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Editor in Chief’s comment

WELCOME to BM 120

Just how great can it be to meet face to face with one of your Blues legends?

Well it happened to another of our team again. It really is a privilege to be invited to talk to artists and bring the words to you out there in these pages and when it is someone who rarely does interviews. That makes it extra special for us and for you all.

We hope you will dive into our chats with Mr V. Morrison as well as the legendary Mr. S. Cropper on the release of his first album in ten years.

Every issue is special to us and this one is no exception and comes with that extra special joy of two rare artists who add that little bit more cream to our Blues coffee... enjoy!!!

Had your jabs yet?? Don’t miss out!

Music is ever more important

to us as these times go on, so let’s celebrate the music and the artists we enjoy, we’ve been doing it for years already and we ain’t stoppin’.

My friend decided he needed to stay in shape last year so he started walking 5 miles a day... now we have no idea where he is!

The nice thing about meditation is it makes doing nothing respectable.

A day without sunlight is like... night!

Maybe these Blues will start rollin’ soon as we see tour dates being issued and the excitement rises, just take care as none of us want to go back into another lockdown. BRING ON THEM BLUES!!!

Alan ‘D’ Pearce Editor-in-Chief, Fan, Founder & Publisher

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Contributing Writers: Bruce Alexander (USA), John Angus, Tim Arnold (USA), Roy Bainton, Eric Baker (USA), Steve Banks, Adrian Blacklee, Eddy Bonte (Bel), Colin Campbell, Laura Carbone (USA), Norman Darwen, Erik Damian, Paul Davies, 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), Yvette Jenkins, 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, Adam Kennedy others credited on page.

COVER IMAGE: Marco Van Rooijen

COVER IMAGE: Michael Wilson

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.

BLUES

WORDS & PICTURES: ADAM KENNEDY

Since the last instalment of “Virtual Blues,” - I’ve been fortunate enough to complete virtual photo sessions on all four corners of the planet. From the Great Ocean Road in Australia to Freetown in Sierra Leone. I’ve been racking up some virtual air miles, that’s for sure. On the pages of Blues Matters this issue, I bring you images from shoots I’ve recently

done with several Blues Music Award Nominees and some talented blues artists in the Deep South of the USA.

I also shot with Croatian blues outfit the Sunnysiders on the streets of Zagreb and got to work with both Ina Forsman and Corey Harris’ and hear about their latest releases.

MAGNOLIA BOULEVARD

(Kentucky)

Do you know that feeling when you are listening to music, and suddenly you hear a song, and it’s so good that you have to tell all of your friends about it? Well, that’s what happened the night I stumbled across the video for “Sister” by Magnolia Boulevard on YouTube. If you do one thing today, go and look up that song/video and listen to lead vocalist Maggie Noelle’s phenomenal voice and guitarist Gregg Erwin’s incredible slide guitar play. Perhaps we will see the band on this side of the pond sometime soon. Let’s keep our fingers crossed.

SUNNYSIDERS

(Zagreb, Croatia)

Croatian outfit the Sunnysiders recently released a new single, “No Pockets in The Grave”. Their latest offering is a blues song that reminisces on the fragility of life and the insignificance of material values. It’s the second single from their critically acclaimed album ‘The Bridges’. The corresponding music video was filmed in Baranja - a Croatian region that looks like American South and the Mississippi Delta. This colourful image was captured on the streets of Zagreb and has featured in several national newspaper articles in their homeland of Croatia since our recent shoot together.

INA FORSMAN

(Berlin, Germany)

Finnish songstress Ina Forsman has been busy working on new material. Over the previous year, the talented Finn has added many strings to her bow. “I’m definitely trying to get out of my comfort zone all of the time. I’m trying to build myself to become the best musician I can be. Right now, I’ve been focusing on songwriting and producing,” Ina says. Speaking about her forthcoming single “Promises” in a recent social media posting, the artist said: “It’s been one long winding road to get to this point. I’m so excited and beyond nervous to let you know that I will release a new single on Friday, May 14th.” The single certainly certainly “Promises” to be a good one.

Blues Music Award Nominees SOLOMON HICKS (BROOKLYN, NY) JOHN NEMETH (MEMPHIS, TN) TINSLEY ELLIS (ATLANTA, GA)

It’s award’s season again, and there are some very talented artists in this year’s Blues Music Award Nominees list. We begin with John Nemeth, who has been nominated for five awards this year including, the B.B. King Entertainer Award, Band of the Year, and Contemporary Blues Album for ‘Stronger Than Strong’, to name but a few. Speaking of his achievement in a social media posting, Nemeth said: “It’s an honor to be recognized”. Humble words indeed, and an impressive accomplishment from the Memphis based bluesman.

Likewise, Alligator Records recording artist Tinsley Ellis has been nominated for Best Blues Rock Album with his album ‘Ice Cream In Hell’ and Best Blues Rock Artist. Ellis has been exceptionally productive during the pandemic era writing songs for a new album. Tinsley has been testing some of his latest material via his “Wednesday Basement Tapes Song” postings on social media. Speaking online regarding the feedback

he received from fans, Ellis said: “It has been helpful to me in choosing the songs to put on the new album.” We can all agree that a new release from Tinsley Ellis is something to look forward to for sure.

In terms of young blues artists coming through the ranks, look no further than King Solomon Hicks, who is nominated in the Best Emerging Artist Album category for his debut full-length studio release ‘Harlem’. Hicks certainly has something special. His soulful blues is reminiscent in places of the great Robert Cray. Without a shadow of a doubt, Solomon Hicks has a bright future ahead of him. This accompanying photograph was taken at a virtual photo session we did together in a studio in Brooklyn, NY.

For the complete listings of all BMA nominees, please visit the Blues Foundation website. And lookout for the results of the awards on Sunday, June 6th. Good luck to all those who are nominated this year.

COREY HARRIS

(Italy)

Corey Harris is a prominent acoustic blues artist. You may have also seen Harris on the Martin Scorsese mini-series ‘The Blues’ released in 2003. Recently Corey has been digging into the history of our beloved genre for his latest book

‘Bluespeople Illustrated: Legends of the Blues: Drawings, discographies and biographies of the 20th century’s greatest bluesmen and women.’ The book, which is out now, is a fascinating insight into some of the greatest traditional blues players who ever lived. The publication features Corey’s insightful words and illustrations. If you find yourself asking the question: ‘How much do I know about the blues?’ then look no further than Harris’ latest offering. This book is a must for any blues fan or music historian.

DEBBIE BOND (Birmingham, AL)

During the last year, I’ve been virtually trekking the globe whilst catching up with blues artists on all four corners of the planet. I guess you could say this body of work embraces the concept of “Blues Without Borders”, which ironically happens to be the title of Debbie Bond’s forthcoming album.

In her recent newsletter, Debbie Bond said: “As some of you know by now, Rick and I have been working away through the pandemic on our music. We felt thankful to have each other, so we weren’t so lonely in lock-down and had a wonderful creative project to dig into. It seems to have taken forever, but it won’t be long and we will have a new album, ‘Blues Without Borders’, in our hands. It has been a labor of love and collaboration with musicians and studios, here in the US and the UK, where we do most of our performing.”

Bonnie DOBSON

With a hand cupped to an ear the echoing whisper can almost be heard: ‘……Who?.... Bonnie who?…..Bonnie Dobson….who?,’ as it filters through the hall. A strange state of affairs indeed, because Bonnie Dobson is one of music’s true survivors, a lady with a gorgeous, glorious voice that over half a century since her emergence in New York’s nascent roots-music scene, still glints like gold.

Originally from Toronto, Canada, Dobson worked the incipient US folk scene alongside Judy Collins and Joan Baez, and was ranked by Time Magazine as one of the top three female musicians and singers in 1960s USA alongside those two musical giants.

She played all the famed haunts, now steeped in legend and musical myth and folklore, hanging out in Gerde’s Folk City, The Gaslight, The Bitter End. The lady toured extensively with Sonny Terry and Brownie McGhee, Mississippi John Hurt, and worked with Pete Seeger, Reverend Gary Davis, Lightnin’ Hopkins, Artie and Happy Traum - always working her way and looking astutely around the world surrounding her as she wrote songs of love and loss and prescient, at times disturbing, thought.

For many years the Grateful Dead worked one

of her most famous songs - the first song she herself ever wrote - as their own signature tune. “Morning Dew” became a must-do song for the freewheeling, spirited West Coast band from their first cover at a San Francisco festival back in 1967 till the band’s demise in around 1995. Later, the same song was recorded by countless other ‘Big names’ including the Allman Brothers, Nazareth, Jeff Beck, Devo, Rod Stewart, and Scottish rocker, Lulu.

She remembers being thrown into the musical cauldron as a naive teenager and packed off on her first tour alongside Brownie McGhee and Sonny Terry, both of whom were, ‘….wonderful to me. Generous and helpful.’ Later she worked with Mississippi John Hurt, who she describes as, again being, ‘….generous always. A lovely guy. Brownie and Sonny were like John Hurt, gentlemen, with a wonderful laid-back attitude. They helped me hugely when I was just starting out as a professional musician. They always helped and supported me, never any issues or problems with them. They were just great.’

WORDS: Iain Patience PICTURES: Laurie Lewis

In truth, Dobson’s experiences with those great bluesmen gave her a view of blues music and musicians that turned out to be a bit niaive and was later to be shaken with an extraordinary wake-up call featuring yet another blues great: ‘Because I’d had such a lovely time working and touring with Brownie and Sonny and John, when a few years later I was offered a tour with John Lee Hooker, I jumped at the chance, expecting him to be like them. In truth, it was a completely different experience. From day one on the road, touring across the USA, John Lee was an absolute pest. Every night he come and thump on my dressing-room door. I had to lock it every time. He’d bang the door and shout through it to me that he was gonna ‘have’ me. As a youngster, it was quite troubling and scary a lot of the time.’

Looking back to her New York Village days, she also recalls the late bluesman Jerry Ricks, working in Second Fret coffee-house, learning guitar by picking up licks and tips from passing players. And she remembers one evening at Gerde’s when a couple of youngsters took the floor. ‘Nobody really knew who they were, but they sang beautifully together,’ she recalls of Simon and Garfunkel back at the start of their careers. She also laughs when she adds: ‘I remember Dylan when he was still funny.’ Richie Havens, is

another she recalls with admiration together with Irish folk-legend, Tommy Makem and Dave Van Ronk., who she thinks was misrepresented in the 2013 Coen Brothers movie,” Inside Llewyn Davies”: ‘Dave was lovely, he was never like the depiction of him in the film,’ she insists.

In 1969, while still at the top of her game, Dobson married, moved to London, became a mother and turned to university study and the security of a regular income in the academic world. With her musical career on near-permanent hold, she dropped from the scene until post-modern, Brit-popper, Jarvis Cocker rediscovered her and persuaded her out of retirement to perform alongside him in London in 2007, where Dobson stole the show, went down a bundle but then, mysteriously and inexplicably, slipped once more from sight. ‘Jarvis Cocker had recorded one of my songs, “Winter’s Going” - a psychotic number, and I wondered what he might be like. In the event, he was fine, of course. But after appearing at the Meltdown Festival when I expected something to follow, nothing happened. But I knew then that I could still do it,’ she laughs somewhat ruefully.

As a Canadian youngster, Dobson recalls being initially influenced by the music of The Travellers, a sort of Canadian version of USA’s the Weavers, and when she caught Pete Seeger play live she was truly hooked on the music and the possibilities it offered. It’s remarkable that she was able to disappear so thoroughly from the exploding, developing folk-roots music world until recently when she was asked to perform at a very special concert, persuaded to take the stage by and to join a very special musician up-front at the 2013 memorial tribute concert to legendary UK guitarist Bert Jansch held in London.

Robert Plant has long been a fan of Dobson and her music. In 2013, he persuaded her to resurface, share the stage with him and together they performed her first song, ‘Morning Dew,’ to an enthralled crowd of acoustic-roots lovers. Again, Dobson with her crystal-clear delivery and soar-

ing voice stole the show from a happy, nodding, near-sidelined former Led Zeppelin frontman, Plant, who told her at the time: “Bonnie, you’ve got your song back.”

Fortunately, following this remarkable rediscovery - again! - Dobson returned once more to the studio, recording her first album in around fifty years with UK roots label, Hornbeam Recordings, “Take Me For A Walk In The Morning Dew,” in 2014. A fifteen-track delight, the album features Dobson’s still strong elegant voice and guitar playing with a fresh take on her original classic song together with a mix of own-compositions and traditional folk/roots-biased material, a gem of an album for roots music lovers.

Following such a turbulent musical career of hide and seek, Dobson is pragmatic about the future: ‘I’ve had a good, happy life. I’ll just see where it goes next. I’ve a gig coming up soon in London and I’ll just take it from there, see where it might lead.’

BLUES WOMEN

by Dani Wilde

Mamie Smith and Crazy Blues

THE FIRST COMMERCIAL SUPERSTAR OF THE BLUES

Phenomenal Blues Women

Mamie Smith and Crazy Blues – The first commercial superstar of The Blues When it comes to the achievements of blues women, you can’t get much more phenomenal than Mamie Smith. Just over 100 years ago, on August 10th, 1920, Mamie Smith accompanied by her Jazz Hounds, became the first African American artist to make a vocal blues recording with the song Crazy Blues.

Smith was born in Cincinnati on September 16th, 1891, as Mamie Robinson. She grew up in a working-class boarding house and attended her local public school until she entered the music industry at just ten years old as a singer and dancer on the vaudeville circuit with the ‘Dancing Mitchells’ and later, the ‘Smart Set’.” Throughout her teenage years, Smith developed her craft and was soon recognised as an accomplished dancer, actress, and singer with a confident and engaging stage persona and a sweet, emotive voice. She rose through the ranks in vaudeville and found her big break as the first commercial recording artist and superstar of The Blues.

Crazy Blues was composed by African Ameri-

can Perry Bradford. Mamie Smith’s recording of the song very nearly didn’t happen. A white Russian American vaudeville performer Sophie Tucker was scheduled to record the track months earlier, but she became unwell and missed the session. Perry Bradford convinced Okeh Records that having black vaudeville artists record blues songs marketed at black audiences could make some money. Blues artists like Ma Rainey already toured the Chitlin’ Circuit playing blues, but Bradford recommended Mamie Smith who was stylistically versatile but not a classic blues singer.

Although they were hoping to tap into a new market, Okeh had not anticipated considerable sales. They assumed many African American households would not be able to afford Victrolas (many would purchase a Victrola just to be able to play Mamie Smith’s debut record). Record companies had not considered the possibility that white people might also want to purchase black music. Although once white communities heard Mamie’s passionate vocal and fantastic band, of course, many of them did! Within a month, Crazy Blues sold 75,000 copies,

and within a year of its release, it became the industry’s first million-seller.

This ignited the 1920’s blues-recording boom. All the major labels of the day - RCA, Paramount and Columbia, set up separate ‘race’ labels and signed African American female blues singers, including Bessie Smith (Columbia) and Ma Rainey (Paramount). In response to Mamie’s popularity, New York City swiftly became the blues recording capital of the world. Record labels, singers, orchestra leaders and publishers were all quick to capitalise on the new trend. “Everybody tried to sing the blues,” recalled renowned blues and gospel composer Thomas A. Dorsey, “because the blues was paying off.” Composer Perry Bradford recalled the day Mamie Smith and her band of African American musicians stepped into the studio to record his song:

“As we hit the introduction and Mamie started singing,” Bradford continued, “it gave me a lifetime thrill to hear Johnny Dunn’s cornet moaning those dreaming blues and Dope Andrews making some down-home slides on his trombone, while Ernest Elliott was echoing some clarinet jive along with Leroy Parker sawing his fiddle in the groove. Man, it was too much for me.”

With an emotion-drenched vocal, Mamie Smith sang of influential themes that would echo through countless blues songs to come:

“I can’t sleep at night, I can’t eat a bite, ’Cause the man I love, He don’t treat me right”

We know that the roots of the blues were born in slavery, but in this first commercial blues recording, 55 years after the abolition of slavery in America, Mamie Smith sings about the hardships of life after emancipation. Relationships, love and family life of course occurred in slavery, but these could be very difficult to maintain. Many women were sexually assaulted by their

slave owners, and family members could be sold to other plantations, tearing family units apart. John Dixon, a traveller in the pre-civil war antebellum period, heard slaves singing the following work song as they worked in the fields:

William Rino sold Henry Silvers

Hilo! Hilo!

