of twelve songs this is a soul album that grabs you by the throat with full clenched fist, My One And Only is a danceable floor filler that takes me back to the days of the Q tips, booming out of my speakers and making me want to brush off my old mod clothes and go to a soul all-nighter, smiling and dancing round my lounge. Then straight into the second track and it’s hard not to compare Hall & Oates meets Blues brothers but another hand clapping tune with a backbeat that would have you on your feet and in the aisles if you saw these guys live. Throw into the equation a screaming guitar, Hammond organ and saxophone solos and by the end of this song you will out of breath. So, when we get to the slower pace of Some Other Guy it’s a welcome rest to catch your breath. The Nobody Famous are a band of eight guys who wouldn’t be out of place backing James Brown or Otis in their heyday add Stephen Coopers vocals and tenor sax and I’d put my hand on my heart and say these boys could get the dead dancing, then out of nowhere comes Invisible Pistols which learns over towards the rock/ blues side of life and make no mistake this is an epic episode on the album and fits in nicely followed by Breaking Up Somebody’s Home where the sax screams at you at times like it’s from a horror film, then boom Three Shades of Black takes you back to foot stomping blues/soul and has me aching for days gone by. Follow this up with songs full of storytelling and foot tapping to make up the twelve tunes and if you are not skipping around to Dance with Me Baby and Welcome Home, check your pulse! In the twenty first century it’s hard for any band to not be compared to someone that’s been before but that doesn’t make them any less important and I judge most of the albums I listen to by how much I’d like to see this band live or if I’m going to play it again, all I can say is a capital Yes to both.

BARRY BLUESBARN HOPWOOD

BROKEN HEART UNIVERSITY

NOT TODAY, THANKS SATAN Independent

Interestingly, it appears that the writer of this collection of songs, Tony Batty, has no further input into the realisation and release of his work. The heavy lifting is done by Ashley Fayth who arranged the songs, and provided vocals and some of the guitars. Ms Fayth possesses a voice with a clear reference to Dolly Parton, which is absolutely no bad thing because she is no copyist. On the contrary, the vocal style is very clearly her own, as she switches from the pure country of Your Key Don’t Fit My Lock to the funky sinuous Jousting With The Beast. The real strength and depth of Ashley Fayth’s vocals come along in Wilder Waters, which reminds your scribe of Linda Ronstadt at her peak, the underlying notes of huge emotional hurt never crowd out the purity of the sound, but they seep through nevertheless, always the mark of an exceptional interpreter. Under the vocal is some ringing acoustic and atmospheric slide which round out the overall atmosphere perfectly. Versatility is always welcome, and the very next track, Shearing Sheep For Sharks, is a rolling country blues, where Fayth’s voice alters from the yearning broken soul to a feisty sexy club singer, all twinkling eyes and knowing looks, and some delicious harmonica from one Curtis Stone. The rest of the album follows on in the same style, alternating between the raw emotion of Moletown and the classic modern country sound of the final song, Put It All Out There. If the purpose of this album is not only to entertain a doubtless growing fanbase, but to act as a sampler for eager radio programmers, there is plenty to snare willing ears and tracks for all formats and styles. On the paper insert with the album, someone has written ‘Last album had good review, if it’s as good as this, I am hardly surprised. Broken Heart University’s work deserves tracking down and being heard by the massive audience who enjoy country blues written, arranged and sung with consummate skill. Another band to look for when touring starts up again.

ANDY HUGHES

JOHN PRIMER & BOB CORRITORE

THE GYPSEY WOMAN TOLD ME

Vizztone

This CD highlights two seasoned Blues musicians performing a brand of authentic Electric and Acoustic Chicago Blues. In John Primer’s case he has a quality pedigree to draw from having played in Willie Dixon and Muddy Waters bands during the 1970’s. The music is easy paced allowing the two leads to do their business with support from an array of guest musicians including Kid Anderson, Brian Fahey and Billy Flynn, although these guys are very much in the background, John’s Guitar & Vocals and Bob’s Harmonica are centre stage. There are twelve tracks on the album, the majority of which are covers which is not a problem as the pair make them their own with their unique Chicago brand. Although I was slightly disappointed with the title track as it lacks the supernatural menace of Muddy Water’s original, this is my only negative as the rest of the material is spot on in showcasing Chicago Blues at its best. John demonstrates some subtle phrasing on his guitar which his quick fingers ply for all their worth. His sound is more subtle than loud. Bob ducks in and out with his seasoned Harmonica playing that along with his extensive Blues knowledge allows him to provide the ideal accompaniment to John. Perfectly highlighted on the song Gambling Blues, where the Harp drives the Country Blues style tune, leaving sufficient space for John’s iconic vocal and guitar picking. John Primer has recorded or played on in excess of eighty-five albums during his career highlighting him is a much sort after traditional Chicago Blues musician, which this album perfectly demonstrates. Worth additionally recognising the sensitive production work undertaken by Bob Corritore, Kid Anderson and Clarke Rigsby. A pure Chicago Blues album that is a pleasure to listen to from start to finish.

ADRIAN BLACKLEE

GRAVEL & GRACE

BRINGING THE BLUES Avagarace Music

The hoary old football cliché has it that ‘a blend of youth and experience’ is one of the keys to a winning team, and this twin-vocalist-led group from California’s Central Valley has transferred this time-honoured formula to the musical sphere. Big Earl Matthews, described as a 20-year scene veteran, supplies the gravel, while 17-year-old high school student Ava Grace

JOE BONAMASSA A NEW DAY NOW

Mascot/Provogue

brings the grace. The music on offer here is blues-centric rather than blues as such, but the forays into allied genres are handled well. Purists better head straight for opening track Scares Me, which is a recognisable minor blues progression that betrays obvious familiarity with the work of the Doobie Brothers. After that, it’s a mixed bag. Next Move is a variant on the classic southern rock theme of a small town boy desperate to get out of Nowhere Ville, while When I’m Hungover is an Eagles-style country-rock take on lamenting lost love while still recovering from the previous night’s over-exuberant drinking bout. Ava even tries her hand convincingly at doo-wop on Love On The Brain, and at other junctions, the CD recalls Fleetwood Mac in its 1970s AOR incarnation. It is not stretching things to call Bringing The Blues a promising debut, especially for an outfit with some rather young members. Musicianship is solid throughout, with saxophonist Will Melendez earning a shout out, and all the songs are originals. Listen out for this lot, next time you need sunshine on a rainy day.

DAVID OSLER

This album is a re-issue to celebrate the twentieth anniversary of Joe Bonamassa’s debut into the blues world with A New Day Yesterday. It seems like only yesterday that people were aghast at just how good this guy was. There are a couple of guest appearances on the album, most notably, Len Bonamassa (Father) and Greg Allman who chips in on vocals and organ. The album kicks off in great style, letting the listener know what is on the agenda, with a cover of the Rory Gallagher track Cradle Rock. Blistering guitar work from Bonamassa with searing vocals to match. To open your debut album with such a well-known classic such as this takes a lot of courage. But Joe Bonamassa takes it in his stride adding his own authority as he has done for the whole of his career when doing a cover version. Walk In My Shadow follows hot on the heels, once again letting the listener know that there is a new kid on the block. Everyone from B B King, Eric Clapton and almost everyone who is involved with blues music, realized that he was something special. The title track, A New Day Yesterday, was penned by Ian Anderson of Jethro Tull fame. Not someone you associate with blues music, but it gets the blues treatment here. Miss You Hate You is one of the tracks written by Bonamassa himself. Later released as a single, it shows a softer gentler side with great lyrics and harmonies. Colour And Shape was also released as a single. It has been such a long time since I heard this, it was like meeting an old friend. Trouble Waiting is blues personified. A rip-roaring tune that has you moving around the room marvelling at Bonamassa’s blues style. Current Situation left me speechless the first time I heard it. It had the same affect again this time around. Considering this is his debut album, it makes you wonder where he will get to in his blues career. Well, we all know the answer to that now. When I heard this album 20 years ago, I asked myself, is this the future of blues music? You bet your life it is.

STEPHEN HARRISON

“Musicianship is solid throughout”

“is this the future of blues music? You bet your life it is”

DAVE GREAVES STILL LIFETHE LEGACY COLLECTION

Inbred Records International

JOSE RAMIREZ HERE I COME

Jose Ramirez Music

This is a double CD release, comprising 22 tracks of prime UK Americana and folk by this Yorkshire-born singer-songwriter and with songs that span four decades. Dave’s musical history goes back to the likes of Sandy Denny, Nick Drake (who Dave can sound quite like in places) and playing electric guitar with R&B bands in the 70s and with Memphis-born Bob Cheevers. The opening act for Johnny Cash’s last tour, Bob is credited as executive producer for this release (“part of my job… has been to assemble everything”, he states proudly about this set on his website). The tracks themselves are mostly quiet, seemingly personal stories, delivered in a warm, convincing, and lived-in voice. Some with a minimalist and totally effective accompaniment like Fools Gold and others with a (slightly) fuller sound. Lend an ear maybe to Unguarded Moment or Sunflowers, which show off the delicate rhythm section to good effect and some haunting guitar playing fleshing out the sound behind Dave’s own guitar playing and smoky, heartfelt vocals, or the affectionate Frank. You will not find much trace here of Dave’s forays into experimental music, except maybe in the accompaniment for the set closer Without The Asking. What you will find though are meaningful songs, thoughtfully played and sung by a master of his craft., beautifully crafted and presented. OK, there might not be any 12 bar blues here, but this is certainly roots music, with a strong American slant in the music, and as such, it does come recommended to readers with a penchant for Americana.

NORMAN DARWEN

If anyone ever doubted Jose Ramirez’s commitment to blues music, he carries silent testimony on the insides of both forearms, the machine head of a Fender guitar on one, and the iconic image of Robert Johnson on the other, both tattooed and in place for the duration. Mr Ramirez releases this, his debut album right after a second placing at the 2020 International Blues Challenge in Memphis. The album has been recorded in Wire Studios in Austin Texas, with the veritable cream of Texas session stars along to contribute. Their input is front and centre on the T-Bone Walker classic I Miss You Baby, and Jose does more than hold his own with a beautifully crafted spare and soulful guitar solo. Jose Ramirez has advised that his intention was to produce an album influenced by both soul and R ‘n’ B artists such as Ray Charles and Al Green, a little Johnny Guitar Watson in there as well.”. So far so good then. Anyone who knows even the first thing about blues music will have mastered the simple adage, less is more. Jose Ramirez has that lesson down, as he shows with his strippedback breathy vocal and perfect nothing-butthe-bare-essentials guitar solo on One Woman Man. This is one track where producer Anson Funderburgh holds his studio team in check and allows the vocal and guitar to take point, and the result is all the better for that. The bed the music lies on is the sustained organ chords of Jim Pugh, over which he lays some tasty piano on the outro. Pugh shines again on the intro to Goodbye Letter and the guitar solo here is the finest on the album. It will surely be a barnstormer of the live set, when Jose Ramirez is allowed to head out on the road. The live renditions of these songs are well worth waiting for, and there is little doubt that this debut collection will be the first step in a stellar career, placing Costa Rica on the list of origins of blues masters.

ANDY HUGHES

SNOWY WHITE

LUCKY STAR ANTHOLOGY

‘83 to ‘94

Cherry Red Records

Wow, I thought it was Christmas come early when I was asked if I would like to review an anthology of Snowy White’s work? One of my all-time guitar heroes, this box set of 6 CDs, aims to cover Snowy’s work, remastering and reissuing all 6 of his albums plus many bonus tracks, B sides etc, a grand total of 75 tracks. Snowy had been on the scene for quite a while, providing superb support to Al Stewart, Pink Floyd, and of course Thin Lizzy, releasing his first solo album White Flames in 1983, which of course had to include Bird Of Paradise, perhaps the song that most people are aware of. Snowy White was release 2 and used the same musicians as CD1. A jump of 3 years and then came That certain thing in 1987 with a few more musicians to fill out the sounds. Snowy then put out Change my life which was released under the name of Snowy White’s Blues Agency, bringing in Graham Bell on vocals and harp and Jeff Allen on drums to join Snowy and long-term partner Kuma Harada on bass. A year later and a second album from the Blues Agency announcing that they were open for business. Same line-up as before with Hammond organ from Tim Hinkley and Linda Taylor and Jeff Patterson on Bvs. Another 5 years pass and then Snowy’s final cd (So far) Highway to the sun, and Snowy used this as the opportunity to bring in some of his musical compatriots, with Chris Rea offering superb slide and rhythm work Paul Carrack on vocals David Gilmour on lead guitar and finally Gary Moore on lead guitar (Not all on the same tracks).Since then, there has been a deafening silence and I can only hope that the release of this superb body of work is intended to create a demand for more from this vastly underrated musician. In the meantime, while we are waiting, here is some of the best guitar music created for you to enjoy

DAVE STONE

BLACK LIGHTNING

BLUE HIGHWAYS

Deadly Black Lightning are a five-piece band based in Cambridgeshire and with a strong feel for the sound of classic-era blues-rock. They have been together for around a decade and their years of experience shows on this set. Founder member, guitarist and songwriter Richard ‘Richey’ East died a couple of years ago and this album is dedicated to him, with some of his material used here, and twenty-five percent of the proceeds of this album go to the MindEd Trust. I labelled them blues-rock but should clarify that they are aware of the breadth of styles encompassed by such a description. Here they range from the classic slide guitar sound on Statesboro Blues (borrowed from Taj Mahal, I think) to the opening Ridin’ With The Blue. A recommendation of some fine inspirations, rather strongly influenced by the late 60s sound of The Rolling Stones, and with vocalist Mark Jackson close to Mick Jagger though not actually copying, towards the end there is also a hint that this outfit might also like Creedence Clearwater Revival too. Then there is the irresistible boogie of No Whisky (I suspect this might be a live tour-de-force), the slow blues Escape To Mexico, the southern rock inflected God In Heaven, the Clapton-ish ballad sound of All These Years, the instrumental blues guitar showcase of Things That Sting, and the two classic rock styled numbers that close out this rather fine album. Black Lightning and Lonely Road, with Jackson employing something of the soulful blues-rock approach of Paul Rodgers on the latter. These guys know what they are doing, and it definitely shows throughout the album.

NORMAN DARWEN

MICHAEL ROACH TRYIN’ TIMES Stella Records

With his 3 track EP in 2016 Michael Roach wanted to go old school for an 11-track album, an old school rhythm & blues feel and that is exactly what he got! The (Honkey Tonk) feel to the piano mix by Danny, the gravelly, well-travelled voice of storyteller Michael accompanied by expert guitar by Tim and Roger and harmonica playing, not sure by whom but boy it was good.

The album features Michael’s daughter Sadie, currently in her 3rd year studying piano at the prestigious Guildhall School of music and drama in London and Sadie sings like she has been around music all her life, which no doubt she has.

THE FIVE KEYS COLLECTION 1951-58

3 CD COLLECTION Acrobat

Before the mid-50s, when rock’n’roll gripped the music industry by the jugular, whilst the Chess brothers in Chicago were still discovering blues legends, there was another genre of home-grown black American vocal music which soothed the savage heart with skill, harmony, rhythm and romance. If you took a dash of barber shop harmony, some gospel, and a slice of R&B, then you had doowop. There were several successful doo-wop outfits in the 1950s, among them the Dominoes, The Solitaires, and the Cadillacs, but standing tall above them all in style and musical skill were The Five Keys.

Sadie’s vocals are mature and confident, at times soft and at others powerful, she never tries to compete with the music more feels it and goes with it. Sexy, gritty, and smooth all at the same time. This album is 11 tracks long with track 3 ‘I’m Not Stepin’ giving you value for money at nearly 6 minutes long, other leave you wanting more far shorter. Real favourites for me were track 1 ‘Trying Times’, a great opener, track 2 ‘take this hammer’ track 5 ‘A Vote For Me’ made me want to put on my 1920’s flapper dress and be whisked around the dance floor.

A great mix of blues, rhythm and a little rock n roll track 11 ‘Strange Things Happening Everyday conjured up the picture of a speakeasy full of beautifully dressed working folk, dancing like crazy on Sunday - their 1 day off. From the album cover, to the music, to the story behind the album being put together by Michael in the first place, it’s clear that it is all about love and music and it tells a great story.