Sold him to de Georgy trader

Hilo! Hilo!

His wife she cried, and children bawled

Hilo! Hilo!

Unlike the work songs of the plantations, the lyric of Mamie Smith’s Crazy Blues focuses on themes that represent immediately accessible freedoms after emancipation: relationships and travel. African American’s were still treated with horrendous discrimination.

However, women no longer suffered the sexual exploitation of slavemasters, and their family members could no longer be stolen from them. Men and Women were free to have relationships with whomever they chose, and this change in culture is reflected in the lyrical development of the early blues genre. Mamie sings of being mistreated in a relationship. Her song is as relevant to audiences today as it was 100 years ago.

Travel was another key topic. In the emotional climax of her hit song, Mamie Smith sings:

“I went to the railroad

To lay my head on the track”

Instead of boarding the train, she sings of such despair that she wants to lay her head on the tracks and die. African American women experienced not just racism but also sexism. So public transport was still not a viable option for most in the early decades of the 20th Century. African American men were given the freedom of train travel, albeit in segregated coaches called Jim Crow cars, designated for black riders only. By 1920, more Women were using train travel. However, it was not deemed safe for them to travel alone. The popular, early blues topic of

FEATURE | BLUES WOMEN

train travel represents another cultural change associated with emancipation. The thriving 1920’s railroad industry also provided many job opportunities for African Americans. Mamie Smith was responsible for defining the image of a female blues singer. She wore extravagant dresses and elaborate jewellery onstage and was billed as ‘The Queen of The Blues”. This billing was soon one-upped by Bessie Smith who crowned herself “The Empress of The Blues”. During the Harlem Renaissance Era, these women helped to redefine the stereotypical image of African American Women. No longer peasants in the rural south, but glamorous, proud, respected and hugely talented urban woman. Through her wonderful self-expression, Mamie Smith challenged racial stereotypes which would set the stage for the civil rights movement.

Between 1920 and 1931, Smith earned an estimated $100,000 (about $1.3 M today) in royalties from her 95 recorded songs on OKeh and Victor records. Her earnings allowed her to drive fancy cars and invest in the latest fashions. Fashion designer Madame Hammer created most of Mamie Smith’s stage gowns. Smith would appear on stage in luxurious silk, trimmed with silver and roses, with ostrich feather headdresses and fans to match.

She was beautifully accessorised with diamonds and pearls. The Hamilton Evening Journal described her dresses as “riots of color and beauty.” Mamie spoke of her stage clothes in a 1921 interview: “I feel my audiences want to see me becomingly gowned, and I have spared no expense or pains in frequenting the shops of the most fashionable modists in America, with the results that I believe my audience will like … as much as I do, for I feel that the best is none too good for the public that pays to hear a singer.” It is said that her fans would send offerings of jewellery and marriage proposals to the Okeh Record Label office.

Following the success of Crazy Blues, composer Perry Bradford became Smith’s manager, or-

ganising tours and scheduling future recording sessions. Smith embarked on extended tours of America, performing sell-out concerts. In February 1921, the Chattanooga News declared she had sold out the Billy Sunday Tabernacle in Norfolk, Virginia, to a record crowd of over 9,000 people. They added that “so many were turned away… (she was) obliged to return to Norfolk twice.”

Smith took pride in returning to her hometown for a sold-out concert at the big auditorium stage of Cincinnati Music Hall. The venue was just eight blocks from the house she grew up in, and it was usually reserved for white artists of huge international acclaim. Smith took to the stage with her Jazz Hounds and enraptured her crowd. In 1921, a month before the show, she spoke to The Dallas Express Newspaper with excitement: “I realize that these thousands of people who come to hear me at my concerts, expect much, and I do not intend that they shall be disappointed. They have heard my phonograph records and they want to hear me sing these songs the same as I do in my own studio in New York. For that reason, I am taking with me my original Jazz Hounds, who are in my opinion, the finest players of syncopated music in the world today.”

In the April of 1921, Mamie Smith was booked to perform a Saturday night concert at Richmond’s Coliseum. The local newspaper stated, “the company comes to Richmond heralded as an attraction meriting the combined patronage of white and colored folks alike.” Her musical talent was bringing white and black people together for a shared enjoyment of the same great music. Sadly, her performances were mostly segregated by seating arrangements such as reserving lower floor seats for white fans while her black fans enjoyed the music from the balconies.

In Birmingham, Alabama, there were further racial extremities with performance nights kept separate for white and black crowds. Still, Mamie Smith paved the way: the shared love

and appreciation for her music from white and black fans alike was a much-needed step forwards in American society. Skip forwards thirty to forty years and artists including Josephine Baker, Ray Charles, Eartha Kitt, Nat King Cole, Sammy Davis Jr, and the Beatles would take another forward step; refusing to perform unless audiences were integrated.

In 1921, Wallace Sims wrote to The Chattanooga News having seen Mamie Smith’s concert advertised for white people only. He was keen to correct this error, highlighting that 6,000 seats were reserved for black attendees. Sims insisted that every black “man, woman or child … wants to hear this concert … as she is the first and only one to attain the distinction of making gramophone records…(that) uplift our race.” He recognised that Mamie Smith was a role model who gave an inspirational example to young African Americans of just what they could achieve in life.

Following her musical success, in 1929, Mamie appeared in an early sound film, Jailhouse Blues. This was just two years after the very first sound feature film. Although Smith had been incredibly wealthy, she lost almost everything in the stock market crash of 1929 and had to rely on the charity of friends. She continued to work smaller acting roles and ten years later gained a role in the motion picture Paradise in Harlem, produced by her new husband, Jack Goldberg.

In 1946, having fallen ill and spent time at a hospital in Harlem, Mamie Smith passed away. Smith defined the classic blues era. She helped to establish African American traditions in

popular culture. Her celebrated recordings showcased the work of talented African American composers including, Perry Bradford, James Timothy “Tim” Brymn, Clarence Williams, Christopher M. Smith, Henry Creamer, and Jay Cee “J.C.” Johnson. Mamie Smith’s success opened doors for the African American artists who followed. She was the first Black woman to record blues, paving the way for future legends such as Ma Rainey, Bessie Smith, Ida Cox, Alberta Hunter, and Victoria Spivey. In an era of racial intolerance, her beautiful music prevailed and was loved and appreciated by fans of all races. Despite her phenomenal achievements, for 68 years, Mamie Smith lay in obscurity. In 2013, a group of blues fans began a campaign to fund a tombstone for her. Her tombstone was erected in 2014.

TWO YEARS ON: DR JOHN AND ME RADIATING THE 88s

Firstly, as I’ve been away from this column. Two piano artists to check out –Ben Levin, and Veronica Lewis. Veronica is still very young, but her thing is growing all the time.

I heard that Dr John had died on 6th June 2019 just a week after returning home from a two month stay in his beloved hometown New Orleans. The devastating news didn’t take me entirely by surprise. I followed Mac’s health on social media and noticed that in recent years he had slowed down appreciably. People told me that he was less steady and had cut back and then entirely stopped travelling and performing in public.

I didn’t know what was ailing the doctor, but for a man of his drive and energy it must have been something significant. During Hannah (Luxton)’s and my stay in the Crescent City I had been informed that he was holed up in his house north of the lake. I’ve never been around to the top of the lake – it’s a long way – but I was told that his place was in the countryside, kind of remote. The whole time we were in town I was comforted to know that the doctor was around, too.

His loss was enormous. New Orleans, and the world of the blues in general has few living performers that reach back to the 1950s. Mac was a link to this time. He’d been there for all

of it. I want to share some of my connections to man – my own personal perspective.

My discovery of Dr John was in the pages of Downbeat magazine. I used to cycle down to the seafront newsagent as a teenager and collect copies of this American jazz publication. In its page I would see these little black and white adverts saying. “Dr John teaches New Orleans piano”. Who was this guy?, thirteen year old me would ask. He looked chubby; I seemed to remember him beaming with a broad grin, and the whole thing looked vaudeville – not the serious, worthy, jazz material that I was lapping up at the time. Oh, the arrogance of misguided youth, and the notion that the New Orleans sound is throwaway; somehow has lesser intentions than a more bleeding-heart version of this wonderful world of blues and RnB. I’m glad I grew up and learned my lessons.

My reacquaintance with the man from the adverts came in my early 20s just around the time I started playing with Errol Linton. I was still so green about the blues, and Errol’s guitar player Adam Blake made me a cassette of New Orleans styles that he thought would inspire

WORDS & PIC: Dom Pipkin

me (they went one stage further than that and changed my life.) At this point, I’d heard Gris Gris and knew that dark voodoo sound - its musical impressions of snorting animals glaring through the foliage of Louisianan forestsplayed by psychedelic musicians fuelled by both the hard and the soft stuff, but I’d never heard anything like Delicado and Big Mac, two solo piano instrumentals on the collection, or even Such A Night, with its languid swagger and resigned hedonism.

The rhythmic bounce and wobble married with a forgiving and accepting outlook hooked me into New Orleans RnB for good. Here on the piano, Mac seemed to have taken the relentless drive of Pete Johnson and inserted daylight, musical exhalation. The left hand pushed forward then paused, dancing with Latin American sensibility; there was jazz in this style reminiscent of the songs Black Coffee or Stormy Weather – but it remained true to the blues. It didn’t go into the head like jazz often does.

I lament the loss of great expressive writing talents like Mac so deeply. Who is to replace them? Dr John’s story runs thus – surrounded by music from his family and father’s record selling business, he had already met Professor Longhair and sat in on legendary recording sessions by his mid-teens, was hired as a songwriter at 15 and as an A&R man and producer at 16. That’s a very, very young age for such responsibility. He wrote, recorded, and gigged his ass off both night at day throughout the 50s, as much as a guitarist as a piano player. He turned more seriously to the piano in 1960

after his fretting hand was injured in a bar room shooting incident. Mac’s horn arranging sidekick during his early RnB and rock and roll productions is Charlie Miller, who I ran into with Josh Paxton at the Little Gem Saloon in New Orleans a number of years back. Millers main instrument is the trumpet, but that evening we ended up in an after- hours session all three of us playing the piano. And there’s Charlie telling me it’s an honour. C’mon!

The ‘50s pushed through to the ‘60s. Hard drugs, hard touring, pimping women – Mac needed the intervention of a prison sentence to set him on a new course – settling in California and joining the first call session scene was here that the artistic persona of Dr John was born – marrying psychedelia with voodoo myths from his hometown. The period 1968 to 1974 could be said to be his recording zenith, and his output at this time spans doped out space rock, soulful uptown funk and glorious revisitations of traditional Crescent City RnB – all in a few short years.

The Doctor’s subsequent career then followed a pattern, moving between these styles with ever greater ease, sometimes seasoning with a little salsa along the way. In some ways this made the man hard to pigeon-hole, but I don’t think this bothered him much. The full Native American head dress gave way to colourful suits, bead trinkets, and an ever-present cane, and Mac happily played the role of musical ambassador for his great city – recording solo piano records, collaborating all over the place, leading all-star bands, and of course turning up

in the pages of Downbeat with his instructional videos. It was to be ten or more years until I was to realise just how cool this bearded smiley faced radical rascal was.

He used to hang out with my friend Leslie Smith’s dad, Michael – smoking and drinking until the early hours. She recalls ‘Uncle Mac’ (a heroin addict) wanting to give her a kiss, and being frightened of his attire and scary beard. Years later, and now clean, living the role of musical elder statesman, film maker Lily Keber tells me how she set up an interview with him for her film about James Booker. He told her to meet them at the crack of dawn to go fishing. She was kept out unexpectedly all night. She got a great interview, though. I saw Mac many times – often at ‘Jazzfest’ in New Orleans from 2006 until his death, but also around the UK. I saw him in the mid 90s at Ronnie Scotts in London, with a band that included Charlie Miller and saxophone legend Red Tyer. Jools Holland and Clapton both guested.

In 2006 (and fresh from my first visit to New Orleans since a 24 hour stopover to play the House Of Blues in 1998 with Morcheeba) Errol Linton’s Blues Vibe (as it was then known) appeared on a bill with Dr John at Lanhydrock, Cornwall. As we approached the stage to check it out, I found a grand piano there. Can I use it instead of my little digital one I asked? Well, it’s Dr John’s piano I was told, you’ll have to ask him.

So… nervously I identified and approached his tour manager and was led into a little backstage tent where a seated Mac Rebennack greeted me. I was determined to be real with him - real about my love of New Orleans piano, to accept him as a musical brother, not to be a sycophant. I must have done something right as he left his entourage and suggested a walk with me. We left the tent and ended up on the edge of some woods. He told me I could use his piano with pleasure. We talked about country living and

hunting animals, Cajun-style – how anything was fair game if you were hungry. We started to talk about James Booker. He told me how sad he was about his death, how it had cut him up. He started to tell me about a nurse he knew at the hospital that had treated him. I’ve met a lot of people in the public eye. Sometimes the meetings are truly meaningful. This was.

Back in New Orleans, April 2019, I was out in the Metairie district with my friend and former club owner Jimmy Anselmo. Jimmy’s dad had run clubs as far back as the 30s, and Jimmy Junior had known Mac for many years. We ate a delicious lunch in Austin’s after which my host pointed out the grand piano. I was here with Mac in 2014 he said, and I asked him to play Such A Night here for me (lucky diners!) Would you play that piano for me now? Of course, I was more than happy to. You can see both videos on the Radiating the 88s page on Facebook.

The title Radiating the 88s comes directly from Mac’s 1972 album, Gumbo, and it means ripping it up on the piano. He would make up all kinds of terminology – a kind of poetic street slang – think Desitively Bonnaroo, one of his song titles. Anyone I’ve spoken to tells of Mac as a humanitarian, a kind spirit, aware of others needs as much as his own. His piano playing is instantly recognisable – with distinctive turnarounds, chromatic chord shifts, and a real weight and authority to the groove. A great songwriter, teacher, performer, and above all artist. His legacy will live on and on. This is Dr John and me.

benlevinpiano.com

www.veronicalewis.com

www.facebook.com/groups/radiatingthe88s/

www.dompipkin.co.uk

The 2021 UKBlues Awards ceremony took place on 9th May, hosted, once again, by blues legend and broadcaster Paul Jones.

The prestigious ceremony was to have been staged at The Powerhaus, Camden (formerly Dingwalls). Sadly, circumstances meant that that venue had to be cancelled for this year. Instead, the organisers once more staged a virtual event, to celebrate the UK Blues scene

Winners

Blues Artist of the Year

Blues Instrumentalist of the Year

Emerging Blues Artist of the Year

Blues Band of the Year

Acoustic Blues Act of the Year

International Artist of the Year

Jules Fothergill Young Blues Artist of the Year

Blues based Festival or Event of the Year – Live or Virtual

Dave Raven Blues Based Broadcaster of the Year

Blues Album of the Year

Most Inspirational Online Performance of the Year

Most Innovative Use of Virtual Media of the Year

Blues Unsung Hero 2021

Blues Unsung Hero 2021

which took place on Sunday 9th May 2021.

The event was produced and created by Paul Long and featured an cavalcade of high-profile guest presenters, including: Joe Bonamassa, Cerys Matthews, Erja Lyttinen, Bob Harris, Kaz Hawkins, Mike Vernon and Jon Cleary. What’s more, the awards named after their respective late husbands were presented by Lorna Fothergill and Suellen Raven.

Elles Bailey

Matt Long

When Rivers Meet

When Rivers Meet

Dom Martin

Shemekia Copeland

Connor Selby

Great British Rock & Blues Festival, Skegness

Paul Long

We Fly Free – When Rivers Meet

When Rivers Meet – Rock the Lockdown – Live Streams

Tuesday Night Music Club –

Zoom Gigs

Mark Horsley

Nick Westgarth

RAVENSWOOD THE REPORT

BLUES

WORDS: Matty T. Wall PICTURES: As credited

Well, as we come out of another lockdown here in Perth, I thought I would share with you a review of a little Blues Festival here in Western Australia we did earlier in the month, before this latest lockdown.

Just south of Perth, the Ravenswood Blues & Roots Festival takes place every summer. Only this time, it was delayed from February due to a lockdown, then moved to April, just barely missing another lockdown. We are lucky to have rare community spread of COVID, but

where there is, everything automatically must shut down, giving us long periods of freedom interspersed with short lockdown experiences.

The Ravo Blues Festival is a relatively new event, which has been going for the last six years. Ravo, short for Ravenswood. We have a habit over here in Western Australia of shortening names and throwing an “o” at the end, e.g., Fremantle becomes Freo, Busselton becomes Busso, and Rottnest Island becomes Rotto. I am not sure where that came from, maybe

PIC: Caris Morcombe

slang from the UK, or mixed in with the Italian population in Fremantle, I’m not sure. But it is certainly a quirky thing we have got going on here. Since the Ravo Blues Festival was moved from February to April and almost didn’t happen, we lost some acts such as Dave Hole, Blue Shaddy and Hussy Hicks. All of whom I have written about before in the pages of this magazine – all great and worthy artists. However, we got to see some extraordinary new acts and old favourites. My band was also on the bill, allowing me the opportunity to get up close and chat with these artists and watch from the side of the stage. In addition, to coming out front with the audience and rocking out with a pint of beer in hand, as I most definitely did.

The opener for the day was local band La-La’s Python. A recent winner from the Western Australian Music Awards ‘Song of The Year’, for their tune “Freedom Road” from their ‘Snake Oil EP’. This band is a mix up of Perth blues/ rock/country/soul music veterans. They play some tasty grooves and three-part harmonies. They would play further into the night as the main stage acts were in between sets.

The next act and the opener for the main stage was a brand-new Melbourne band named King Canyon. It was the first time I had seen the band live, but they are now building a big following in Melbourne, and I can certainly see why. King Canyon is a two-piece (who regularly front a rhythm section as they did here), with members Jimmy Cupples on vocals and James Ryan on guitar. James Ryan is a veteran player from the Melbourne scene and has effortless chops and style from his stinging Strat. On the other hand, Jimmy is a phenomenal singer. He is easily one of the best male vocalists I have heard in many years. Small in stature but massive in sound, like so many great frontmen. I think that Jimmy’s voice was up there with Paul Rodgers in style and power on that day. I am now a fan. Their style of music was very eclectic. As a new band, they moved through so many different styles and genres. Watch-

ing from the side of the stage, I noticed it was hard for the audience to connect and make something of all these styles mixed up. They sounded great, nonetheless. We will hear more from this band when their debut album comes out. I predict it will be a good one.

My band was up next on the main stage, and I had to get this crowd rocking out. Fresh from winning the West Australian Music Award’s ‘Best Blues & Roots Act’, and starting with a souped-up, electrified boogie of John Lee Hooker’s “Boom Boom”, the audience rushed to the stage, and we were off. I thought a strong, pumping blues boogie/shuffle/jump set is what this event needed, so we delivered the goods and left everyone dripping in sweat. Even getting the chance to climb the PA speaker system as I like to do (thanks Angus for the inspiration) for our penultimate tune of the set, “Scorcher”. High concentration, high energy here. I brought out a different guitar to this show, a beautiful ES-335 in flame maple ‘lemon burst’ that sounds great. I’ve had to retire one of my particularly worn 1961 Les Paul Customs due to microphonic electrics. I should get that fixed and back soon. A few people missed that guitar as it is beginning to get that cool, Rory Gallagher/Stevie Ray vibe. But many were won over by the tone of this newer lemon burst. It’s the same guitar that I used to record ‘Transpacific Blues Vol.1’.

Vdelli was up next and now stuck over here due to the pandemic. They mostly spend their time touring Germany. They have done a few shows in the UK and elsewhere. Maybe you have seen them live? Leading the band is the towering human that is Michael Vdelli. The man with a big guitar sound and a sweet soulful vocal tone. They can go from soul to all-out stadium guitar rock in an instant. They did not disappoint with a set of indie-rockers interspersed with some bluesier tracks. Vdelli has spent over two decades building up a fan base in Perth. They managed to keep the crowd on their feet throughout.

Deep into the evening, The Badloves took the stage. With blues festivals, it is always interesting to hear some different types of bands on the bill. In this respect, we have alternative indie rock band The Badloves. They gained national success in the 1990s with the breakthrough debut album ‘Get on Board’ and

to the headliner for the night.

The Black Sorrows, I have written about before in this magazine. They still do headline quite a few blues festivals across the country. Nominated for an impressive 22 ARIA awards (and winning 2) throughout the 80s and 90s, they have an incredible legacy in Australia. Immediately, what grabbed me with their performance, led by frontman (now 72 years and still in fine form) Joe Camilleri, was not the energy or sound of the band, but the incredible songs that they have written through the years on the 18 albums they have recorded. Uplifting, anthemic, but still dripping with a Memphis/New Orleans vibe that lets them get away with that headlining spot at our blues festivals. Very talented songwriting in the Rhythm and Blues genre. A great headliner for any blues festival and a crowd favourite. People have told me that they are hit and miss at some festivals. But here, they hit the bullseye, fairly and squarely.So, the 2021 Ravenswood Blues & Roots Festival went off without a hitch. There was a party atmosphere. It was my first time attending this eventand no doubt, not the last. We had a ball.

the huge single “Green Limousine” dominating Aussie radio on broadcaster Triple J and achieving 3 ARIA awards. It was great to see them up on stage performing the tunes that brought them their success. Following on from the power sets that Vdelli and I played, the songs softened a little, but it was a great segue-way

So, that’s it from me from the land of sunburn, dust, and roos for now. You will catch me next time. I hope you’re out there listening to great new blues music and staying safe, out of the way from the Covid monster. See you next time. Stay cool.

PIC: Frank Schwichtenberg

THE PALACE OF THE KING

Many musicians performed as part of the Freddie King band throughout his career. Some of whom are sadly no longer with us, and others are still actively touring today. Unfortunately, the Rock and Roll Hall of Fame inducted bluesman passed away in 1976, but his bandmates hold fond memories from the times they shared both on and off stage.

Blues Matters had the privilege of speaking with Lewis Stephens (piano), Charles Myers (drums), Alvin Hemphill (keyboards), Andrew Jr. Boy Jones (guitar), and Mike Kennedy (drums) about their tenure with the Freddie King Band.

TEXAS BLUES OR TEXAS HOLD ‘EM

As we found out in the last issue, Grand Funk Railroad referred to Freddie King’s love of playing cards in their song “We’re an American Band”. And one thing is for sure; Grand Funk Railroad was on the money with their song lyrics here. They may have even hit the jackpot. Having spoken with several of Freddie’s bandmates, family, and touring counterparts, no matter who spoke about the bluesman, the common thread was always the artist’s love of playing cards.

WORDS: Adam Kennedy PICTURES: As Credited

L-R LUTHER JOHNSON GUITAR WITH MUDDY. FLOYD BONNER GUITAR WITH FREDDIE. ALVIN HEMPHILL ORGAN WITH FREDDIE - PHOTO COURTESY KEVIN MCNEVINS

Drummer Charles Myers paints a wonderful picture of the blues great, where he describes Freddie as “one of the guys” and how “he loved to play poker.” Where many stars or headline artists would spend time away from the rest of their bandmates, Myers states that: “He didn’t separate himself from us. He was just one of the regular guys. I respected him as my boss per se. But also, I respected him, as he and I were just really tight. I could talk to him; I could carry on with him, whatever. We never had any fallouts. That’s just how tight we were.”

Freddie’s guitarist Andrew Jr. Boy Jones, who had several stints with the blues legend over a ten-year period, laughs as he recalls the band’s card games on the road. “He took care of us, but he liked to play cards. Man, poker was this thing. Grand Funk Railroad, they have sung about it. ‘Up all night with Freddie King, I got to tell you Poker is his thing’. That was real. He would have some all-night games, and sometimes you couldn’t leave until he would win,” jokes Jones.

Whilst some of the band members would gamble their earnings, piano player Lewis Stephens watched on. “I didn’t play for about a year. I just kind of watched. I wasn’t really a card player back then, and the games were so wild. It would be like low hole deuces and tres in a seven-card stud game. So, you’ve got 15 or 20 wild cards. You’ve got to have five aces to win. And then you may split the pot with another guy that’s got five aces. So, they were wild games,” Lewis recollects.

A CHANCE AT THE BIG TIME

A lot of Freddie’s band members were regular faces or emerging talent on the Texas blues circuit. To play with Freddie King was a chance of performing in the big time and the opportunity to play grand venues and festivals across the world. When the call came to join the Freddie King Band, you had to be ready to go.

For piano player Lewis Stephens, he jumped in at the deep end. Like many musicians who

joined the band at that time, there were no rehearsals or auditions. Lewis joined up with the band on tour, flew into town, was picked up from the airport in a limousine, and his first encounter with Freddie was moments before his first show. “I met Freddie and the band at the top of the stairs on stage, walking on to play. So that’s where we met. We set out, and we played our 90-minute show. And at the end of it, he said, would you like to join the band? And I thought, well, I don’t have anything else to do. So, I joined the band and ended up doing it for three years,” says Stephens. “I learned the songs off the records, flew in and played the first gig in front of 20,000 people.” Quite the trial by fire, and one that Lewis passed with flying colours.

Keyboard player Alvin Hemphill played at a Chitlin Circuit club in South Dallas with an artist named George Harris when he first encountered Freddie King. “We would do rhythm and blues songs, and he would come by and watch me play,” said Alvin. Having seen Hemphill perform on several occasions, Freddie King approached him to join the band. Alvin states that: “As I came of age, he asked me if I wanted to go on the road and play and travel with him. He would take care of all of my expenses and everything. But at the time, I wasn’t used to making any money; because I was only getting $15 per weekend playing in the club. King said: ‘How much would you charge me?’ And I thought 100 bucks was real good. He offered me $250, and I jumped at the chance. I thought, with $250, I’m going to be rich in a year.”

For drummer Mike Kennedy, the opportunity to play with Freddie King came about via a recommendation from his friend - piano player Lewis Stephens. “I got on the bus. I went over to Freddie’s house and met him, with no audition. Our first gig we were going to Bowling Green, Kentucky; it was a college gig. It was opening for Tower of Power, and they were my heroes. I was freaking out - I was like, oh, man, but it all worked out great. They explained to me some of the songs. The beats in blues aren’t

complicated. There are basically two or three grooves. A funk type groove, a shuffle, a slow blues - that’s kind of it.” But there was one great piece of advice that Freddie King gave to Kennedy, which has stayed with him throughout his career. Mike recollects how Freddie said: “Watch me. Whatever you do, just watch me all the time.” And from that moment, it put the drummer in good stead to work with other artists in future by “watching him and taking cues from him and honing my skills in learning how to back up a bandleader, a star,” said Kennedy.

To jump into the deep end with the Freddie King band the chemistry had to be right. “Playing with Freddie live took it to another level because of the energy. Nothing was as sedate as the record. The live shows, they were workouts,” said Lewis Stephens. “Playing 90 minutes on a grand piano and that kind of music. I could lose a good five pounds. That’s work. So yeah, I immediately fell into it and loved it because of the energy.”

LARGER THAN LIFE

When you see greatness within the music world, you can identify it immediately. There

is something special that separates those gifted artists who go on to achieve big things and legendary status from their peers. Freddie King, alongside both Albert King and BB King, are regarded as the ‘Three Kings of the Blues Guitar’, but what is it that elevated him above the rest? Speaking on the subject, keyboard player Alvin Hemphill declares that: “With his guitar style of playing, he was a master at making a guitar scream and his voice was undeniable. His personality carried him over because he was a larger-than-life person.”

Andrew Jr Boy Jones attributes the greatness of Freddie King to his power both as a singer and a guitarist. Jones goes on to say: “To me, it

- PHOTO COURTESY LEWIS STEPHENS

- PHOTO COURTESY KEVIN MCNEVINS

was his rawness and his talent and his powerful voice, which I didn’t really appreciate at the time. He was just powerful in his singing, and I guess you can feel his vocals as well as his playing the guitar. And the guitar was just awesome. I mean, it was like that commercial where they show the guy sitting in front of the speakers and the speaker blowing his hair back. That’s the way Freddie was if you were sitting in front of his speaker. So he just had a lot of power all the way around.”

Throughout his career, piano/keyboard wizard Lewis Stephens has worked with a whole raft of blues artists, including Delbert McClinton, Mike Zito, and Gary Clark Jr, to name but a few. However, in all this time, he still regards Freddie King as being at the top of his list. “I haven’t really worked with anybody else since then that had that kind of energy and command,” says Stephens.

Freddie’s soul which separated him from the rest. “He was just a super guy, and he could play. I think he played with more soul per se than if I could use an example, Albert King or BB King. All those guys were good. Don’t get me wrong. I’m not taking anything away from them, but as far as putting his soul into it, Freddie was it. I mean, he was just dynamic,” says Myers.

Each of these testimonies indicates what it was that made Freddie King such a unique and loved performer. Was it his powerful singing voice? His dynamic guitar playing? His heart and soul performances? His energy and presence? Or his personality? Most likely, all of the above. But one thing is for sure his music continues to stand the test of time even almost fifty years after his passing. If you look at the Webster English dictionary, the definition of a legend is “a person … that inspires.” And those words certainly ring true when it comes to Freddie King.

Look out for more tales of Freddie King in the coming issues of Blues Matters as we speak with his bandmates and colleagues. For Official Freddie King merchandise, please visit www.freddiekingonlinestore.com

Drummer Charles Myers feels that it was

2ND REUNION

- PHOTO COURTESY DEEDEE STEPHENS

BLUE BLOODS DISCOVER THE UNDISCOVERED

PRAKASH SLIM

He’s been referred to by some commentators as the ‘Nepali Robert Johnson’, but to his friends, fans, and followers, you can call him Prakash Slim. Now Kathmandu may not necessarily be the first place that springs to mind when you think about Blues music, but there has been a real surge in interest in the area in recent times. So much so that the country now has its own organisation, namely the ‘Blues Society of Nepal’. But one man who has been flying the flag high for the Nepali bluesmen is Prakash Slim. Slim’s upbringing and formative years paved the way for his life as a musician. Prakash explains: “I was born in the field during the rainy season of Nepal. My village got its first electric light bulb in 1983 and its first motorcar in 1995. I was raised by a loving, loyal family that had very limited means. My father passed away at 29 when I was only two.”

Based upon these circumstances, you could say that Prakash’s life in the blues transcends music, but it was his way of life: “I grew up in the blues, and my tragic childhood, discrimination, economic oppression and other social issues made me the bluesman, I think right there,” says Prakash. Slim’s musical tendencies started at a young age where he would “play music by drumming against a water gallon and sing songs all day”. Eventually, Prakash transferred his drumming skills to the guitar. His early influences include the likes of Jimi Hendrix, Eric Clapton and BB King. But it was when: “I heard Charley Patton, Robert Johnson, Bukka White, Blind Blake, Mississippi John Hurt, Fred McDowell and many other country

WORDS & PICTURE: Adam Kennedy

blues artists I knew this would be my main style as I felt it in my heart,” said Prakash. During the pandemic, the Nepali bluesman composed a track called ‘Corona Blues’. This song is a traditional delta blues number. But, what makes it interesting is to hear the lyrics performed in Prakash’s native tongue. Speaking about the number, the artist argues that he wanted to write about his “frustration and depression about the pandemic.”

In recent times, Prakash Slim has appeared at online blues festivals around the globe. These events have resulted in the gifted musician looking for gigs beyond his homeland. He hopes to play in Europe, the UK or the US, with his goal set to perform at the home of the blues. “I dream to go to Mississippi, where the blues began,” Prakash proclaims. With Prakash Slim’s talent, humility, ambition and growing online fanbase, perhaps his dream will soon become a reality.

TOM MALACHOWSKI

Supplied

I was 26 when I first picked up the guitar, my girlfriend’s dad Phil Jarratt plays the guitar and when I say he plays the guitar, I mean he is brilliant! It was Phil that got me started with chord progressions and notes, he turned me on to all sorts of music, Bob Dylan, Van Morrison the band and many other great singer-songwriters and bands but none strapped me more then when I heard the blues for the first time! Old country blues Mississippi guys like Fred McDowell, John Lee hooker, Muddy Waters, Howling Wolf, Robert Johnson. Through the love of this music, I started to learn more and more about the deep history of the music, the Blues hit me hard and touched my soul. Phil encouraged me to try and sing, we found I had a voice.