JEAN KNAPPITT

Today, these are the kind of records you might hear on the soundtrack of a film based on a Stephen King story. They evoke a period. Beautiful songs like the melodic The Glory of Love or Lonesome Old Story, all with swinging band arrangements, reveal a musical heritage which, at the time, was more or less hidden from America’s white audiences. There are 85 satisfying tracks in this 3 CD collection, and the diversity of styles and delivery is staggering. For example, the high tenor vocal on Four Walls is a thrill, and if you’re looking for a good but overlooked blues song, try The Blues Don’t Care. There is some great material to dance to, such as Handy Andy and It’s A Groove. The colourful history of this great group is told in some detail in the excellent 24page booklet written by Paul Watts. It transports you back to the heyday of places like Harlem and the Apollo, with the fascinating stories of record deals, line-up changes all painting a vivid picture of the vibrant vocal scene just before the birth of rock. Atmospheric, nostalgic, yes, but above all musically satisfying and thoroughly entertaining. The Five Keys had it all.

ROY BAINTON

“it’s clear that it is all about love and music and it tells a great story”

“above all musically satisfying and thoroughly entertaining”

THE NIGHTHAWKS TRYIN’ TO GET TO YOU

EllerSoul Records

This is the Nighthawks thirty-first album release covering a period of nearly fifty years since their inception in the early 1970’s. Lead vocalist and Harmonica player Mark Wenner is the only original member of the band who play a mixture of Blues, R&B, Gospel and even some Do-Wop thrown in for good measure. They are a four-piece band with all the musicians supplying perfect vocal harmonies. Delivering a very slick performance across the thirteen tracks which are a mostly cover versions of songs, most of which I have never come across before. While they all fit into the broad Americana sound, the original artists cover a broad spectrum from 1950’s Elvis Presley to more recent Los Lobos. The band’s recent acquisitions are guitarist Dan Hovey, drummer Mark Stutso and Paul Pisciotta on bass who support Mark Wenner superbly. Dan has also written two songs on the album that have a strong Blues influence. The song The Cheap Stuff is pure 1920’s acoustic Country Blues that utilises the harmonica superbly. While this sound is not necessarily representative of the other material on the album, it is for me the standout track, followed closely by the opener Come Love that was originally performed by Jimmy Reed back in 1960. This is a thumping electric Blues song with an excellent vocal by Mark. The Nighthawks are probably setting the same groove they did in the 1970’s. This is not a bad thing as the music they create is timeless and it is performed impeccably by a together group of musicians. Their selection of material is interesting as it brings songs to the forefront that have not received much airplay for many years, in doing so bringing homage to the past eras of Blues and Rock n Roll.

ADRIAN BLACKLEE

MICHAEL VAN MERWYK

THE BEAR Timezone

MVM is a German selfstyled songster who has performed widely in Europe in a variety of styles including folk, ballads, dance tunes, popular songs, and blues. This album sees MvM back to the blues with mainly original material and opening track Shotgun Boogie is a rollicking tale of the “shoot first ask later” mentality he encountered during a visit to Mississippi. Blues Stop Knocking is an old favourite from Lazy Lester which MVM covers with his relaxed vocals and slinky slide guitar. The soul drenched love song Sometimes Angels Come In Red features shimmering guitar work, brushed drums from Micha Maas and upright bass from Tobi Fleischer. MvM performs title track The Bear solo on slide guitar and his expressive, gruff vocals work particularly well here set against his acoustic slide riffs based on Howlin’ Wolfs’ Little Red Rooster classic. Jay Owens’ slow blues ballad We’re Human is followed by the bluesy It’s Fun Being Crazy featuring tasty harp from Christian Dozzler. Bad Blues is a

stomper featuring excellent interplay between MVM’S sparkling slide guitar and Dozzler’s wailing harp fills. Deep Blue Sea is a folk influenced number and then Dozzler’s superb honky tonk piano lights up the rocking Fool Yourself. A cover of Tampa Red’s atmospheric Dark & Stormy Night features just MVM’S vocals and slide guitar backed by Dozzler’s piano. This fine album closes with a full band version of The Bear.

DAVE DRURY

“the music they create is timeless”

“excellent interplay between MVM’S sparkling slide guitar and Dozzler’s wailing harp fills”

STEVE CRAWFORD & SPIDER MACKENZIE CELTICANA Independent

Steve Crawford’s song writing has been featured on many albums over the years. Based these days in Germany, he performs on the folk circuit, including a successful duo act with German fiddler Sabrina Palm; Spider Mackenzie is an in-demand harmonica specialist who has played on albums from fellow Scots and as a specially invited guest on American albums. The pair left their Aberdeen roots behind to record their second album together in Austin, Texas, with a local rhythm section and producer Chris Gage filling in on a wide variety of guitars, mandolin, and keys. The album is well presented with a full lyric booklet and triple gatefold sleeve and the sonic qualities are very good indeed. The title of the album is apt as the Americana music combines with Steve’s lyrics which often contain Scottish references on tracks like After The Ceilidh and Glen Deskry. Get Shit Done has some clever lyrics about procrastination while Some Peace To My Worried Mind is one of several songs that bring to mind Jackson Browne with its introspective and touching lyrics, Steve having a rather similar vocal style to the Californian. Spider is clearly a virtuoso harmonica player and his haunting tone is an integral part of the album as well as having two instrumental features to further demonstrate his talents. So, why is this album being sent to Blues magazines for review? Good question, as there is little obvious blues here though opening track Whis-

SCOTT ELLISON SKYLINE DRIVE Red Parlor Records

ky And The Stars perhaps gets closest with Spider’s buzzing harp giving the song a hint of Mississippi Hill Country style. Otherwise this is an extremely accomplished Americana album that does just what the title suggests, combining American music with Scottish references.

JOHN MITCHELL

US-based blues/rock artist Scott Ellison has enjoyed a career that has spanned over 30 years. Ellison has rubbed shoulders with the greats such as B.B King, Buddy Guy and Levon Helm to name but a few. But now is the time for the Tulsa, Arizona native to release his latest studio offering Skyline Drive. Opener I’m Missing You is a nice blues shuffle, that gets your toes tapping from the off. Whilst the title track itself features more of a jazzy blues sound, underpinned by a prominent bassline and some wonderful fretwork from Ellison. A blues album would not be complete without the harmonica, and the slide guitar licks and searing blues harp on Obsession underpins the song’s insatiable groove. The same can be said about the fiery honky-tonk rock n roll number All Wound Up, during which once again Ellison lets the slide guitar do the talking. The album slows down momentarily with stripped back acoustic ballad Woman’s Got A Hold Of Me, whilst the up-tempo, feel-good sound of Perfect For You has an old school melody that in places conjures up images of blues great Magic Sam and his track I Just Want A Little Bit. Breathe Underwater adds a slightly southern rock element to the album, whilst These Blues Got A Hold On Me is a stunning slow blues composition that features some prominent organ licks and emotive guitar playing throughout. The twelve-track album comes to its conclusion with the soulful sounds of the Robert Cray tinged Lonely In Love. This well-balanced record perfectly represents the many different musical styles that encompass the American blues/rock scene. A trip along Skyline Drive is a wonderful musical journey from start to finish.

ADAM KENNEDY

“this is an extremely accomplished Americana album that does just what the title suggests”

“a wonderful musical journey from start to finish”

JOHNNY BIRD CRAWLBACK

Call My Job Records

Crawlback is both the name of this debut album and the band led by South Wales born blues singer, harp player and guitarist Johnny Bird. He makes a confident start on Mitch Kashmar’s‘ I Got No Reason and Jimmy Reed’s Found Love, the impassioned harp blasts and piercing solos on the latter revealing a deep connection with the Mississippi blues icon. Johnny and his father Mike Bird wrote Cash Flow Problem which brings the economic blues right up to date in a post-Pandemic world, Johnny’s conversational style conveying the stark reality of impecuniosity. Good Rockin’ Daddy features the impressive Cardiff-based chanteuse Bella Collins who adds intriguing, jazz-infused vibes to this increasingly eclectic mix. It is back to the honey-dripping blues of Roosevelt Sykes on 44, Bird’s echo effect vocals complementing the infectious harp phrasings. It takes a brave and competent band of musicians to cover Duke Ellington’s jazz standard Caravan but Crawlback nails it, Bird’s harp replicating the original, distinctive melody. It is the turn of guitarist Mark Phillips to take center stage on Sometimes with his tasteful interludes. It is appropriate that the album concludes with Wild

TILL SEIDEL & HIS BAND GET ON BOARD

Timezone

Coming from the Lower Saxony province, Till Seidel picked up the guitar at the age of 14. While searching through his father’s record cabinet he came across Chess Records finding Howlin’ Wolf, Muddy Waters, Little Walter and so much more. Till became fascinated with this music, rough and honest with rough edges, he initially devoted himself to the 50’s blues, Playing sideman in various bands to pay tribute to his heroes like

Man given the huge reputation of its composer, William Clarke. The American West Coast harmonica virtuoso would have appreciated this unpretentious version with its clever musicianship, impeccable arrangement and syncopated rhythms. This album is highly recommended and deserves to be the start of a long and successful career for Johnny and his band.

T-Bone Walker and Johnny Guitar Watson. Starting his own band, playing 60’s rhythm and blues with its many elements of blues and soul. Releasing their debut album Lazy Man’s Land in 2017. New release, Get On Board contains twelve original songs written and produced by Seidel. The crew are Till Seidel on Vocals and Guitar, Dirk Vollbrecht on Bass, Malte Albers on Drums and Dennis Koeckstadt on Organ and Piano. The album starts with Why Should I Get Up an up-tempo shuffle with a driving rhythm beat, swirling organ and BB king style guitar solo. The foot tapping rock and roll Get On Board with an early Beatles vibe follows, a solid rhythm beat lets the organ and guitar breathe life into the soulful vocals of Darn Soul. The catchy R & B of Feel Alright takes us to the southern blues soul of Coming Home with its Skynyrd vibe. Keeping a southern feel the bluesy I Wanna Know follows will have you dancing, some boogie piano blues follows on with Treat Her Right. Next is a blues satire of life on the road on Damn, Put It On Wax as another catchy rock and roll feel that will have you up and grooving. Up next is my favourite Look But Don’t Touch, with its unusual jungle drum beat swirling organ and chugging guitar a real foot tapper. Keeping the tempo high is the blues shuffle Standing In Line. Closing the album well with the funkier soul blues of My Song (La La La). 60’s Rhythm and blues played with a modern upbeat freshness and fun, highly recommended.

THE BISHOP

“60’s Rhythm and blues played with a modern upbeat freshness and funhighly recommended”

“This album is highly recommended and deserves to be the start of a long and successful career”

THE CLAUDETTES

HIGH TIMES IN THE DARK

Forty Below Records

Well this is a good one! The Claudettes have had a few releases out over the years but this is the second one featuring Johnny Iguana (piano), Berit Ulseth (lead vocals), Zach Verdoorn (bass, vocals) and Michael Caskey (drums), following on from Dance Scandal at the Gymnasium. They call their music “garage cabaret” to describe their blend of jazz, blues, and rock all of which is driven on by the pumping piano of Mr. Iguana. His is the name I recognize from too long reading the small print and has lent his talents to some big names in the world of the blues. But it’s the mix of hard-driving music and the retro pop vocals of Ms Ulseth that makes this work. Imagine a more ethereal Imelda May if she hadn’t abandoned the

BEN HEMMING BROKEN ROAD Independent

This is the fourth album that Ben Hemming has released and the second one to be recorded in Norway. Now, anyone in the world of blues music knows that the Scandinavian blues scene is as good as anywhere else in the world. There seems to be an ever-increasing number of blues artists plying their trade there. Take a bow Seasick Steve. All ten songs on the album were written by Hemmings who has made his musical career in the blues telling stories relating to him in a blues style. Often dark and brooding

world of rock and roll. These all-original tunes from Brian Berkowitz, sorry Johnny Iguana, are uniformly good and sometimes tip over into the great. There is the odd atonal moment that has me reaching for the smelling salts but they’re few and far between. The band has a great groove going and they can move from rockers to ballads with ease. Unusually for me it’s when they rein things in that I get most excited with The Sun Will Fool You, my undoubted highlight. The bluesiest tune is probably Grandkids, Wave ByeBye and it’s also one of many songs here with a message. But a lower-case message rather than a shouty upper case one. Elsewhere, Declined falls into the message category while One Special Bottle probably has more depth to it than I think. One of those albums that really stands up to repeated plays, this is an absolute treat.

STUART A HAMILTON

and this album is no different. Say You Will kicks off the album laying the dark side of his story out in the open. The lyrics and vocals present darkness which permutates alongside music. One thing that emerges from the off is that Hemmings vocal style is perfectly suited to this kind of delivery. Holy War has an acoustic intro that is surprisingly mellow but also has a hint of foreboding. It then drives further into an up- groove only to come back down again into a softer acoustic trip. It tells a tale as if it were riding a rollercoaster, ebbing, and flowing musically. Personally. I think Hemmings voice suits the acoustic side of his nature better than the electrical side. That is not a criticism by any means, but merely an observation on how the lyrics and vocals combine with the musical arrangement. It is borne out in the song, Fading Out. Short and to the point, Hemmings lyrics and vocals make this a wonderful tune. Now, if you are expecting an all-out blues album in its finest traditions, then this album is not for you. However, if you like dark brooding melancholy style blues with good lyrics and a great arrangement then check this album out. Knowing When To Die, for me sums up what the album is all about. Blues hidden beneath a blanket of woe told in a world that we have all been to at least once.

STEPHEN HARRISON

“One of those albums that really stands up to repeated plays, this is an absolute treat”

“Blues hidden beneath a blanket of woe told in a world that we have all been to at least once”

Roots Music Report’s Blues Rock album chart

MICKE & LEFTY ft. CHEF

LET THE FIRE LEAD

Hokahey! Records

Micke & Lefty are Micke Bjorklof and Lefty Leppanen, both well-known on the Finnish Blues scene and top-class musicians. Joined here by Chef all three take turns on vocals and all are proficient enough to be able to interchange instruments throughout. Micke also handles production duties. The album kicks into life straight away with a wonderfully stripped back version of Willie Dixon’s Tell That Woman. Loads of resonator and dobro, not to mention kazoo, electric guitar, upright bass, and belly claps. Always Something Good follows. A languid laid-back retrospective song combining electric and acoustic guitars and acoustic bass. Lefty on lead vocals and finger picking acoustic creating a dreamy sunlit atmosphere. Then we have a cover of Big Bill Blues the old Broonzy number, all three sharing vocals and the tasty banjo, mandolin and resonator plucking giving the whole thing an end of night boozy party feel. I can relate to that! Small Town Baby is more traditional 3pc blues band in construct and follows perfectly. The sparse drums supporting more wonder-

TOO SLIM AND THE TAILDRAGGERS THE REMEDY

Vizz Tone Records

Blues rocker and master guitarist and lead singer

ful vocals and guitar from Lefty. The title track is next, a surprisingly uplifting burst of positivity. Let The Fire lead, let the fire heal, impressively delivered by Micke on this occasion. It is Chef’s turn on lead vocal next. The One has a slightly foreboding intro whilst Chef laments not being with his love. Gotta See My Church features Micke back on lead vocal duties, a song about being contented and settling down but still missing different times. An almost gospel hill country vibe going through this. You Gorgeous You is an upbeat celebration of getting home to a loved one after time away. I love the harp playing on this. No Stuff Is Good Enough is most closely in the Mississippi Hill tradition and is a wry observation on modern consumerism. Rock’n’Bowl celebrates Louisiana, and a music and ten pin bowling juke-joint. Eero Raittinen guests on vocals for the Robert Johnson cover I’m A Steady Rollin’ Man, now 75 years old with a rich music history in Finland, he adds a super authenticity to the classic track. This super album closes with I Got To Tell You, a softly paced retrospective love song, and I got to tell you you’ll love this album a little more every time you listen to it. Finland has long had a kind of Euro-Mississippi Hill Country hybrid movement happening and this album adds to that in spades.