So, a few years went by, I started to get a little better, started writing my own songs,

Lee hooker, Muddy Waters, Howling Wolf, the next step was to get out in front of

people and see if I could perform, so in my local pub, Micawbers Tavern, they had a folk singer night and I went along. The first few times I just listened, had a pint or two but after a few weeks I plucked up the courage to sing and my world changed... I fell in love

busking which was a

with performing; every time I’m on stage or in front of people I give my performance my all. At this point, I was about 28 and I started to get a few gigs in bars and pubs, even started great learning curve, I did anything to play and then the stages just start getting a little bigger and then bigger and before I knew it I was playing festivals up and down the country.

A good friend of mine, Chip from Chipsticks

Cigar Box Guitars made me, by hand, a bespoke instrument, a Tom Malachowski 3

3 string cigar box guitar; learning to play that opened up a whole new world of music for me. I’m 36 now and still very much in love with the music. My guitars are like old friends, someone once said if you can play an instrument you’ll never be lonely and that is very true. I’m was a late starter but I’m making up for lost time now and looking forward to the future and what it holds for me, my family and my music.

forward to the future and what it holds for you I support.

If you are interested in hearing more about me or my music please head over to my bandcamp page where you can pick up all my latest releases, I really appreciate the support.

BLUE BLOODS DISCOVER THE UNDISCOVERED

FIVE POINTS GANG

Five Points Gang began in a Notting Hill rehearsal studio in early 2019 when Joe Pearson (vocals, guitar), Dinho Barral (bass) and their original drummer met for a jam. Dinho had only arrived in London from his home in Brazil a few weeks previously, and Joe had recently relocated from South Wales.

The mission was clear from the outset; bring back free flowing “real” music, deliver exciting live performances, and move blues into the 21st century. Within 6 months the band had written a host of original material and recorded a live performance (“Live! At The Premises”) along with beautifully shot promotional videos. The band focused on cutting their teeth in central London and quickly developed a reputation for searing live performances, gaining regular headline spots in the club scene. By February 2020, the band had secured festival bookings for the summer, a joint tour with their friends in the Mark Pontin Group, won a chance to support Jools Holland in the spring and performed an electrifying headline show at London’s iconic 100 Club. Things were looking very bright, and then the pandemic struck.

Within the first few weeks of the initial lockdown, the band had an idea; why not record and release some new songs recorded in isolation, with every member contributing audio and video parts? This quickly escalated when the gang began asking respected members of the UK blues scene, as well as their musician friends from around the world, to guest on each new video. This proved to be a hit, with UK blues

WORDS: Supplied PICTURE:Supplied

radio stations immediately adding new “lockdown tracks” to their playlists. Along with radio play from their original EP, Five Points began climbing up the playlist charts, despite having no live shows whatsoever. To date, 8 videos featuring 12 musicians have been completed. Convinced they could increase their output even more, Dinho and Joe began to release weekly acoustic cover videos from their archives, starting in January 2021, with the aim of giving fans something to lift their lockdown spirits. Around this time, the gang reached an agreement with an up and coming record label, Lunaria Records, to release their debut full-length album, set to be released late spring/early summer 2021, featuring a host of newly written original songs. Since the pandemic began, the band has actually been busier than ever before! A new year brought a new drummer, and they were delighted to welcome the fabulously talented Gaet Allard in to the gang in February.

www.fivepointsgang.com

WORDS: Supplied

It seems a bit strange to be introducing myself as a new, up and coming artist as I’ve been around a long time, nearly always as a sideman or as part of a band. I’ve been the guitarist with British melodic rockers FM since 2008 touring all over the world alongside some huge acts.

In the noughties I played for folk and song writing legend Thea Gilmore. Since 2006 I’ve regularly been seen alongside Bernie Marsden onstage and since 2017

John ‘Rhino’ Edwards from Status Quo. Since 2013 I’ve co-written all the material for the Chris Bevington Organisation. I’ve also worked with Mike Farris, Robbie McIntosh, Robert Hart, and many others.

I’ve largely left my solo career and first passion (the blues and slide guitar) to one side until 2020 when I released my second solo studio album Ballad Of A Prodigal Son. No one more than me has been surprised to the reaction to it. I put my heart and soul into that album. It features song writing collaborations with Bernie Marsden, Steve Overland, Thea Gilmore, Scott Ralph and guest appearances from Neil Murray, John ‘Rhino’ Edwards, among others. The album leans more to the rocky side of blues, but you can hear all my influences in there.

KIRKPATRICK

The Allmans, Rory, Jimi, Robert Johnson… all the greats that I grew up listening to. It’s been strange not being able to tour in support of the record, however it has given me the chance to write and record a lot more. I’m hoping to get out on the road in the second half of 2021 with gig dates already confirmed. I’m working in my studio on the follow up album which I hope to get out for the end of this year/ beginning of next year. Without the pandemic I’d have struggled to have found the time to work on the next record so quickly, so every cloud I suppose.

I’ve some amazing guests on board to help me out which makes it so much more fun. I’m making my solo career a priority now mainly because of the response to Ballad Of A Prodigal Son.

The new album will lean slightly more towards the blues. I’m running a crowd funding and pre-order campaign to help finance my new record as I’m working without a record label. If you want to help, then please check out my website for all my relevant information.

www.jimkirkpatrick.com

BLUE BLOODS DISCOVER THE UNDISCOVERED

RYAN NEVILLE & THE MIDNIGHT BLUES BAND

Music should not be a tune; it should be a touch. Based in Christchurch, New Zealand, five musicians with well-steeled personalities hammer out an original fusion of Blues with the inimitable sound of the guitars, highly impeccable beats off the drum, flawless vocals, infallible tunes off the keyboard, flawless reeling of the guitar and anarchists of the normal way performing act, all rolled into one, they also wield a typically European sense of humor capable of ruffling the hair of even the slickest of rockers.

Born in Christchurch, New Zealand, with over 30 years in the entertainment world, Ryan Neville has affirmed and reaffirmed himself as one of the most talented artists around, consistently in- demand for live performances and an influential force in the world of Blues. On Course to a life- fulfilling career, the band already has five (5) albums to their name which feature very popular songs like “Paint the Sky Blue” among others. Ryan has always been a staunch believer of the fact that music brings happiness and hope to the hopeless while also educating the populace in every possible way his music can. With the recent release of the album Midnight Train, and national Blues Festivals under their belt, this train is on course.

After several years of sole performances, the performance expanded from a one-man show to performing with a full-fledged band (The Ryan Neville & The Midnight

Blues Band). Ryan Neville & The Midnight Blues Band has performed in various places domestically and internationally, with every performance taking its own singular flavor to satisfy its attending audience. Whether on a stage packed with audience or not, Ryan Neville & The Midnight Blues Band is an enthusing bundle of energy, a truly explosive funfair bursting with an on/off-beat humor and a contagious dynamism. The band is made up of very talented instrumentalists and vocalists who blend together to produce unequalled Blues music the ears could ever wished for. In addition, Ryan Neville has often said the core value of his Blues Showband is the fact that they uniquely carry every listener on a soothing journey through the ages of all blues genre legends.

The immense popularity and acceptance of the Ryan Neville & The Midnight Blues Band has made them anxious to put in more work. Beware! When Hard work meets talent, nothing is practically impossible.

WORDS & PICTURE: Supplied

ALVIN GARRETT

Grammy-nominated Songwriter Alvin Garrett performed his poignant and powerful, self-penned song “It Starts In The Heart,” as the opening to the 56th annual Selma Bridge Crossing, one of the largest annual Civil Rights Commemoration events in the world, “It Starts In The Heart” (lyrics)* is from Alvin’s acclaimed album The Awakening, a reflection of the recent social unrest, injustices and systemic oppression. As the follow up, his current album The Lightness Of Love, reaffirms the importance of connection, love and togetherness at a time when the country is still embracing change.

“I am a beneficiary of those that sacrificed and put their lives on the line. I value what they were fighting for, and I have to do my part to uphold their spirit of empowerment and inspiration,” said Garrett.

The Selma Bridge Crossing commemorates the anniversary of Bloody Sunday and the Selma to Montgomery March, an event that prompted Congress to pass the Voting Rights Act. In the past, the event has been attended by three sitting presidents, hundreds of civil rights leaders and thousands

WORDS & PIC: Supplied

of attendees. This was the first time in its history that it was held virtually.

The Birmingham, Alabama-based artist kicked off the year with the first Billboard Gospel National Airplay single to hit #1 - “Patiently Praising” (feat. Lowell Pye), co-written with Fred Jerkins III. In addition, he’s amassed multiple awards including a Grammy nomination, a Soul Train, Dove and

Stellar Award, and has had an impressive career that’s ushered him to the forefront of Soul and R&B as a professional bassist, producer, arranger and songwriter for Joe, Kelly Rowland, Fantasia Barrino, Ruben Studdard, Jordan Knight, Deitrick Haddon and more. For more information,

visit www.alvingarrett.com

GOING FOR GOLD ELIANA CARGNELUTTI

statement, title

“Aur you ready?” Eliana Cargnelutti excitedly declared in a recent social media posting. You may think there is a typo in that statement, but ‘Aur’ is the title of the Italian blues guitarist’s forthcoming album. Loosely speaking, ‘Aur’ translates to the word “gold” in the Nordic Italian language.

WORDS & PICTURES: Adam Kennedy

Speaking of the theme behind the album, Eliana explains that: “People have to keep working on individual harmony and to continue to search for the gold within you, you have to let it emerge. It is buried, deep down within us; never forget it. Black, can never submerge the

brilliance of gold.”

TIME ON OUR HANDS

Whilst the pandemic has given the music world an awful lot of unplanned downtime, it has also allowed artists an opportunity to work on their respective creative projects. “It was years that I was planning to do a new album. But I never had time to do it,” explains Eliana. However, once the pandemic hit, the artist was forced to take time off the road. “I tried to make the best of the situation and put all of the time that I needed, and all of the free time and energy that I had,” into the forthcoming release, says Eliana.

could keep me in touch with my crowd,” Cargnelutti proclaims. Playing online live streaming concerts also permitted Eliana to play some of the deep cuts in her repertoire. “It’s like a game for me. People started to ask me; can you play a song which they had never heard live. So, it allowed the possibility to play acoustically, all of the old songs that I’ve never played live with my band,” Eliana explains.

But it wasn’t just time that the Italian-based artist channelled into her album, but also a lot of the emotions she has encountered during this period. There were “some doubts or some fears and all of these you can find on my CD,” she explains. Working on the album kept Eliana focused and gave her a sense of purpose during these strange times. Speaking on the subject, Cargnelutti said: “I have to say thank you to this album because it kept my mental health safe. I kept busy until the end of December.”

take time off the road. “I tried to make the best this period. There were “some doubts or some you these strange times. Speaking on the subject, it her October or November, I started to stream

Besides the album, Eliana Cargnelutti got to work performing for her fans online. “From October or November, I started to stream again, once a week, or once a month. And it was strange at the beginning. But I think it was a good thing because it’s the only thing that

Besides writing, recording and performing online during the lockdown, Eliana also picked up a new instrument. The artist explains that she bought a Theremin as a gift to herself “at the end of the first quarantine for being able to survive alone here in my apartment.” A skill which she: “Had fun with at the beginning,” but then realised “that is so freaking difficult,” Eliana proclaims. The challenge with playing the Theremin is that: “You don’t touch it. So, it’s real music that comes from the air. And it’s romantic. But also, it’s so difficult to play in the right way. You can play with it, you can do games, but to exactly play notes is not an easy thing,” says Cargnelutti.

GOLDEN GIRL OF THE BLUES

If you look at the album sleeve for ‘Aur’, the imagery for the release, or even Eliana’s glimmering Fender Stratocaster - you will notice the gold theme running throughout the album. Cargnelutti explains that: “Gold is the inner wealth that all the people have.” During these troubling times, messages such as this are even more pertinent. “With COVID, we have learnt that we are all the same. Once again, we have to concentrate not on our differences but on the things we have in common. If one pandemic can really kill us, we have to be united, be good

with each other, and talk about our problems. And so, cancel all the jealousies, the anger or the sadness,” said Eliana. “This CD is an invitation to people to improve their feelings, or to

to continue to improve them.”

WHO IS THE MONSTER? released in the lose too. many unfortunately and not for

The first single to be released from ‘Aur’ is titled “Who Is The Monster”. The song speaks of a beautiful but also complicated love story. During the track, the artist conveys that even in the most engaging and enthralling love story of all, you should save a part of yourself for you. Eliana goes on to say: “It is wonderful to let yourself be fascinated by falling in love, but you have to be careful because sometimes you enter into the wrong love story, which makes you lose yourself too. Believe me; many young girls are victims of bad stories that unfortunately change them for the worse

the better.”

If you look closely at Eliana’s red Fender Stratocaster guitar, you will notice a signature proudly displayed across its white pickguard. An autograph from female blues guitar virtuoso Ana Popovic, one of Eliana Cargnelutti’s musical idols. She also has a further Fender guitar containing the signature of Scott Henderson.

Fender guitar containing When latest album, she aspired to have Popovic guest on the wasn’t

When the Italian blues artist began working on her latest album, she aspired to have Popovic guest on the record. Eliana explains:

“I’ve always wanted to play with Ana Popovic. But I wasn’t sure that she wanted me as a guest on her show. So, I think that the

ELIANA’S ‘POP’ IDOLS

nicest thing to do was to ask to play a solo or play an entire song on my next album.” Having reached out to Popovic’s management, Eliana was overjoyed when Ana agreed to play on the song “I Don’t Know”. She regards this as “a dream come true”.

Speaking on the subject of the US-based guitarist, Eliana said: “I respect Ana Popovic a lot because I know all about her story. I know what it means to come out of towns in ex-Yugoslavia. I know how it works and how difficult it is to come out of that kind of situation. To have her on my CD is a privilege.” Eliana sees parallels in herself with Ana Popovic, “as a woman from an unknown land that built a career all alone. It’s also what I’ve enjoyed doing. So, it is a great example for me to have her on my CD. Of course, like a coronation,” she said.

However, Ana Popovic isn’t the only guest on the album. Eliana has always been an admirer of US-based blues/rock guitarist Eric Steckel. As part of Cargnelutti’s latest offering, the pair come together on the heated number “Diablo’s Fire”. Speaking of Steckel’s appearance on ‘Aur’, Eliana explains that: “I’ve always had this huge respect for him because I’ve followed him for 15 years. I feel like he is a brother.”

Despite the geographical distance, with Eliana based in Italy and Eric in the US, the pair have been able to stay in touch via the wonders of modern technology. “Now with the Instagram, things are easier,” says Eliana, “I follow a lot of the Los Angeles scene.”

BLACK AND GOLD

When it comes to inspiration from other guitarists, Ritchie Blackmore is right up there with the best of them for Eliana Cargnelutti. “I love him because he is an innovator. I mean, technically speaking, he was the best one in the seventies. Yes, Jimmy Page and all the others, totally genius also. But technically speaking from the guitar, only technically speaking, he

was number one in the seventies,” says Eliana.

Part of Eliana’s passion for Ritchie Blackmore’s playing is that she sees similarities in their approach to guitar playing and performing onstage. “I feel something from him that’s close to me. My mood, my way of playing, that animal thing. I can feel it in myself too.” Eliana continues by saying that: “I feel he is similar to me from the anger to the romantic thing, and from the soft notes to the rude movements onstage. Also, blues/rock is to release all of your anger. I think we are very similar as we are on stage with the other musicians and as we play solos.”

RUF TIMES AHEAD

Whilst there is still a certain degree of uncertainty and trepidation about how the rest of the year will pan out for touring musicians in the light of the pandemic, artists continue to plan for shows later in the year. This year’s Ruf Blues Caravan run will see Eliana Cargnelutti perform across Europe, with Ghalia Volt and Micke Bjorklof. At the present time, Eliana hopes this will go ahead, but doesn’t know if this will happen due to the current Covid situation in Germany. The final quarter of the year will see Eliana return to the UK for a mixture of headline dates, festival appearances and a few co-headline shows alongside Felix Rabin.