STEVE YOURGLIVCH

Tim “Too Slim” Langford has teamed up with his Taildraggers; Jeff Fowlkes on drums and Zach Kasik on bass and banjo. It was recorded in Nashville in Wild Feather Recording studio, owned by the bassist. Ten original songs combine with Elmore James’ cover of Sunnyland Train, full of sneering slide guitar play. They have also enlisted, harmonica guests, Jason Ricci, on Platinum Junkie, a slow funky number. Richard Rosenblatt plays harmonica on, Think About That, which has a Texas strut feel and strong vocals. Sheldon Ziro, plays harmonica on Keep The Party Rollin’, a real shuffling strut to this one with sharp groove. The opener, Last Last Chance, introduces the whole band, a rootsy feel to this one full of swagger. She’s Got The Remedy, is a gutsy rocking tune full of growling vocals and grinding guitar licks. Devil’s Hostage brings the tempo down, a more sedate blues tune. Reckless, has a searing beat and a Bo Diddley type feel, catchy tune, a good vibe throughout. Sure Shot, has a banjo introduction and opens into a very atmospheric tune full of twists and hollers. Snake Eyes keeps the Americana theme going, great rhythm and harmonies. Final tune is, Half A World Away, another slow bluesy tune punctuated with fiery guitar riffs and good chorus line. Smokey vocals mixing with rocky guitars and a terrific back beat, another great release from this distinctive trio.

COLIN CAMPBELL

“I got to tell you, you’ll love this album a little more every time you listen to it”

WHEN RIVERS MEET

THE UPRISING

One Road Uprising

THE MILKMEN DELIVERANCE

Independent

The biggest thrill about being a music reviewer is that moment when out of the blue a rare gem is discovered. This is the case with the new EP from London-based husband and wife duo comprising Grace Bond, vocals, fiddle, and mandolin, alongside guitarist and vocalist Aaron Bond. The opening track, Free Man, is reminiscent of The White Stripes in terms of blues influences, heavy minimalist drum backing, and the raw simplicity of composition and performance. However, what sets Grace and Aaron apart from their illustrious Detroit counterparts,

Deliverance is third album to be released by The Milkmen. All eleven songs are ordinals and mostly written by Jamie Smy and Adam Norsworthy. The opening track, Gasoline kicks off with a thundering drum beat quickly followed by raspy vocals courtesy of Jamie Smy. Following closely on their heels is some smooth guitar from Adam Norsworthy. This leans towards the rock side of things musically but does have definite overtones of blues style lyrics that compliment each other well. When The Blues Keep Calling continues in much the same vein. This band gel well and are a tight unit which is understandable after producing three albums together. The band have released a single from the album, Little Miss Attention, but in my opinion, they would have been better off releasing Make You A Liar as the single instead. I digress,

however, are their glorious vocal harmonies, intricate arrangements and sumptuous strings courtesy of the mandolin and slide guitar. The haunting Like What You See adds a further dimension with its clipped repetitive phrasing, soaring vocals and tasteful string interludes, this time including slide mandolin. Tomorrow is a poignant ballad which showcases Grace’s immense vocal range and impeccable phrasing. The final track, Kill For Your Love with its distinctive riff and evocative self-penned lyrics leaves the listener wanting to hear much more from these brilliant, original performers.

THE BISHOP

this is a classy tune. It has a dark underbelly with great lyrics and vocal delivery and fine musicianship. Taking Her Time reminds me of 80s Rolling Stones and ZZ Top in some ways. And that is a compliment. Catchy, groovy, but still retaining a 12-bar sound trundling along in the background. Listening to this album I begin to wonder what a full-on blues album would sound like from these guys. It has some fine blues elements to it, and they can certainly write and play, but I think they could step up a gear and produce a fine blues album. But then we come to the last two tracks on the album. Alive is a fast driving kind of song with gritty guitar and a lovely introduction of the harmonica from Gareth Huggett. What is not to like about a groovy blues tune with searing guitar and haunting harmonica. Alive is a great tune. It made me feel that way. One More Day closes the album. A slow bluesy ballad slowly building with a pinch of bar-room blues and once again being decorated by wonderful harmonica. Good album this.

STEPHEN HARRISON

“reminiscent of The White Stripes in terms of blues influences, heavy minimalist drum backing, and the raw simplicity of composition and performance”

“Alive is a great tune. It made me feel that way”

LOUISIANAS LEROUX

ONE OF THOSE DAYS Independent

Louisiana Music Hall of Fame inductees LeRoux released their eponymous debut CD over 40 years ago and this long awaited seventh studio album follows a 10-year hiatus from recording. These sublime southern rock and contemporary blues musicians evoke the vibe of New Orleans, Mississippi and the Louisiana bayou starting with the infectious rhythms of One Of Those Days. The pace slows with No One’s Gonna Love Me (Like The Way You Do) with its sumptuous backing vocals, Hammond organ and piercing guitar interludes. Its most memorable lines are “That’s why I need you for the rest of my life” and “There ain’t nobody gonna lift me up the way you do.” Lucy Anna with its honky-tonk piano courtesy of Rod Roddy takes the listener right into the heart of Louisiana. Don’t Rescue Me was written by guitarist Jim Odom and has a heavier bluesy sound whilst After All is a soulful song about the end of a relationship. Lead vocalist Jeff McCarty tells a wry tale of misfortunes on the rocking Nothing Left To Lose, another great

ANTHONY GERACI DAYDREAMS IN BLUE

Shining Stone Records

Boston-based Geraci, best known for membership of the early line-up of Ronnie Earl and the Broadcasters, delivers a classy set of piano blues, of the jazz-adjacent rather than the pumpin’ barrelhouse boogie variety. He’s aided and abetted by notable friends including Monster Mike Welch

song courtesy of Odom. The funky, improvised instrumental Sauce Piquante is an invitation to the hottest house party in town. The finale, New Orleans Ladies is the fans’ favourite from 1978, with special guest Delta bluesman Tab Benoit joining the band on guitar. Just like Cajun gumbo, this album is a seasoned, tasty dish, ready to serve and to be savoured by connoisseurs of this distinctive melting pot of blues, ballads, beautiful lyrics, superb arrangements and mesmeric percussion.

THE BISHOP

and, on one track anyway, none other than His Royal Highness Walter Trout. Avid readers of CD liner notes may also recognise the names of vocalist and harmonica player Dennis Brennan and stalwart bass man Michael Mudcat Ward. It is the jazzier material that stands out to my ears, particularly the Latin-tinged Daydreams Of A Broken Fool, which sonically transports listeners back to a particularly louche nightspot in pre-revolution Havana. There’s also a cover of Billy Eckstine and Earl ‘Fatha’ Hines’ Jelly, Jelly, which successfully conjures up that 1940s vibe to such an extent you almost feel you need to wear a white tuxedo to listen to it. Love Changes Everything wouldn’t sound amiss on a recent Van Morrison waxing, and features a fine solo from Welch. Hard To Say I Love You is grimly humorous, a touching plea from a man trying to inveigle somebody into his bed, with added urgency on account of being about to snuff it. Trout’s guest spot, a brass-enhanced minor key grinder called No One Hears My Prayers, will not disappoint fans of the guitar legend. All in all, a recording of some sophistication that takes a couple of plays to get into but repays the effort.