Speaking of her touring activities, Eliana said: “I am on tour with Ruf Records throughout June. Some festivals are asking me to play here in Italy or nearby. But unfortunately, people don’t know if they can do it or not. We are waiting to see if the vaccine works or not because we don’t want to do another outcome.”

‘Aur’ by Eliana Cargnelutti will be released on May 7th. For up-to-date release news and touring information, please visit the artist’s website at www.elianacargnelutti.com.

ALWAYS THINKING

At a very young age Quinn Sullivan was seemingly blessed with an awesome talent for playing blues guitar. He has been touring professionally since he was an eleven-year-old and has played the biggest venues - Madison Square Gardens, The Hollywood Bowl and Festivals like Eric Clapton’s Crossroads Guitar Festival and Montreux Jazz Festival.

WORDS: Colin Campbell

His mentor has been none other than Buddy Guy whom he has shared the stage with and played on his album, Skin Deep, in 2008. Already a world-renowned guitarist, Sullivan has been exploring his song-writing skills since his last acclaimed release, Midnight Highway. He has just recorded an album in Los Angeles with Producer Oliver Lieber, Wide Awake, which reflects a change of style lyrically but still features underlying resonating guitar licks and riffs. Blues Matters caught up with him at home in New Bedford, Massachusetts.

I started by asking Sullivan how things have been recently: “Things have been different; I have been trying to stay proactive on playing singing and writing, definitely been playing live like we all have. Been doing a tiny bit of live streaming on Social media; staying in touch with the fans for sure, he confirms before adding his thoughts on a medium for live music, saying: “Obviously you can’t beat the real thing. For the time being it’s worked out. I’ve seen artists take this to the next level. Guitar players giving lessons, it’s been cool seeing musicians develop their own live shows online. People are hungry for live music, we all are. We’re doing a lot of rescheduling events. I’ve shut off my mind in that way!”

Sullivan is very matter of fact about his formative years as a musician, with a frank take on his career so far: “ I started playing the guitar at age three. My parents had a ton of music going on in the house when I was a young kid. I loved everything about music; I loved the way it made me feel. I had this stereo and put huge headphones on and listened to The Beatles,

PICTURES: Justin Borucki

Grateful Dead and The Allman Brothers. The guitar stuck out over every other instrument. When I found the guitar it just seemed a natural progression. When I was five, I took lessons full time. I went to Brian Cass every week. He would teach me simple chords and eventually songs; I wanted to play Beatles songs. He taught me Blackbird and Twist And Shout. I had two or three years of that. When I was six, the Ellen DeGeneres Show was looking for “prodigy kids” to play on her show. We flew out to California when I was six years old, I was on the show! First time on a plane, and major television. It propelled me to getting this online following.”

Publicity was like second nature to him: “I knew nothing else. I had nothing to compare it to at that age. New York Times interviews, TV perfor-mances, even did the Ellen show again when I was fourteen as a musical guest! In summer, I was on the road all the time. Two years later I found out one of my major influences, Buddy Guy, was coming to a local theatre. I saw him first at the Crossroads Guitar Festival. My dad had got me the DVD, Jimmie Vaughan, BB King, Buddy, Robert Cray, Hubert Sumlin. Buddy’s confidence in getting the audience working just blew me away as a kid watching him. We got backstage to hang out. Buddy was the coolest person ever. He was so gracious, I had my little Squire Fender Stratocaster with me, and he signed the guitar.

I played for him. He said, ‘Be ready when I call you.’ That same night he called me up on stage. That night changed my life, career, everything I was doing up to that point. He opened his arms up to me and let me do my thing. That turned

into touring with him, opening shows and putting my first album together when I was eleven years old. I travelled the world with Buddy. I knew I wanted to be a musician when I was ten or eleven. When I found out what this was all about, I chose that life. Here I am now with a new album coming out, standing on my own two feet, very happy! Things were happening fast but not rushed.”

Tagging the word prodigy is a word Sullivan never liked: “Any press is good press; I took it with a grain of salt. I’m twenty-two now, I do not associ-ate myself with that word at all! I think of myself as an artist always growing and wanting to discover new things. Always interested in new ways of playing my guitar, always learning and getting better, always searching!”

Clearly, Sullivan doesn’t want to be pigeonholed in any one genre. Asked about advice, he remembers: “Hanging out with Santana in his dressing room. He said to expand, extend and transcend. Expanding your mind, listen to everything and be free in your mind”. As a result, Sullivan feels he wants to develop his own sound and bring it to his generation.

Most recently he has focussed more on songwriting, he’s already known as a great guitarist, so wants to evolve. This is apparent in his new release, Wide Awake, which retells his perspective of his life in the last three years. All songs are true to him, he was listening to more singer-songwriters like John Mayer and this inspired a newer direction. He always will showcase his guitar playing but: “If you believe you have great songs that are as good as your guitar playing that’s a good combination of things.”

He goes on to talk about Eric Clapton who: “Makes it about the song first, and if the music calls for a solo that’s what you do!”

a

We go on to talk about influences in his life. Early on it was the Beatles. As he got more involved in music, Eric Clapton and Carlos Santana became influential. Also, John Mayer and Derek Trucks, people who developed their style of roots music: “John Mayer brings blues music to a younger generation. Stevie Ray Vaughan did that in the ’80s. He brought his music to my contemporaries and made it exciting,” he explains.

Turning to the new album, Wide Awake, a sort of track by track ensued with Sullivan describing some of the song’s roots.

“All Around the World: Oliver Lieber helped me craft all these songs. We wrote 90% of the record together. We recorded the album in Las Angeles in his home studio, it’s unbelievable. It’s a song about a guy entering this world that’s peaceful. I wanted a theme of unity for this one. This just felt like the first single, it’s truthful and natural.

She’s So Irresistible: A fun song written from a guitar loop. The song is inspired by Prince with a cool Minneapolis sound. The song has an ‘I Am the Walrus’ type chorus. Look forward to playing this one live, none have been road-tested, not done a concert for a year.”

“How Many Tears: Inspired by soul, always been

a fan but not showcased it in my writing. It’s a song written reflecting on my High School days and girls going for assholes! This is the next single, very personal. Think the fans will dig it, shows a different side to me.”

“In A World Without You: Inspired by Carlos Santana, with a Latino beat, it came from a riff and then looped drums in. Real Thing: has an 80’s Fleetwood Mac feel. Love the California sound. The influence was I had been going through a breakup! You’re The One: Wrote this with Oliver. A love song about how you feel when you first meet someone. I love singing this it has an element of fun and the harmonised guitar solo is like the Allman Brothers!”

“Wide Awake: Neil Young inspired the riff. The narrator is figuring out what life and love is about. It rocks out.”

“Strawberry Rain: We had a riff and we just wanted this one to rock! It’s almost a bit of a psychedelic feel. The guitar solo was one that answered another.”

“Jessica: Acoustic driven. A tune built on a conversation about mental health. It’s an idea I thought people could relate to. She’s a fictional character but I know people with the same vibe as her. I had to tap into my vulnerable side, it worked out well.”

Sullivan’s vocals appear stronger on this album. He has been having vocal lessons but practices every day. He has been trying to make his vocals equally as good as his guitar playing.

“Keep Up: My mum, on first listening to my vocals on this said I sounded like a young Elton John. That is my favourite. It’s very personal. When I come home from touring I need to decompress, I need three or four days alone. That’s what the song is really about. It bridges things together as the final track, like the end of a movie, always continuing though!”

Sullivan surrounds himself with some great

musicians on this album, and he gave a special mention to Abraham Laboriel Junior (Paul McCartney’s touring drummer) among others. Sullivan confirms he would most like to meet and play with Paul McCartney.

Regarding future plans, he wants to promote and tour the record but always be learning!: “Blues genre lovers may not get this album on first listen-ing but I think great music is built from roots and blues. It will always be a big part of me but I want to be evolving and growing. I love travelling; it’s the best part of being a musician; you meet all different kinds of people. If I wasn’t a musician, I’d probably want to go to college and be a teacher, maybe Psychology, music therapist.”

Citing current music he listens to, he mentions: “Leon Bridges, Tame Impalas also, always trying to find new things to listen to.”

As to his own musical style, he describes it as being a singer-songwriter who likes to put guitar playing on records: “ I’m a huge music lover. I’m in-fluenced by classic groups I grew up with and new ones, I want to bridge that gap between what’s going on now and the past!

Perhaps a final self-described take on his music style would be: “A mixture of rock, pop-infused rock, blues and soul, that would be my sound! This new music on the album will appeal to people that like contemporary music.”

For further information see quinnsullivanmusic.com

Image: Marco Van Rooijen

WORDS: Stephen Harrison PICTURES: As Credited

Van Morrison an iconic artist of the blues, soul, and R&B who has a reputation for being difficult, distant and rarely giving interview time to anyone. However, he does have a new double album coming out in May, Latest Project Vol.1. This presented a rare opportunity for Blues Matters! reviews editor, Steve Harrison, to chat intimately with a true industry legend. The meeting, at a swanky boutique-hotel in the fashionable heart of London, proved a true delight.

To the left of the lobby was a side room I was ushered into. The thing that struck me firstly about the room was how bright and vibrant it seemed. So, this seemed to be a perfect place to conduct the interview. I set out the things that I needed for the interview on the table just as Van Morrison entered the room. We shook hands, exchanged pleasantries, and sat at the table. Latest Project Vol 1 is a double album. I asked Van if when he started writing the songs, did he have a double album in mind?: “No, not really. There were just so many tracks that demanded it to be a double. I started recording the tracks around 2019 time, so It probably took around eighteen months to get everything down.”

With the album recorded at a few different studios, I ask if that was that because of availability, or were these places he’d already worked: “I can’t really remember, probably availability more than anything else.”

The album itself was recorded at five different locations - Wiltshire, Bath Spar Hotel, London, Cardiff, and County Down. Morrrison is not only a fine vocalist and songwriter, he is also a gifted musician. He plays, Saxophone, Piano, Electric, and Acoustic guitar. When I heard the album, I wondered which instrument he favoured at the beginning of the writing process: “I just started with a guitar and then the piano, it went between the guitar and the piano, electric and acoustic guitar. I’d start with one, then something would pop into my head and that’s when I’d maybe switch to one of the other instruments and build things from there. One thing tends to lead to another,” he confirms.

One of my favourite tracks on the album is Big Lie, which sees Van sharing vocal duties with

another blues legend, Chris Farlowe. The two entwined vocals entwined are so good and so passionate, I had to raise this in the conversation to get Van’s take on it: “He still has a great voice, Chris. I’ve worked with Chris loads of times before on and off, on live gigs mainly. We have done some recording work together. But on the whole, it’s been mainly live gigs. The last time that I did The London Palladium he was there, that was probably September time, I think. He was on the bill there with me. It’s always a lot of fun working with Chris, you know. Having the craic is great. When we play together, we just trade 12 bar blues. It’s what he does best and what I do best really. We both came out of the blues scene, a lot of people forget this. It gets buried in history, if you know what I mean.”

Not only is Van Morrison a standout blues artist, but he also delves into soul, gospel, and even treads into the realms of country blues and Appalachian music. Of course, if you have followed Van’s career, it’s easy to see how he combines them all with such ease: “To me, it’s all related, sometimes it’s hard to tell the difference. You see, there are the country blues, and there is the sort of blues that I developed on my own. I’ve got my own particular blues, which are more like Celtic-soul sort of blues that I developed myself over the years.”

Van Morrison has listed the likes of Jelly Roll

Morton, Ray Charles, Sonny Terry and Brownie McGhee as a few of the major influences on his career. I was curious to get into just how much of an influence they all were, and when it began: “From when I was born, basically. Ray Charles didn’t come onto the scene until about 1960-61. Jelly Roll was way before that. My father had all the records, so I was just born into it. The blues

scene in Belfast was very limited because it was part of the Trad Jazz scene. Ottilie Paterson came out of that, then she left and joined up with Chris Barber Band, and you know all this, right? Then along with Chris Barber, there was Alexis Corner, and they all kind of merged together. Alexis Corner also merged with Cyril Davies at around the same time. Cyril and Alexis were playing in folk clubs, then started throwing some Leadbelly in the set.”

My first introduction to the blues came from me listening to Led Zeppelin as a teenager because that’s what they had been listening to. Thus, my blues enthusiasm just grew and grew, I tell him. Morrison nods in reply: “I understand that completely because when I started I used to play Muddy Waters for some of my friends, but they didn’t have a clue. Then later on, when The Rolling Stones burst onto the scene, it was like, oh, that’s what you are talking about,” he laughs, before adding, “When we first started playing blues, people just didn’t wanna know. The Stones put their own stamp on things and that’s why it became so popular.”

Looking back over Morrison’s career, it reads like a who’s who of blues music. The many album releases, the numerous gigs, the huge number of collaborations he has been involved with. With such longevity, I wonder if there has been a particular highlight along the way: “I don’t really look upon it as a career. I don’t know about highlights, but if I had to pick out something that stands out, probably singing with Ray Charles would be right up there - that was a definite highlight. Also, the John Lee Hooker sessions were a highlight, as was working with Bobby Bland. I actually brought him over here for a tour which was never reported. I think somebody mentioned it many years later in a postage stamp size thing. I brought him over here and did a tour with him. There are no favourites because they are all so different. They were all

basically teachers to me. I used to go to Bobby Bland gigs in the States, in clubs and I was a student.”

When I heard Van describe himself as a student my eyes lit up. That is how I see myself, a student of the blues. So, for Van Morrison to see himself in the same way was like manna from heaven. We even had the same taste in certain albums, one example was Muddy Waters, Folk Singer which I managed to get an original 1964 copy on vinyl a while ago. A certain Buddy Guy played acoustic guitar on this album alongside Muddy and Willie Dixon and Clifton James: “Oh, that’s a great album for sure,” he acknowledges with a nod.

We pause for a tea-break, relaxed in a sumptuous, book-lined corner. Did he have a favourite blues tune I wondered as I finished my tea?

“One that sticks in my mind is Ray Charles, I Believed In Myself. And of course, What’d I Say, also is a huge favourite of mine. Muddy

Waters, Like A Rollin’ Stone. My dad had a copy of that on a 78 French Folk label with I Can’t Be Satisfied on the B-side, if I remember correctly. Anything by Little Walter and John Lee( Hooker), especially Boogie Chillen’; there are so many of them that stand out. The biggest influences for me would be Sonny Terry and Brownie McGhee, Lightnin’ Hopkins, John Lee. I play a lot of Lightning Hopkins stuff endlessly. He’s more like a poet of the blues, as is Lonnie Johnson. These guy’s just churned out the poetry of the blues, hundreds of lyrics.”

I wanted to know how Van approached the writ-

“

We are working on and off all the time. It’s not like a pop-star or rock-star touring all year round”

ing aspect of his songs. Did it come naturally, or was it a work in progress?: “Sometimes, it’s not one fixed thing. Sometimes it’s like grinding at the mill, then other times it falls into place and all the dynamics in between. It’s like a painter sitting at the easel, we are both creating something out of nothing. He stares at a blank canvas with the idea of making something out of nothing. That’s usually where it starts, you get one line then you get another line. But when you’re on a roll it becomes fairly easy, especially when you are writing all the time.”

The man confirms that there will be Vol 2, another double-album, out later this year, in November. I suggest that the writing has become very prolific during this pandemic period: “It’s become more prolific because there is less traveling. Normally, I’d be traveling, because we work all year on and off. It’s not like we do a tour then disappear for a year and then

thing out of nothing. He stares at a blank canvas off. like a a year and then a pop-star or rock-star touring all current so

make an album. We are working on and off all the time. It’s not like a pop-star or rock-star touring all year round. Obviously, the current situation has destroyed all that, so there is more time to write songs. Nobody knows what things are going to be like in the future. There

“My situation is, do two or three gigs and then go home”

Image: Jill Furmanovsky

are not a lot of people even talking about it.”

We chat briefly about the possibilities of gigs returning this summer . Morrison mentions his hopes of playing gigs in the next couple of months, and that Chris Farlowe would be playing with him at The London Palladium in June. I mention that I’ve come down from Stoke-OnTrent and recall he played our local venue, The Victoria Hall, in Hanley a few years ago: “There used to be a great gig in Stoke. The Town Hall or something like that. I remember the last time that we played there it was one of those places where people were still up and dancing. It was unusual to see that happening but it was a great atmosphere. I’d love to come back there and play again sometime. Especially when people are up and dancing. I love playing clubs, smaller venues. The bigger gigs pay for the clubs. I used to do that frequently before the current situation hit us. I played Dingwalls when the current situation let up for a short while. I’ve only played The London Palladium the one time because it kept getting moved. The Royal Albert Hall is a great place to play. It’s a bigger gig but it feels more intimate because of the way it’s set out. It has the feel of a small club. The last time that I played there was for Ronnie Scotts’ anniversary, and it was laid out with tables like his club. 2019, I think it was.”

Closing our interview, I’m eager to know about the current band that plays live with Van these days: “It’s a six-piece, more manageable. Bigger bands are harder to manage,” he laughs again. “Six is far more manageable. I don’t call it touring, I just call it doing gigs. My situation is, do two or three gigs and then go home. That’s just a working musician. Touring is a whole different thing that I had to do when I was younger. I had to be on the road for years until you reach a certain point and you ask yourself, what am I doing this for? I’m not on the road all the time now so I can do what I want to do on my terms. I’m not a twenty-year-old kid anymore. Lawyers and accountants discovered that they could do things differently than the way musicians used to do gigs. Let’s do stadiums and arenas, make

more money. So, it became something else then. Playing in Europe is different than playing in America and Canada where things are very different. You have to be out there a lot longer because of the size of those places. I used to have to do those big tours when I was a teenager, I don’t want to do that anymore. Luckily, I don’t have to. When you are on the road all the time, you burn out.”

I thanked Van for giving me his time, for what was an absolute pleasure chatting to such an iconic musical artist. Having a laid-back friendly chat about blues music and Van’s journey thus far was a dream come true. His reply: “That was great, brilliant.”

We say goodbye, shake hands, and he signs my 1968, vinyl copy of Astral Weeks, before sharing a sofa for a photo where he asks what issue of Blues Matters! this interview will be in. Issue 120, I replied: “I’ll look forward to reading it”, says Morrison.

Van Morrison reads every single issue of Blues Matters Magazine. Now there’s an interesting fact!

Since 1969 Van Morrison has recorded nearly fifty albums. Here are just a few examples.

STILL ON FIRE

STEVE CROPPER

WORDS: Stephen Harrison

PICTURES: Michael Wilson

Chatting with a musical hero is not an everyday occurrence for me, but I’m about to change that. Steve Cropper has had an illustrious career, to say the least. From the Stax House Band as part of Booker T & The MGs to writing with Otis Redding, and an original member of the still performing Blues Brothers Band, Cropper has covered it all. And now, he has just finished recording a new album, Fire It Up. So, high time to get the inside story of the man and his music.

I wanted to know how the pandemic had affected his writing and performing over the last year or so as regards Fire It Up while tapping into his personal story about blues, soul, and R n B – a musical journey that has brought him to this stage in life.

I asked Steve why it had been such a long time in between his last solo album and releasing Fire It Up. “I don’t think it’s been that long, I think what I meant by saying that, It’s not the first album that I’ve released by myself. I’ve been involved with a lot of different projects. But it’s the first real one coming from here ( pointing to his heart) and exactly how I felt. A lot of these songs were written a long time ago, they weren’t written recently, although some of the lyrics were, but not the grooves. The grooves have been around for a while. They came about in some of the sessions with Jon Tiven, who is the co-producer on this album. They were cut in his studio, in his house and he just brought em back and we finished them off. I think that’s pretty cool. Some great dance music on there I think.”

Having been fortunate enough to listen to the album before the interview I can appreciate where Steve is coming from as he explains the intricacies and writing process that went into the making of the album. So I wonder aloud, where did you first meet the guys that are on the album with you? Had you worked with any of them before? Cropper instantly responds: “Well, some of them I’ve never met before we made the album and I’m thinking, where’s Roger ( C Reale ) been all my life. His singing is incredible, but we had not been in a studio together. He did all those vocals on an I IPhone in his house. It is pretty different. I’m not sure how we are going to explain it to people. The people who manufacture the phone are more into this field, you can edit your videos just like Holywood does in your own bedroom. They kept telling everybody that they had a great microphone, so I guess they were right. He sent it over to me and it sounds just like a studio

record, just like it’s supposed to.”

As soon as I heard his voice listening to the album, I was blown away by the sound of the vocals. I thought, yep, Steve has got himself a top-drawer vocalist once again. I asked Steve about his thoughts on the widening use of technology in the music business having been in it for over five decades: “It’s amazing. I think it’s a good thing, but the problem with it is this. A lot of record companies buy up old masters and stuff, and they have somebody who wasn’t there and doesn’t know why it was there remix it. So I get to hear stuff on the radio now and I hear stuff and think, I took a lot of time getting rid of that lick and now I’m hearing raw. I’ve called a few people on it and they say, Cropper, that’s art, and I said I put it on a shelf, I should have erased it ( laughing with that big booming southern drawl that is so distinctive).”

One of the things that I was eager to ask Steve about was his time at Stax with Booker T & The MGs because the sound of Fire It Up instantly conjured up some wonderful memories. Was that a deliberate ploy on his part or did it happen by accident?: “It does have that Stax sound I guess. Maybe it was kind of deliberate in some ways. Especially on the part of Jon Tiven because he was living with the raw tracks, just my guitar and sometimes his bass, he played with me on some of the songs. Then the other guys came in, sometimes they were flown in. Then after Roger did his vocals I put on some lead licks and that was the last thing that we put on there. I like to listen to a song. I like to think about what I may do related to the first time.

So I don’t like to work it out beforehand. I did that on cover songs, you get some kind of an idea on how you want to take it because if you don’t do it ahead of time you usually get some trouble in the studio. With new songs, it doesn’t matter too much. They are like putty, you just make them go where you want them to go. So, when you hear me play them single note licks I’m hearing it for the first time, listening to it for the first time.”

What makes this album even more interesting is the fact that Bush Hog (an instrumental ) starts the album and finishes the album in three separate parts. There must be a story behind that I suggest: “I’d like t think some people who grab hold of the title knew what a Bush Hog was (chuckling). If not I’ll have to tell people what it is. It’s just an oversized boar that’s capable of pulling down bushes, It’s a Bush Hog. Pure and simple. That being an instrumental track it maintained what I was thinking before I mixed it. Join Tiven came up with the idea of separate parts. The only difference is, we took a four-minute song and cut it in half rather

album, including Simon Kirke, Chester Thompson, and Anton Fig: “I said to Jon that I don’t want a lot of guest artists on this album, it just appears that every album over the last 10-15 years has had a lot of guest artists on those albums. We already did that. We had a hit album with a guest singer on each track and that was fine. But I’ve already done that, so this time I wanted it to be different. So Roger C Reale is the singer on every track except of course the instrumental tracks.

We do have a lot of different drummers on there who are some of my favourite people.

than doing a part one or part two. Opening and closing the album since the rest of the album is vocals we opened and closed it with instrumentals, I think that was a pretty good idea. If it was a piece of crap music nobody would care, but it’s a piece of good music.”

Apart from Jon Tiven and Roger C Reale, there are a few other musicians that drop in on various songs. The most interesting aspect of that is eight different drummers were used on the

Nioshi Jackson is the guy who is local to us here. He reminded me of when we did the album cover and he reminded me of the time I sat in with him and played some stuff, and the singer said, we’ve got Steve Cropper in the house, get up here and play something Cropper (laughing ) but I didn’t remember and it was dark so I couldn’t see anybody faces. We were looking for drummers to play along with the tracks and utilize the drums, not utilize the style.”

Steve Cropper has had a long, illustrious career over the last five decades or so. I was keen to hear if he had any particular highlights during that time: “Well, probably one that I’m not playing guitar on that we did live with my HighSchool band which was a hit, and I was asked, why was that song such a hit. Now I know. I played it for my mom and she started dancing a twist while listening to it so it had to be the first real twist instrumental. Then a year later we had Green Onions and that has lasted the test of time, it’s still being played today. It still sounds as good today as it did fifty years ago. We still play it with the same enthusiasm and

When I first heard that I was going to be able to interview Steve Cropper, there were two parts of Steve’s career that I just had to ask about, Stax and The Blues Brothers. Here’s what he had to say about starting with The Mar-Keys at Stax: “A guy down there had a recording studio which is a little bit stretching the truth, what he had was some recording gear in a garage in North Memphis, but very soon after that, he acquired a studio. Then we moved over to The Capitol Building which is right opposite The Stax Museum. My connection was, a friend of mine at school, his mother had a record shop and the guy didn’t have enough money to buy

the same energy as we did back then. It was a new song for the rest of the band but not for me and Booker. The record company said, have you got anything? We were dumbfounded like, you want to put that out? They said if we decided to put that put do you have anything to go on the B-Side? Booker had this riff and said this might make a good vocal song and he sat down at the organ and played the riff. That was it. We recorded it on the third or fourth take I think.”

the studio. So he asked the lady to loan him the money to buy the studio. She agreed as long as she could have a record store out front of the studio. So my first job was working for her which got me closer to the studio. I just did odd jobs stacking stuff around the place.

Then one day she said t the guy, you’ve gotta start paying Steve because he’s spending more time in the studio than he is in the record shop. Then she left and started up across town and

I went over there and tried to fill that slot as a guitar player and producer and all them type of things. Booker T & The MGs was an accident. We were there to record somebody else. He didn’t show because he woke hoarse and couldn’t sing. So we started playing around and came up with the blues thing, Behave Yourself and we didn’t realize that he had recorded it. So, that’s when he said, if we decided to put this out do you have anything to go on the B-Side? Which turned out to be Green Onions. But the band itself was put together as a backing band that turned out to be much more than that. Mainly because Green Onions was such a great groove. It was an old blues riff from the forties, then Booker put the melody to it. That lead to everything else that followed.”

Coming to The Blues Brothers question, I had my three Blues Brothers albums on vinyl ready to show to Steve, Briefcase Full Of Blues, Made In America, and the soundtrack to the movie, The Blues Brothers. This put a smile on Steve’s face which meant a great deal to me. So, what was it like being part of another iconic blues band that still plays to this day?: “The present band that is out there now, except for a couple of players, because a couple of guys had died and we had to replace them. Same horns except for Alan Rubin who sadly died. This particular line-up has been together for about nineteen years now. But we’ve been on the road with The Blues Brothers Band for well over thirty years. The more albums we put out, the more movies that were put out, we’ve taken a bit from each one so that they can get the full range of everything that The Blues Brothers have ever done. If we do a show from top to bottom with a bit of each album and movie in the set, it’s about two hours and twenty minutes long.

We got a bit of flack, “Duck” and I. ( Donald Dunn). Basically, they said to Dunn and me, what are doing playing with these two clowns. So, we said, I guess you don’t know, Belushi fronted a band, played drums in a band for years before he became famous. He had one of

the best blues music collections that I have ever seen. Ackroyd was a great harmonica player also, but people thought that they were just a couple of comedians. I have a funny story to tell you about Belushi. We were picked up in a van to go do some choreography for the movie on the sound stage, we get there and Ackroyd comes running out and went, shhh, be quiet, It’s (Belushi ) asleep ( laughing). John had gone out for some fun and decided to crash there instead of waking up somewhere else. One thing I will say about John, he never refused anybody an autograph, no matter if there was one guy or twenty guys. He’d stay there until everyone was gone. I hung out with him in New York and L A a lot.

He was a great guy to be around. He came to my house a whole bunch of times. He made the most out of life, great guy. When we were away with the Blues Brothers in Europe, we’d play for a couple of weeks then come home for a few weeks. That way the tension didn’t build up and everyone enjoyed it. Then go back out and do it again.”

BE POSITIVE

Damon Fowler lives in Florida and his musical style encompasses the riches of that area. There’s roots, rock and blues infused into every note he plays.

Especially gifted as a lap steel guitarist, singer-songwriter, he’s the real deal when it comes to mixing music styles. His new release, Alafia Moon, on Landslide Records, reached number one on the Billboard Blues chart as soon as it was released.

Fowler’s guitar style has been likened to Johnny Winter and Jeff Beck and his slide guitar work alludes to Duane Allman. He has also been a side man in the Dickey Betts Band. So what makes Damon Fowler stand out from the crowd of other guitarists, for this and more we shared a video link for Blues Matters. An interesting conversation emerged. “Things are good, hanging out with the family today, here at Brandon,

Florida. I’m excited to have the record out and pushing that,” he confirms.

So, what made Damon want to be a musician? Here’s how he describes his journey. “When I was ten years old I started playing guitar. I lived at my grandparents’ house. They owned a septic tank company and my Uncles worked for them. I had an Uncle who was in a country band. On Sundays at my house there was a pool and a small deck built with a little stage. The family would hang out and play music. Through Junior High School, I played in bands. When I graduated from High School I met Rick Derringer who played with Johnny and Edgar Winter. He is a fantastic guitarist, think he’s getting better! He

WORDS: Colin Campbell PICTURES: Devin Williams

produced a record for me when I was eighteen, and I started playing Clubs throughout Florida. One time, Jonny Lang was touring with Jeff Beck and he got conjunctivitis and couldn’t make the show. I had tickets to see the show but my agent at the time ran Skippers Smokehouse, one of my favourite Clubs.

They called him and I opened for Jeff Beck at nineteen. This gig changed my life. From then it was easier getting gigs. I put out a live record and started touring, got a Booking Agent, went to Colorado and a lot to Nebraska. I got into a wreck and it took me out for about a year. When I came back I got a recording deal with Blind Pig, which was a changing moment for me. I found out more about selling records and having relationships with Companies. After that I put together the band Southern Hospitality. JP Soars and I talked about something like that. He brought Victor Wainwright. One night we were at the same Festival and we jammed and a guy wanted to book us for a pre-Blues Cruise party.” Fowler then brought out another album on Blind Pig and in 2016 put out a live record: “At that time I got hired to work with Butch Trucks Freight Train Band. Berry Oakley Junior is a good friend; he helped me get this gig. Butch was a fountain of information. Listening to him drumming made me realise what an integral person he was in The Allman Brothers. He passed away; I started writing my own record.”

At this point, Damon joined Tab Benoit’s label. He had produced records for him before, he explains: “We put out a record on his label. I got a phone call to play with Dicky Betts for his summer tour. It was an unbelievable experience. I was still doing the Southern Hospitality and trio dates. He then signed for Landslide Records. We were going to bring out Alafia Moon in 2020 but Covid happened!” This has been the coolest record he’s worked on. Brett Steel is his Manager. It seemed to all come together well. In Eighth Grade he listened to Guns N’ Roses every day. Most other music he liked was country, George Jones. He listened to Jimi Hendrix and Stevie Ray Vaughan and

this got him interested in Albert King and Albert Collins. Bad decision making made him want to be a musician. It’s always ‘called’ him. His most influential tutor was his friend Eddie Right. He’s never considered himself as a straight bluesman, he loves the blues and his music style incorporates elements.

He likes the overall emotional content when it’s played right. He likes to treat music with respect. Talking deeper about the blues: “It has a spiritual connection, I like country blues like Blind Willie McTell but also electric blues, I like it all”. Talking about the new release Alafia Moon being number one in the Billboard chart, he knew pre sales were going well but never expected such adulation. But during the pandemic he has had a regular online live stream, Fowlers Garage. This helped expand the fan base. He’s proud of the record. Doing it independently with Engineer George Harris, no edits were used. Rhythm tracks were done in a week. Process overall took about ten days. He has no organised structure when writing songs, he likes to write when it’s quiet or driving. All songs are different; sometimes it’s the melody or a hook to start with.