DAVID OSLER

“Just like Cajun gumbo, this album is a seasoned, tasty dish, ready to serve and to be savoured ”

“All in all, a recording of some sophistication that takes a couple of plays to get into but repays the effort ”

BIG MAMA THORNTON

THE SINGLES COLLECTION

1951-1961

Acrobat Records

Let’s get something straight – there is much, much more to Willie Mae ‘Big Mama’ Thornton than Hound Dog. As these 28 exhilarating singles demonstrate, here was a blues singer par excellence. Born 11 December 1926 in Montgomery, Alabama she passed away on 25 July 1984 in Los Angeles. In those 58 tough years she forged a reputation as a blues singer second to none. She began in the church and was a disciple of Bessie Smith and Memphis Minnie. In 1948 she moved to Houston, Texas where her powerful performance style suited the great jump blues being developed there. This 28-track collection gives us all her single releases over a tumultuous decade and her colourful life is amply revealed in Paul Wats’ 16-page booklet. We associate Mama with early rock’n’roll but that’s a misnomer. She’s as heartfelt blues as it comes. Just soak up her mighty delivery in tracks like Night Mare

BLUES ESCAPE

Feat. JOHANNA LILLVIK

Paraply Records

Swedish band Blues

Escape is a collaboration between songstress Johanna Lillvik and blues band Hill Blue Unit who combined to produce this pleasing collection of jump blues, jazzy big band swing and N’awlins voodoo. Opening track is a cover of Dinah Washington’s Evil Gal Blues which jumps and swings nicely as Ms Lillvik growls expressively powered by rocking piano from Orjan Hill and jumping sax from Torbjorn Svenson. Things calm down for the slinky late-night ballad That’s How I Got My Man with Ms Lillvik crooning sweetly and, indeed, suggestively. Boogie-woogie piano

and Cotton Picking Blues, or the equally stirring Big Mama’s Coming Home, which reminds us immediately of Howlin’ Wolf. Of course, there’s plenty of rock here, you’ll dance your socks off to My Man Called Me and Don’t Talk Back, and she always had that ability, scary as she could be, to make you smile – just check out the hilarious Tarzan and The Dignified Monkey. This collection is a milestone for any blues collector – it has everything; great musicians, jubilant arrangements, that dynamic, shouting voice and of course Hound Dog. Yours was fine, Elvis, but it’s a puppy compared to big Mama’s. Certainly, a collection we all need. This was a woman of substance and talent, and she played a mean harmonica!

ROY BAINTON

lights up Pig Foot Pete a stomping chunk of 40’s big band swing with Ms Lillvik double tracking vocals to produce an Andrews Sisters harmony sound. We next move into Dr. John territory with the atmospheric Marie Laveau with Ms Lillvik’s breathy vocal seemingly rising from the steamy swamps of Louisiana. Old favourite Junker Blues features superb rolling piano from Hill as Ms Lillvik spits out the vocals and the whole band cook up a storm. I must say that the band are excellent throughout the album with Ake Goransson on drums and Lars Mellqvist on bass firing the engine room. Ms Lillvik’s sultry vocals are at the forefront in the wonderful Trouble In Mind together with fine piano and sax work. The album closes with Marie Laveau, Radio Edit and although the CD is short and sweet (29.10) I thoroughly enjoyed this one.

DAVE DRURY

“pleasing collection of jump blues, jazzy big band swing and N’awlins voodoo”

“This was a woman of substance and talent, and she played a mean harmonica”

TONY HOLIDAY

SOUL SERVICE

Vizztone

This is Tony Holiday, the blues harmonica player and singer, not Tony Holiday, who in 1979 participated with the title Zuviel Tequila, Zuviel schöne

Mädchen (Too Much Tequila, Too Many Beautiful Girls) in the German finals for the Eurovision Song Contest and the song finished in ninth place. (Just thought I’d point that out, to avoid any confusion) Soul Service is a collection of eight tracks, all written by Tony and showcasing his diverse influences. It was produced by Grammy nominee Ori Naftaly, who also guests on guitar, and features Tony on lead vocals and harmonica, Danny Banks on drums, Landon Stone on guitar, Max Kaplan on bass and background vocals and Grammy nominee Victor Wainwright on keys. Opening with Payin’ Rent On A Broken Home, a driving bass-driven blues number, with some great wailing harmonica, quite reminiscent of a Billy Boy Arnold style. The lyrics have a modern feel to them, despite dealing with an age-old blues theme. She Knocks Me Out has a more rock ‘n roll feel to it and bounces along, with lovely ivory tinkling to give it a good-time feel, along with finer harp playing. It’s Gonna Take Some Time is a slower number and could be a remake of a 50’s rock ‘n roll ballad. Good Advice is a jolly country blues style, with clever lyrics and a strong similarity to Dave Edmunds at his best, which in my book, is about as good as praise gets. Checkers On The Chessboard opens in the style of Charlie Musselwhite. Charlie made an appearance on Tony’s previous release and recognised him as “a rising star in the community”. The Hustle has an incessant beat and provides a great backdrop for Tony’s vocals and harmonica. Day Dates opens with a very pronounced bass line riff and echoey vocals and heads off towards a C&W ballad, further enhanced by the rhythmic prominence of the muted cowbell. Ol’ Number 9 concludes the fine and varied CD and takes us back to what Tony really does best, a bluesy rocking tune with a good beat.

STEVE BANKS

THE SMOKE WAGON BLUES BAND

THE BALLAD OF ALBERT JOHNSON

Independent

Formed in 1996, The Smoke Wagon Blues Band are a seven-piece outfit with seven independent album releases and three Independent Blues Awards for their previous record Cigar Store. The title track kicks things off with Corey Lueck (vocals, harmonica) providing a punchy harp solo whilst Memphis Soul is driven by Jason Colavecchia funky bass riff with a Stevie Ray Vaughan Double Trouble influenced organ solo. Brandon Bruce’s saloon bar piano showcases the band’s softer side on Ain’t Gonna Be Your Fool which sounds like a Beth Hart and Randy Newman duet to this writer! The Fat Man feels like it

is trying to be Howlin’ Wolf’s Built For Comfort and Lay Say Lay is a real earworm. Mescaline glides with a lovely flute and Sacrifice is probably a set-opener to get the crowds on their feet. Poor Man Blues is competent but unexciting and Matapedia River Blues features Gordon Aeichele on saxophone making it a full sound. On The Road Again leans more towards the country side of country blues which is no bad thing but blues purists may not like the crossover. Closer Steaming Comrades Harp Boogie sounds like a live recording and The Smoke Wagon Blues Band sound their most comfortable on this number. In conclusion, this band are not reinventing anything but that’s not what they are trying to do, it is blues music by people who have cut their teeth on the live circuit and have done a fine job at constructing a listenable body of work.

GLENN SARGEANT

“it is blues music by people who have cut their teeth on the live circuit and have done a fine job”

BOB ANGELL SUPERNAL BLUES

Rawtone Records

Bob Angell has been a mainstay on the East Coast American blues scene. Probably best known for his band Blues Outlet which he started in 1966, looking at all forms of early blues music and reinterpreting the style. Here he returns with some of his band on this fifteen track extravaganza with some delicate acoustic tracks mixing with stonking electric guitar riffs. Fourteen originals, plus a cover of Jesus Loves Me, takes the listener on a blues journey fuelled with emotional lyrics ,tender vocals intertwining with some intricate guitar work, such as the opener, Immediate Blues with a steady rhythm, Duke Robillard duets on this powerful resonating instrumental. Blue Memphis is full of slide and gritty vocals. Drinkin’ Shoes is a particular favourite, pure Delta blues here, with quality lyrics. The songs were recorded at Stable Sound Studios, Rhode Island and Sun Studios Memphis. Snake Shakin’ Baby sees Kelly Knapp doing vocals, an up-tempo tune. Kelly’s Blues, introduces Robert Marsella on harmonica, the tone and depth is fantastic, it sways with a rhythm and back tones of slide guitar. On, One Eyed Cadillac, the raspy vocal delivery is awesome. Another highlight is Lonely Here No More with searing hill country slide guitar introduction, with Dylan Walker on vocals, a

TYLER MORRIS

LIVING IN THE SHADOWS

Vizztone Records

This album starts as it means to go on. A fast paced, all guitars blazing attack on Gary Moore’s Movin On, delivered with virtuoso guitar and mature vocals from the young gunslinger Tyler Morris. A spirited band of Terry Dry on Bass, Matther Robert Johnson on Drums and Lewis Stephens on Hammond B3 and Wurlitzer all help and support Morris, a 21-year-old who has already released four albums. The selection of covers and originals on the album, which range from the aforementioned Movin’ On to the Southern Rock groove that accompanies Joe Louis Walker’s soulful take on Tony Joe White’s Polk Salad Annie, and the slow blues and incendiary guitar on Don Nix’s Everybody Wants to Go To Heaven show a mature head on young shoulders. His

real foot stomping tune, multi layered dimensions. The feeling for the blues is written all over this release, a must for those starting out as a blues musician, because this is as good as it gets. This has everything, a stunning release.