Kick His Ass Out is one song we delved deeper into. He got the idea from where he lives. “When I grew up, there was a harmonica player called Rock Bottom. When I played Skippers Smokehouse as a kid he was the Godfather of the local blues scene. He was funny in a Vaudeville way. I always enjoyed his stories. That’s where the idea for the song came.” Damon also does a Gig Stories spot on his You Tube channel; he has had lots of guests. He retold a story of his own: “You go on the road and all can be up and down. We played a Tuesday night gig and it was at the end of the tour, I was tired and told the group, this gig was going to be a stinker! My drummer said it was going to be the best gig on this tour. We got there and it was! My amplifier blew up and a dude in the audience had the same kind in his car! It was like, wow, positivity!”

Musically his best advice he has read and told him by ‘smart’ musicians to him. It’s not the notes that you play sometimes while recording. It’s the space around the note that you need.” If he could go back to the beginning, he would learn to play the HammondB3 organ: “I love that and there are some great players, Lucky Peterson was one of the best players! “ Growing up he loved Warren Haynes guitar playing and he was a great influence. His favourite player is Willie Nelson and BB King. Their guitar playing is ‘stylistically theirs’. Vocal influences are mainly, Ray Charles and George Jones.

We go on to discuss playing live events in a post pandemic time. Damon is philosophical: “it’s great to play in front of people. Music is important as a human thing. I remember when 9/11 happened. I was twenty-one or two, moved into an apartment with my first girlfriend the day after. I was playing all round Tampa four times a week. For six months gigs were toast, just nothing. When they came back they were not the same as before. I expect that to be the case now, gigs will not be the same after this pandemic. Most gigs I’ve played in Florida recently have been outside, Florida’s hot but it rains a lot, some gigs get cancelled! The inside gigs have been socially distanced in big rooms, it’s been worth it to get out playing again and being with people again.

There have been positives; the blues fans are a bit older and the live streaming has made them see how an event can work and get to use computers. Now there will always be fans of online live streams. It’s helped that market!”

Regarding the blues music future, he remains indignant: “It will always be relevant. No matter who says they claim it. Playing live, I go with how the vibe is, I don’t use a set list. The small venues give you freedom and intimacy. At Festivals you get to play loud but you also meet up with other bands you have been friends with and keep crossing over with.”

We talk about his first lap steel guitar: “There

was a Music Store called Thoroughbred Music, a vintage guitar specialist. They had a car park area at the back, where bands played.” (This is where a twelve-year-old Damon first saw Warren Haynes play, and Derek Trucks.) He always wanted to play slide guitar but didn’t know what the trick was. It was through a video by Warren Haynes, who explained open tuning that changed his perspective: “I bought a Gibson BR9 lap steel, it cost $100.”

The open tuning was the ‘light bulb’ moment for him! He feels if you are just starting out in music his advice would be to build a team and find a goal then be patient and hope for the best, it’s ever evolving. There are all different abstract ways of a path to success in music and there are young people who have not been exposed to blues or blues rock music through mainstream radio. Organically, he thinks this will grow and habits will change.

For the future Damon is going to keep making records, playing music and continue to promote the new album. There may be another Southern Hospitality record. He’s happy just now; he has a good relationship with his Manager, his record company and the new record. Away from music he likes salt-water fishing and being with his family. His personal philosophy? Stay positive!

www.facebook.com/DamonFowlerBand

DISCOGRAPHY

• Alafia Moon-2021

• Whiskey Bayou Session- 2018

• Live-2016

• Sounds Of Home- 2014

• Devil Got His Way-2011

• Sugar Shack-2009

• With Southern Hospitality:

• Easy Livin’-2013

NEW ALBUM ‘AUR’ OUT NOW

THU 11 SOUTHAMPTON 1865*

SAT 13 GT. YARMOUTH HRH BLUES

SUN 14 STAMFORD MAMA LIZ’S*

MON 15 NEWCASTLE CLUNY*

TUE 16 BILSTON ROBIN 2*

*Co-headlining with FELIX RABIN

NOVEMBER 2021

WED 17 EDINBURGH BANNERMANS

THU 18 LIVERPOOL PHASE 1*

FRI 19 SEDGEFIELD ROCK AND BLUES CLUB

SAT 20 LINCOLN

BLUES RHYTHM AND ROCK FESTIVAL

PRESENTED BY TICKETS NOW ON SALE WWW.SOLIDENTERTAINMENTS.COM

THE DAMN TRUTH

IMAGE: MARTIN BRISSON

Canadian quartet The Damn Truth are getting ready to release their explosive third album: ‘Now or Nowhere’. For their latest offering, the band teamed up with award-winning producer Bob Rock at Bryan Adams’ Warehouse Studio in Vancouver.

WORDS: Adam Kennedy

Working on an album amid a global pandemic introduced some logistical challenges, but the hard work and persistence of the band and their world-class team certainly shows in the result.

IT’S ‘NOW OR NOWHERE’

The Damn Truth’s latest album title is quite poignant, particularly in these strange times. Like many bands, they could have held off releasing their record until after the pandemic. However, the quartet decided to opt for ‘Now’ rather than going ‘Nowhere’. After all, when you’ve got a product of this calibre, why keep it under wraps.

An opportunity to work with the producer extraordinaire came about through the band’s manager Ralph Alfonso. The group knew that Bob Rock was the man for the job, but the timing had to be perfect for management to make the call. Speaking of the subject, guitarist Tom Shemer said: “I was bugging Ralph like crazy to send Bob the song. And he was like, fine, I’ll do it. So, he did and the same afternoon, I was in a restaurant, and he called me back, and he said Tom, you’re not going to believe it - Bob said yes, he wants to produce it.”

KEEPING THEIR FEET ON THE GROUND

“This Is Who We Are Now” was the first single released from ‘Now or Nowhere’. Subsequently, the song received a lot of radio airplay in the UK. But the band are keeping their feet on the ground. Talking of their recent success in the UK, Shemer said: “I remember when we released our first album, and they played the single on the radio for the first time - that was a huge moment for us. It’s not to say that now that when they

play the new single on the radio that it’s not a huge moment. For us, it feels the same.”

There have been many pivotal moments throughout the band’s career, but there is one that stands out in their memory. Lead vocalist Lee-La Baum recalls: “I remember when we got asked to open for ZZ Top. I couldn’t sleep for days after that. Just the thought of being on the road with Billy Gibbons. It was just beyond me. I couldn’t believe it.” In addition, Shemer states that: “There were definitely moments along the way. There’s going to be many more amazing moments.” With a bright future in front of The Damn Truth, perhaps the sky is the limit.

IT’S A LONG WAY TO THE TOP

Despite their successes, it hasn’t always been easy for The Damn Truth. The band almost lost everything whilst on tour in Canada in 2019. The group’s tour bus went up in flames during a late-night journey. “We were five minutes away from the hotel. It was like everything was great. Everything was going fine. Tom was driving, and suddenly there was like a click. Just a weird noise,” said Lee-la. “When we pulled over, the whole bottom of the van was in flames.”

Fortunately, the band were able to save some, but not all their equipment. However, the tour bus was a different story. Bass player PY Letterlier explains: “We were lucky that we were in Canada, and there were so many helpful people around. This hockey coach with his truck pulled up. He parked in the road and got out. He said, do you guys want to save your guitars? If so, you’ve got to do it now. We had just put $120 worth of gas in the van, so we thought it was going to blow. Four of us lifted the trailer. I busted

my back, and we took the whole trailer. The full stage gear – amps, drums, nine or ten guitars; crazy amounts of gear. We backed it up as the fire was burning our faces.”

The conclusion of this tragic event was that: “We found ourselves in a motel room, sitting there with a trailer with no van. The trailer was parked but the van burnt to the ground completely in two minutes - it was a frame,” explains Shemer.

Being in the middle of a domestic tour, the timing couldn’t be worse for the band. Was it time to go home or try to find a way to carry on? “I had this idea to put a GoFundMe up there,” explains Tom. “Just so we can get enough money to get train tickets, bus tickets, to rent a van to go back home. It was the beginning of our tour. But to our surprise, I think we went to sleep that night, and we woke up in the morning, and there were tens of thousands of dollars in the GoFundMe campaign from fans out West who wanted to see the show. So, we were able to rent out another van and a truck, and we finished the tour.” As the old saying goes, the show must go on.

A DAMN GOOD BILL

Whilst The Damn Truth are relative newcomers to the UK - they are soon to become a lot more familiar to British blues/rock fans. The fourpiece were recently announced as special guests to King King on their forthcoming February tour next year. Like most bands, the Canadian quartet has been off the road for over a year now. As a result, they are eager to get back out on stage.

Speaking of their UK dates vocalist, Lee-La Baum, said that: “The thought of being on the road again thrills us to no end. It seems almost surreal and unfathomable at the moment as we are still dealing with curfews and outbreaks. But we are hopeful that by February, the world will return to a semblance of normality once again. We are so grateful and thankful to King King for inviting us to join them on their February UK tour.”

However, this won’t be the group’s first UK outing. The band made a whistle-stop appearance in the capital during 2019. “The first time around was 24 hours in and out of London; we just got a taste and are itching for more! I’d love to explore all! When I was a teenager, I travelled a bit around the UK. I loved York and London and am just so excited to be able to discover as much as I can. Main goal: best fish n chips in every town,” says Lee-La.

Reminiscing about their last show at the O2 Islington Academy in London guitarist, Tom Shemer states that: “There was just such magic in the air in the venue, and you can feel it. It was almost the same kind of feeling that we got when we played the Whisky A Go-Go in LA. There’s something there. It’s magical; it feels right.”

The band are looking forward to playing for the British blues/rock crowds. Tom explains that: “As a young boy I was exposed to a lot of blues classics. My grandfather was a huge blues fan and

IMAGES: MARTIN BRISSON

had a lot of blues records in his collection: Muddy waters, JJ Cale, Albert King and Lightning Hopkins, and we used to listen to a lot of great blues when I was at my grandparents’ home. I always liked it, but it wasn’t until I was exposed to Led Zeppelin that my love for the blues really clicked on. The way Zeppelin interpreted those old blues classics blew my mind and I knew at

that moment that that was what I wanted to do for the rest of my life.”

Even though the two bands have yet to see each other play in person, The Damn Truth are already familiar with the work of the touring counterparts. “I have checked out some of their tunes on Spotify and listened to their live album. Alan has a great voice, and I’m sure we will have a blast on the road together! One of our good friends is a radio DJ here in Montreal, and he’s a huge blues fan. He told us that he loves King King and thinks this will be a great tour, and we cannot wait!” says Lee-La.

‘Now or Nowhere’ by The Damn Truth will be released via Spectra Musique/Sony Music on Friday, May 7th. The band will be touring as special guests to King King throughout the UK in February 2022.

www.thedamntruth.com

IMAGE: ADAM KENNEDY

“The way Zeppelin interpreted those old blues classics blew my mind”

CAIN

Chris Cain is a musicians’ musician, a go-to man in the music trade. He is an amazing guitarist, singer-songwriter and pianist. He came to prominence in the Blues scene in the ‘80s with his highly acclaimed Late Night City Blues release, which garnered nominations for WC Handy Awards.

WORDS: Colin Campbell

Exposed to the blues genre at an early age, Cain got his first guitar aged eight; he was playing professionally at eighteen and has never looked back. Heavily influenced by such artists as BB King, Albert King and Albert Collins, he has released his fifteenth album, Raisin’ Cain, a blend of blues, funk and jazz. It has an autobiographical feel and is possibly his best to date. It was produced at Kid Andersen’s Greaseland Studios in San Jose. Blues Matters caught up with him recently at his home in the California countryside, via Skype.

Initially, we chatted about how he became a musician and his career. It’s a simple story; his father was a truck driver born in Alexandria, Louisiana, he grew up on Beale Street, so he loved blues music since he was a little boy. He had a great record collection. On Sundays, he would put his tie on and go to the garage and play his set. Reflecting on this, Chris was aware of the music and though his dad was not really a musician he taught him to play the guitar. The first tune he learned was Baby Please Don’t Go. That love for music just spilled over onto Chris. His dad would know where BB King was playing, the Swahili Room, all those small Clubs. Chris did see BB King countless times as a boy. He recalls: “He looked great, had a big band, it was great stuff. I was very lucky, my father took me to everyone you could want to see. He sat me in front of a bandstand and let it happen. One thing I realised about BB King, he wasn’t just a good musician but he was a nice person all the time, that stuck with me.”

Another influencer was Albert King. He saw him first with his band at an outdoor concert. “Hearing that amp in front of you was unbeliev-

PICTURES: Marilyn Stringer

able”. In the late ‘80s, he got to jam with him at J J’s Blues Club in San Jose. “We got to open the show. My mother and father were going to be there, it was going to be big! The night of the gig, the folks from the Club asked him to let me sit in he just said ‘NO.’ They didn’t ask him twice. We started doing our set and Albert sat next to me, I could smell the pipe smoke. He went “hmm hmm” he liked it! He let me come up and play with him and he tried to crush me like a bug immediately! Then he said nice things about me from the microphone. From then, when I went to Memphis, he would always come to my gigs. Just the fact he was my friend is something I will cherish for the rest of my life, he was so dear to me”.

His Flying V guitar inspired Chris to buy one; it’s louder than any other guitar he owns. Albert gave him some memorable advice: “Always make sure you know who you’re talking to and signing as an artist. He was very serious. I won’t forget that day, Robert Lockwood was in the elevator and starts talking to me and took me to his hotel room and introduced me to his wife! He gave me his new CD. Then I went to BB Kings Club and Albert turns up. An incredible day in my life! This could happen in Memphis at a particular weekend.”

Talking about his breakthrough recording, Late Night City Blues, he felt if the band could get more dates around San Jose and had a record, people might pay attention to it, rather than a cassette! There was no other plan. He learned a lot of other things not to do round about that time in his life. On the back of this release, he also played abroad, Norway, Belgium. He learned how to conduct himself as a person, smiling wryly when talking about this!

At fifteen years old he first started playing in a band and doing gigs in bars: “There was a Bowling Alley that had a Club called The Safari Room. I played with a bunch of guys until 3 a.m., my first introduction to pubs. This is going to sound crazy, but I never thought in my life I would play guitar as a profession. I never had a game plan but was playing since eight years old. When I saw Freddy King and BB in my teens, I started playing with my pals trying to get that sound. It ended up being what I do!”

at first, then later I really listened to jazz and was inspired”.

Cain went to City College to learn to read music and be able to handle any musical situation without panicking. He loved the music rooms there. Music was everywhere, all day long. It helped Chris get the basics of playing in big bands. The stagecraft he has learned on the job: “I couldn’t sing with my speaking voice as I sounded like Jerry Lewis. Because my father listened to Jimmy Witherspoon, I tried to get a sound like them without going full falsetto. When I went with a Big Joe Turner approach it was more believable. No guitar players sang locally. I met Curtis Salgado as a kid and he sang at a party, it was unbelievable hearing someone your age singing like that.”

“I didn’t listen to blues all day long,” he added, “I listened to other styles. As a kid blues rang a bell for me. There was a reverence for this music. When I watched a Monterey concert with BB King and T Bone Walker, as a kid it was unbelievable.”

Blues always came first musically for him but his brother introduced him to jazz: “My brother came over from Vietnam with records; Straight No Chaser by Thelonious Monk, and Wes Montgomery’s Tequila album, and Sidewinder by Lee Morgan. I listened to these as background

Turning to discuss the new album, Chris was very forthcoming: “At the time I was writing these tunes, the album was going to be on my record label. I was writing as I felt. I was thrilled to know the people at Alligator Records wanted to release it as it was. As a kid I sent them a demo, it didn’t happen but I met Mr Iglauer at Chicago Blues Festival and we talked….It’s not straight blues. It has the band I usually play live with, that was a gas too. It’s an eclectic record. The last one was straight blues. It was a tribute to the blues my father loved, Ray Charles and Guitar Slim vibes. The common thread with the new one is I had the same band playing. Greaseland is like Make A Wish meets the Smithsonian, there are such beautiful instruments there. It’s a joyous experience. Kid Andersen puts a lot of love into other people’s records. That’s why people go there. One track, Born to Play The Blues, sounds autobiographical. Kid Andersen knew what to do with it and it came out perfectly, with a nod to BB King and a life story.”