COLIN CAMPBELL

own song writing on such pieces as Living in the Shadows or the slow and brooding intense Temptation show a talent that know the rules but adds subtle changes and dynamics of his own. Better than You features the singer Amanda Fish with its jokey Stones like riffing, and steady rolling beat. Why is Love Blue? And Nine To Five feature heavy production, and brooding, almost heavy metal chord progressions. Ronnie Earl appears to add fiery guitar to Young Man’s Blues, and album closer I’m On To You is a fine song full of energy that finishes the album. As well his impressive technique as a blues, rock, and slide guitarist, Morris also has a fine, soulful singing voice, and he promises a lot, even though at only 21 he has already delivered so much.

BEN MACNAIR

“he promises a lot, even though at only 21 he has already delivered so much”

“The feeling for the blues is written all over this release”

EMMA

WILSON FEELGOOD Independent

‘’In January 2020 I was writing and recording my new electric album “Siren” , Alessandro Brunetta had been over from Venice to put down keys, sax and harmonica and the legendary Terry Reid was coming up to the studio in Durham after his performance at Glastonbury.” The virus put a stop to this, but in the meantime, Emma has released a great 4-track EP. The opening track is Aretha Franklin’s Dr Feelgood, which Aretha wrote with her husband Ted White. Emma’s version is soulful simplicity at its best. Her controlled power and ability to convey the lyrics without wavering or straying from the melody do more than justice to this soul classic. Next, Today I Sing The Blues, written by Curtis Lewis, reached the top ten in the USA in 1960 for Aretha. Emma’s clarity of vocals and ability to sustain a purity of note give this soul classic a really melancholic, bluesy feel. As on the previous track, Emma is accompanied on piano by Dean Stockdale, with a little help from some technological wizardry. I’m sure they are destined to perform live together at some future point. The two numbers they have created together on this release would be perfect for a late-night session at Ronnie Scott’s. The other two tracks on the EP were recorded previously in a more traditional manner, with George Hall playing keyboards. Sunday Kind Of Love was first published in 1946 and has been recorded by numerous artists, from Etta James to Joe Bonamassa & Beth Hart. Again, Emma’s purity and sweetness of vocals produce a great rendition of this classic tune. The final track Nobody’s Fault but Mine, by Blind Willie Johnson, which was covered so well by Ry Cooder and freely adapted by Led Zeppelin in 1976, is given a very powerful treatment by Emma. The vocals are positively haunting; an effect which is further enhanced by the long fade-out of the piano’s final heavy bass note, signifying something very ominous. This is a great EP offering by the very talented and very hard-working Emma Wilson.

STEVE BANKS

JOEL SIEGEL & THE POCKET BAND

PINK HOTEL Starcrossed Media

You know when someone nods at you in the street but you both carry on walking and then you spend ages wracking your brain trying to work out who it is? Well that was me and the name Joel Siegel. And then it clicked. That Joel Siegel! The David Crosby / Jefferson Airplane / Grateful Dead adjacent Joel Siegel. To be honest if I had not had a slight involvement with a Jefferson Airplane magazine for a few years I might not have remembered.

But here he is several decades on still making good music. Mind you the music he is making sounds like it could have been locked away since 1972 only now emerging, blinking, into the light. It is West Coast soft rock with harmonies, the sort of thing that you would have heard in many a Californian club back in the day. So, if you are hankering for those days then you might like this. I remember a few years back hearing an unreleased album by Oasis (not that one) which featured Mr. Siegel and I really enjoyed it. This is not dissimilar although if memory serves that band had a great female singer in tow. That is the one drawback here as he takes on the role of vocalist as well, and he’s not great. But that never stopped the Grateful Dead having legions of fans. On the plus side there are a few good tunes on offer with Bad Blood, Crosshairs and It’s Gone the ones that worked best for me. There is some lovely lead guitar work from Zeke Zirngiebel throughout which holds the attention. If the seventies West Coast is a place, you’d like to call home then give it a spin.

STUART

A HAMILTON

“If the seventies West Coast is a place, you’d like to call home then give it a spin”

DELTA TOM STRAIGHT TO HELL (Thanks A Bunch)

Independent

Delta Tom is Tom Colborn, a skilled acoustic guitarist and Blues singer with a sharp sense of humour and a natty taste in hats. The album combines a number of originals, some excellent acoustic instrumentals as well as a fine version of the classic St James Infirmary Blues. The main focus though is on his self-penned numbers which show off his sharp wit with great aplomb. The album opens with Gravitation, a musing on the habit of things to refuse to stay where you put them. His voice is strong but with a hard edge, but it is his guitar playing that really stands out, his picking and harmonics are sweet and beautiful. The title track sees Delta Tom bemoaning his inability to achieve high status and riches as a Bluesman, the lyrics show his acerbic writing style, but the track does put a big smile on your face. Bye And Bye shows a more traditional side to Delta Tom with the feel of an old church holler number and, again, sublime guitar

VARIOUS ARTISTS

THE 1960 R&B HITS COLLECTION

Acrobat Music

Oh my! I am at a bit of a loss as to know where to start with this collection. Obviously from a reviewer’s standpoint it is easier to write about a single artist, or band, rather than a 4CD, 115 track, window into a particular moment in time. That moment happens to be 1960 and here you will find virtually every single which impacted upon the Billboard Charts Top 15 during that year. The range of styles covers everything from R&B to Pop, Country early Motown and of course touches of Blues. So Connie Francis rubs shoulders with Lloyd Price, Bobby Rydell snuggles up beside LaVern Baker whilst Johnnie Preston has a thing going on with Ella Fitzgerald. There are some brilliant contrasts thrown together as can only happen when you

playing. There are many different sides to Delta Tom, the humorist, the traditionalist and the serious musician as well as the more jokey but the bottom line is that this is an album that puts a smile on your face and, unlike many albums with humour in the lyrics, actually bears repeated listening. I found myself picking out certain tracks at different times, simply for the enjoyment of the music. Well worth checking out.

have tracks compiled as they were released and charted within the Top 15. Sit back and let this musical time capsule take you back to those heady scratchy radio years spent trying to tune in to distant stations on terrible equipment. I feel it would be somewhat pointless to isolate particular songs so instead I will simply say that this excellent collection comes with an extensive book detailing a huge amount of information about the songs, the sessions and indeed chart positions etc. As you listen it would be all to easy to reflect and say things like ‘ah radio and the charts were so much better in those days’, but that is just the glow and lure of our youth. ’Of course the negative side to this kind of collection is that it puts odd earworms in your head. Anybody got an idea how to get Itsy Bitsy Teeny Weeny Yellow Polka Dot Bikini out my head?

ANDY SNIPPER

“but the bottom line is that this is an album that puts a smile on your face”

GRAEME SCOTT

“Sit back and let this musical time capsule take you back to those heady scratchy radio years”

CHARLIE BEDFORD GOOD TO GO Blue Heart

The Blues continues to expand and renew itself, and this set is certainly an example of just how. Regular readers will be aware of the state of the blues scene in Australia, and here is further proof it is thriving. Charlie Bedford is a nineteen year old singer and guitarist from Melbourne who performed at the International Blues Challenge Youth Showcase (held in Memphis) in 2017, 2018 and 2019, and again in Memphis earlier this year before the pandemic shut everything down. This is his second album, released by the Nola Blue subsidiary label Blue Heart. A good one it is too. Charlie has a fine blues voice, writes strong contemporary-themed songs, and has a style that draws on rock, funk, and soul along with the blues. His playing is extremely funky on the opener, Money Junkie, and on the title track, whilst the moody No Rain No Flowers has a minor key 80s pop tinge and Windy Wednesday comes across, perhaps subconsciously, as a distant relative of The Mamas And The Papas California pop classic Monday Monday. I did say he was eclectic. He even shows an influence from rap on Get Rude. But do remember that the blues is a strong presence in Charlie’s music, even a track like Enemy opens with some Hendrix style rhythm guitar and has a fine blues guitar solo. The instrumental Telephone is a short masterclass in the psychedelic blues guitar style and Just A Little Longer is a fine piece of

E D BRAYSHAW

FIRE WITHOUT WATER

Mescal Canyon

Another fiery veteran bluesman who has spent 30 years providing tasty licks and solid arrangements for others, namely Wily Bo Walker. E D Brayshaw has at last reached that crossroads of making his very own album. On six of these eight self-penned storming tracks he plays all the instruments, drums, bass, guitars, and provides powerful vocals. On a song such as I Heard The Rain all his talents

strutting soul. Although the incorporation of other styles has been mentioned, Charlie goes for the reverse process with Steady Driver Man, a Mink DeVille track here given a powerful Bo Diddley beat and also featuring blues harp by Chris “Stibbo” Hanger, who also plays on the very impressive closing number. Just harp and Charlie’s guitar on a strongly downhome blues instrumental, just to affirm this album’s credentials. Blues without the blinkers indeed.

NORMAN DARWEN

come together impressively. And the wild rhythmic structure on Reckless make it hard to believe that this is all one man in the studio. This may not be 100 percent blues, but if you’re into powerful, driving songs with guitar licks which will have you posing in front of a mirror with a tennis racket, then E D Brayshaw’s your man.

ROY BAINTON

“Charlie has a fine blues voice, writes strong contemporary-themed songs”

“Brayshaw has at last reached that crossroads of making his very own album”

ELIZA NEALS

BLACK CROW MOAN

E-H Records

Eliza Neals is a busy and prolific artist. Spreading her time mostly between her native Detroit and New York she always attracts top drawer musicians to bring her smart song-writing to life. Hot on the heels of her collaboration with Popa Chubby the new albums features Joe Louis Walker and Derek St. Holmes on lead guitar duties. Most importantly the songs stand up on their own and Eliza is a vocalist of the highest order. Operatically trained but blues to her core as evidenced on opener Don’t Judge The Blues. A call to arms for blues of all colour and creed. Why You Ooglin’ Me follows, a slow burner building the tension musically and lyrically. The Devil Don’t Love You features JLW on guitar and sharing vocals. Eliza displays the more soulful side of her vocal range on this, the whole thing is underpinned beautifully by Bruce Bears on Hammond before Joe lets rip as the track climaxes. Watch Me Fly feels as if it a very personal song and Eliza gives it all the emotion it demands. Certainly, any detractors she may have had in the past are watching her fly now. River Is Rising is a great blues about a failing relationship that soars and swoops in all the right spots. Run Sugar Run is a little more rocked up but retains enough soul to keep it fresh and uplifting. Black Crow Moan again features Joe on guitar and shared vocals. Eliza displays wonderfully restrained vocals on what is clearly a very personal song, one that highlights her emergence as a writer of depth and integrity. Eliza really opens up and hits the high notes on the intro to Never Stray, with Derek St. Holmes showing why he is such a respected guitarist, treading the line between muscularity and fragility perfectly. Ball And Chain is given a big six minute plus showcase and it’s a fantastic version, balanced between the Big Mama Thornton and Janis Joplin interpretations. Derek St. Holmes weaving his magic throughout, pulling and pushing against the heartfelt vocals, simply wonderful. The album closes with the tongue in cheek good time part track Hey, Take Your Pants Off, the perfect antidote to some of the darker themes of earlier songs, a definite head nodder. Highly recommended.

STEVE YOURGLIVCH

GAVIN POVEY WHEN I HEAR RHYTHM $ BLUES

Hideout Records

Gavin Povey is a piano/keyboard player with a great CV, having played with some of the all-time greats, amongst them Dave Edmunds, Shakin’ Stevens and Desmond Dekker. He also played on that great song by the much loved and missed Kirsty McColl, There’s A Guy Works Down The Chip Shop. I mention the above to illustrate his versatility, further proof of which is to be found on his latest CD, When I Hear Rhythm $ Blues, which is a collection of 10 tracks, comprising of six of his own and four covers. The styles go from Swing, Stride, and Boogie to Rhythm and Blues.

The opening track, Dr Blues, is a real thumper of a number, reminiscent of Big Joe Turner. The keys take a real heavy bashing and this track is not just a great opener to the CD, but I imagine would make a real impact as a concert opener. Had the whole CD been of a similar vein, I would not have been disappointed, but Gavin uses the album to demonstrate his versatility and the next track, Some Of The Parts has a more rolling feel to it. Continental Cowboy slows down the pace and is more of a slow ballad, late night style song, with a hint of Mose Allison/ Georgie Fame. St. Dominic’s Highway follows a similar pattern. Get Out On The Road Boy takes the pace up a few notches rocking along in a style Jerry Lee Lewis himself would have loved. Sy Oliver’s At The Fatman’s has a great fun time sound and is a real showpiece for Gavin’s keyboard virtuosity. Tom Waits’ Chocolate Jesus has a very dramatic intro and possibly more tuneful vocals than the original. A soulful version of House Of The Rising Sun does justice to the old tragic tale. Love Potion No.9 has a funky New Orleans feel and the album closes with the title track, a tribute to Gavin’s chosen genre. If you like traditional style piano boogie blues, this is one for you.

STEVE BANKS

“traditional style piano boogie blues”

GERALD McCLENDON

CAN’T NOBODY STOP ME NOW

Delta Roots Records

Gerald McClendon hasn’t earned the sobriquet ‘The Soul Keeper’ for nothing! His voice and style matching the great male soul singers. Having an impressive career he’s linked up with acclaimed producer Twist Turner, who’s also written the songs. The horn driven title track kicks off setting down a marker for the album. Gerald’s a believable storyteller saying he’s moving on from the setbacks and hard times and moving forwards. Where Do We Go From Here features gorgeous tenor sax by Skinny Williams, slightly slower paced McClendon pours his heart out. The band holding it all together with discipline and aplomb, Twist Turner also performs drumming duties throughout.

ANDREW JOHN VILLIERS

PARKER

PASTORAL Into The Red Records

An album entirely of acoustic guitar instrumentals that Andrew had been playing live at gigs for the 6 months prior to lockdown. When next able to gig you will be hearing a lot of these tunes from Andrew and may already know some as he has already had some radio airplay for this album. The idea behind this album was to create an atmospheric, relaxed vibe which sits central to the music and it does just that. Made me think a little of the psychedelic days of the Doors, I imagine myself in my flares and suede waistcoat, long blonde hair swinging in the breeze, swaying

Groove On Tonight is more RnBish, short but highly effective. She Don’t Love Me Anymore, a classic tale of lost love follows. The deep, controlled vocal enhanced by another wonderful Skinny Williams solo in the middle. Runnin’ Wild is a bouncy horn-spiced track where Gerald ‘calls out’ his bad behaving girl. Again, the brass and drums add wonderful tone and tempo, these guys are monster musicians! Things change a little on It’s Over Now, with piano taking centre stage alongside plaintive vocals, thoughts of Bobby Bland come to mind. Mr Wrong is the total opposite, a song of bravado in classic blues tradition. Can I be Mr Wrong tonight until Mr Right comes along? I Started Over is another big uplifting, horn-laden song staying with Gerald as he gives a soul masterclass. You Can’t Take My Love is softer, more vulnerable, as is the haunting love song Why Can’t We Be Together, with its’ lovely understated piano opening augmented by distant sax. Cut Me Once is a tale of a man in trouble after a heavy night out and being caught cheating told over an easy funky groove with just enough strings in the mix. The album climaxes with I Think About You complete with sweeping horns and a swirling Hammond. This is a late-night soulful album of love songs, if that floats your boat this should be moored in your record collection.

STEVE YOURGLIVCH

gently... I’m on a sunny hill surrounded by similarly dressed long haired beautiful people entranced by the gorgeous sounds this man, entirely on his own on this big stage is making...Just him and his guitar. He is lost in what he is doing too... just everyone and the music. Using all his many influences from years gone by, ranging from the American greats of the acoustic blues guitar through European and British folk influences, Andrew has created a wonderful mix which, together, really set a special mood. The more I listened to each track the more I fell in love with the beauty of the pure sound Andrew gets out of this magical instrument.

JEAN KNAPPITT

“the brass and drums add wonderful tone and tempo, these guys are monster musicians”

“Andrew has created a wonderful mix which, together, really set a special mood”