This song is very close to Chris’s heart, he was noticeably emotional when talking about this. I Don’t Know What’s Wrong With My Baby has all the hallmarks of a blues song. This led to how he structures songs and songwriting: “This record is the first one where I sat down and wanted to write a funny song like Honey Hush. It’s like catching lightning in a jar when you get an idea like that. On other records, I sat on songs for weeks before I got words to fit. Lately, I get a feel for some sort of tunes, and then make demos. I was making a tune as a tribute to Billy Preston, that’s Space Race. Alligator Records thought Billy had written that song! Ray Charles and Otis Spann influence his piano style: “The first Atlantic Recordings by Ray Charles were unbelievable, you never heard feeling on a record like that before,” he says.

Regarding not playing live during this pandemic, like most artists, Chris has been heavily affect-

“As a kid, blues rang a bell for me”

ed: “I tried playing in my room by myself but it’s not the same. I didn’t know what to do. Gigs are returning. It’s wonderful to play where there are people again. You try to do these live streams, there’s nobody there, it feels like being held at gunpoint! I used to play the saxophone; I’ve tons of time to practice this. When this finishes I will be fourteen times better than I was before! I’m a hugging person, it’s difficult just now not to climb over people!”

On keeping the blues genre alive and meaningful for a new generation, Chris was very contemplative: “I see so many younger people loving playing the blues. They play it beautifully, the blues ain’t going away. You can’t stop, you’re hooked, that’s the way it is. The first time I saw Kingfish - he plays his heart out.”

The Big Blues Bender is a Festival he particularly enjoys. He got to hang out with the likes of Ronnie Earl. Also, he loves the Legendary Blues Cruises, meeting up with people you seldom get the chance to visit. There’s so much happiness at these type of events. The Joe Bonamassa cruises are great also.

Reflecting on life, it’s just recently he understands what live music means. If you try to be a superstar it could break you. If you enjoy music for music you can have a beautiful time with it: “ I miss meeting people! Thank you for giving me the opportunity for this, I appreciate this. Look forward to meeting you in person. Thank you,” he says.

For further information see www.chriscainmusic.com

Experience the blues where they were born. Mississippi.

Take a journey - in person or virtually – to the place where the most important source of modern popular music originated. The sites you will visit run the gamut from city streets and cotton fields to train depots, cemeteries, clubs and churches. We have a lot to share, and it’s just down the Mississippi Blues Trail.

Start planning your musical adventure today at msbluestrail.org.

HAPPY TO TALK

WORDS: Iain Patience PICTURES: Supplied

I remember the first time I heard US roots singer Maria Muldaur. I was a student, spending vacation time one summer on Scotland’s West coast, at the small town of Helensburgh, when a lady I knew insisted I listen to an album she’d just bought.

It was July 1974, the album was Muldaur’s first solo, breakthrough release featuring the still delightful, beguiling song, ‘Midnight at the Oasis.’ One of those genuinely unforgettable moments for me, as it remains an album I love decades later. Speaking with Maria at home in San Francisco was a true pleasure.

But Muldaur, of course, carried on recording, working and expanding her artistry through those same decades working with countless greats in the US West Coast and Bay areas, where she lives, from Jorma Kaukonen of Jefferson Airplane and Hot Tuna, to Bob Weir of Grateful Dead. Recently she teamed up with New Orleans street band, Tuba Skinny, a full-on eight-piece outfit who include washboards, banjos, steel-guitars, trombones, trumpets and tubas in their eclectic, trad-jazz based sound, a sound that is instantly delectable and damn good fun in its delivery. With Muldaur’s searching voice, the new album is appositely titled ‘Let’s Get Happy Together’ and released by leading Canadian roots label, Stony Plain.

With over forty albums now behind her, Muldaur is a veteran blues and roots legend. From her early times in New York working with Stefan Grossman and others, including her then husband, US picker, Geoff Muldaur, to the Even Dozen Jug Band with whom she recorded as early as 1964. Her output is always raw, emo-

tive and deeply entrenched in tradition, with blues often a major backdrop to her thinking and work. In the 90s and 00s, she recorded at times with Bonnie Raitt, (on more than one occasion) Taj Mahal, Mavis Staples and an old personal friend of mine from Pittsburgh, Rev Gary Davis student and picker, Ernie Hawkins, whom she tells me she loves: “Ernie just has that sound. I was looking for a player who could do that huge Reverend Gary Davis sound thing for my ‘Richland Woman Blues’ album back around 2000. I listened to lots of players until I heard Ernie and just knew he was the one.”

Her clear enthusiasm and talent for the roots and blues genre has brought rewards, including international and global recognition by the Blues Foundation in Memphis, Grammy nominations – including Koko Taylor singer nominee – and a ‘Lifetime Achievement Americana Trailblazer Award’ from the Americana Music Association. In 2019.

Asked about her apparent love and longevity in the roots and blues scene, Muldaur doesn’t hesitate to explain: “I’ve immersed myself and studied all kinds of American roots and blues music for about sixty years now.” We share a laugh at how she has been in the music business for over half-a-century, before turning to the latest project and how it came about, which proves to be an unexpected and revealing journey in itself: “So, I happened to be in my old hometown of Woodstock a few years ago and I heard some wonderful old vintage jazz coming over speakers in a store. I told the lady that it was so cool a radio station playing this old jazz and she said it wasn’t radio but a CD by a band called Tuba Skinny, a band of young

musicians originally from the Woodstock area but who now often play in the streets but also had recognition in Europe. Well, when she told me it was a bunch of young musicians, I didn’t believe her till she showed me the CDs, cause they sounded so authentic,” she explains how she first came across and was impressed by the band.

“I’ve spent a lot of time listening to Dixieland jazz and down in New Orleans and it’s part of my life. Many play it well but there was something, some extra mojo that I just really loved.

I gave the lady (in the store) some money and asked her to get me as many of their albums as she could and when I came back a few months later, she had five CDs for me. And they’ve been on rotation ever since. Then a couple of years ago I was in New Orleans making my last album, ‘Don’t You Feel My Leg,’ put out by Malcolm Mills in the UK on his Last Music company.

So, when I wasn’t busy in the studio, I’d find out where they were playing and go out to see them play. They played on Royal Street every Wednesday afternoon. I was captivated by the

authenticity, a much more relaxed groove than you hear in post-modern 20th century jazz. And what I love about the band is that nobody’s grand-standing, stepping to front and going ‘Ta Ra!’ It’s all a relatively ego-less way of playing. They just weave in and out, an interwoven way of making this joyful music. It’s a delight. All I know is it makes me happy!”

Listening to the new album, it’s hard not to agree with Muldaur, as the release has real bounce and yet also seems firmly rooted in early 1920s and 1930s funky jazz and jug-band traditions. Muldaur has no doubt whatsoever about its place: “I was watching them, I’d been to watch a few times by then, and I think it was the washboard player who recognised me. I didn’t go up and introduce myself or anything like that. So, because of that, I met them then, told them how much I enjoyed their music and they invited me to sit-in with them a few times when I was down there. And that was a great joy for me.

Then last year, the January of 2020, right before the pandemic hit, I was asked by the International Folk Alliance if I would go down, they were having their conference in New Orleans, and do - a what do you call it? - a showcase. At first, I thought, no, I can’t fly all the way down there, I don’t have a band there, then I thought, wow, maybe I can ask Tuba Skinny. They said yea, they could do it. So, we had one brief rehearsal then we did the set and everybody loved it. I had a ball doing it.”

When I add my compliments to her on the final product, Muldaur laughs and tells me: “I had a ball doing it. People told me it was a match made in heaven. Among the people there (at IFA gig) was an old friend, Holger Peterson, who used to own Stony Plain Records.

Next day, he took me for lunch and asked what I thought of the idea of recording with them. I loved the idea. I spent months going through the archived corners of the internet looking for suitable material, songs that would work for us all, songs that would perfectly fit the bill. Every project like this is such a delight and a revelation to me cause I always find far more than I can use. And always songs that I’ve never heard before.”

In many ways, this last comment by Muldaur sums up her own adventurous, questing view of the music she loves and performs. Never content to sit back, accept plaudits or work the same old material, she is forever on a personal musical journey through roots and blues music, searching for more largely overlooked gems hidden in the undergrowth.

www.mariamuldaur.com

DISCOGRAPHY

We include only recent recordings as Maria Muldaur has been recording since the 1960s:

• Let’s Get Happy Together (with Tuba Skinny) 2021

• Don’t You Feel My Leg 2018

• First Came Memphis Minnie 2012

• Steady Love 2011

• Christmas at the Oasis 2010

• Maria Muldaur’s Barnyard Dance 2010

• Maria Muldaur & Her Garden of Joy 2009

• Yes We Can 2008

• Naughty, Bawdy & Blue 2007

JOSE RAMIREZ

Even though we are in challenging times, this year is turning out to be a good one for Jose Ramirez. His latest album ‘Here I Come’ has been nominated for both a Blues Music Award and an Independent Blues Award. And if that’s not enough, Ramirez recently signed a deal with Delmark Records in Chicago.

WORDS & PICTURES: Adam Kennedy

Even though we are in challenging times, this year is turning out to be a good one for Jose Ramirez. His latest album ‘Here I Come’ has been nominated for both a Blues Music Award and an Independent Blues Award. And if that’s not enough, Ramirez recently signed a deal with Delmark Records in Chicago.

However, things haven’t always been easy for the young bluesman. Back in Jose’s homeland of Costa Rica, there was never much of an appetite for Blues music during his formative years. “It was very hard growing up in that environment. There were no blues bands when I was growing up in Costa Rica,” said Jose. When performing live, the local music fans “used to confuse my music with jazz,” he recollects.

These early challenges resulted in Jose Ramirez pursuing his craft outside of his homeland. A move to the USA from Costa Rica was the next logical step, although he: “Was a little bit resentful towards the country just because the support was never there. It made me leave my friends and family behind to follow my dreams in a different country,” Ramirez proclaims.

FLORIDA ‘HERE I COME’

Currently residing in Florida, a state where the COVID restrictions haven’t been quite as stringent as the rest of the USA, allowed Jose Ramirez to continue to perform live over the last year. The artist mentions that: “Florida is one of the few states that kind of remained open, ever since COVID hit. So, we’ve been at least lucky enough to play local shows. We’ve been doing three or four shows a month.” Despite this, the bluesman has remained cautious

by following mandated health and safety guidelines and restrictions. “As long as the clubs and restaurants are following those, we’ve felt safe enough to go out there and work a little bit,” Ramirez explains.

It was also in Florida where Jose Ramirez first met one of his heroes Anson Funderburgh, an artist who would become pivotal in his further development. Speaking of the pair’s initial meeting, Jose explains: “Anson was touring through Florida with Mark Hummel and Little Charlie.” Following an appearance at Bradenton Blues Festival, these high-profile artists played a late show that same day. “I wanted to go see them at this small club and introduce myself because two of my biggest guitar player heroes were there that night together on the same stage,” said Jose.

What started as an opportunity to watch his idols resulted in an invitation to sit in with Funderburgh himself. Little Charlie was instrumental in making this happen. Ramirez describes the conversation, whereby the late Charlie Beatty had said: “If you want to play my guitar, you can come up on stage and play a couple of songs with Anson.” The rationale being that it would allow Beatty to take a short break.

This opportunity to perform alongside one of his guitar heroes became the start of a great musical partnership. Subsequently, when it became time for Jose to start work on his latest album, ‘Here I Come,’ there was only person he had in mind to produce the record. Of course, Anson Funderburgh replied that he would be “honoured” to work on the project. For Ramirez, it was a dream come true. “Working with

Anson was my biggest privilege. He’s one of my top five guitar players in the world,” says Jose.

The pair have now shared the stage many times, including at their album launch show in October 2020; and a recent sold-out run of shows in Florida. Speaking about Anson’s playing, Ramirez states that: “He’s always spot on! His sound. His tone. His riffs. The way he solos. The way he pauses. The way he plays. His simplicity is so soulful.” But to share the stage, “It’s just magic,” Jose remarks.

For the eager-eyed fans out there, you might recognise the location featured on the album cover of ‘Here I Come’. Ramirez said that: “Some of the photos for the artwork, we’re taken at the famous staircase from the Exorcist movie.”

MAKING HIS MARK IN THE BLUES WORLD

Whilst ‘Here I Come’ has been of great success, the Costa-Rican born guitarist is already looking to the next chapter. His recent signing to Delmark Records makes Jose Ramirez “The first Latino” artist with the legendary blues label. Something that Jose Ramirez sees as being a “big responsibility”. And even though his signature is still drying on the contract, Ramirez wants this relationship to be a long and fruitful one. “I plan to do the best I can to stay with them, not just for a year or two, but to stay with them for a long time,” Jose states.

Out of all the blues labels out there, what was it that made Delmark his first choice of musical suitors? Jose excitedly states that: “It’s been my favourite label since I was a kid because I learned to play the guitar listening to Magic Sam records, Jimmy Dawkins, and of course, BB and all those other cats. I had a bunch of records, and my Dad had a bunch of records from Delmark. To see their roster or the list of musicians that they’ve signed in all these years. And then see my name there too - it’s surreal.”

The first product of this partnership is Jose Ramirez’s debut single on Delmark, released on April 16th. “The song is called ‘Whatever She Wants’. It’s a brand-new song; I produced myself,” says Jose.

A BLUES TRAILBLAZER

Travelling from Florida to Chicago to sign with Delmark allowed Jose Ramirez the opportunity to undertake somewhat of a personal blues pilgrimage. Ramirez said: “From Chicago, down to the Mississippi. We stopped in Memphis for a couple of days. In Chicago, we also visited Howlin’ Wolf’s gravesite and Muddy Waters gravesite. We, of course, went to Delmark Records. We went to Chess Records. We did a bunch of interesting things there. And then in the Mississippi, we visited, of course, Robert Johnson’s gravesite, which was my third time visiting him there.”

Besides visiting Robert Johnson’s gravesite, Ramirez also happens to have a portrait of the great bluesman tattooed on his forearm. Speaking of his homage to the blues legend, Jose said: “I wanted to do a Robert Johnson piece on my arm. But I wanted to do a little bit of a hybrid. It’s Robert’s famous portrait, but the original one he’s not smoking, and he’s not wearing a hat. I asked [the tattoo artist] to include the cigarette and to include the hat.”

Blues fans choose to visit these sites to pay their respects to the greats; for Jose Ramirez, there is something deeply personal about making the pilgrimage to these historic and musically significant locations. Speaking on this subject, Jose said: “I know I was not born in the United States. I know I’m not an African American musician either, and I don’t belong to that heritage. But there is something in the air, specifically in the Mississippi. When you are at the gravesites and these locations, there’s something in the air that gets inside you and fills something up. I don’t know what it is, call it Mojo, or just good vibes or whatever.” This

blues pilgrimage is something that Jose has done now on multiple occasions. He states that: “I do this once a year, and it helps me a lot. It fills me up with energy. It’s a great inspiration. It’s also my way of paying respects to all of those legends that I studied music and guitar from.”

But would Jose Ramirez recommend this journey to the readers of Blues Matters? Speaking of his musical pilgrimage, he states that: “I do recommend that people should definitely at least once in their lifetimes, make the trip to the Mississippi. There’s a lot of great blues markers and blues locations there. It’s called the blues trail, and it’s worth doing.” To make the journey worthwhile, he insists that: “If you want to see most of the most relevant markers and all the history of it, you at least need a week to be there.” The advent of modern technology making this experience all the easier. “The blues trail has an app on your phone, you can download, and it has all the locations on the map. So, you can route yourself through the Mississippi, visiting all these important locations and markers. There are just hundreds of them,” says Jose. Somewhat of a bucket list adventure for any blues fan. I’m sure you will agree.

HOME SWEET HOME

Whilst Jose Ramirez’s initial blues career in Costa Rica may not have been as fruitful as he first hoped, he recently returned to his homeland a success. Speaking from his family home, Jose said: “I’m visiting my parents right now. But four years later, I am now putting together a show here. It’s going to be my comeback show. It’s going to a kind of a reunion with me and my audience down here. But it’s been difficult; it took me four years to want it to come back and perform here.” As the old saying goes, there’s no place like home.

WHAT’S NEXT FOR JOSE RAMIREZ?

With his successes so far in 2021, where does Jose Ramirez go from here? Following the re-

lease of his debut single with Delmark Records, new material is on the way, with a follow up to ‘Here I Come’ being his goal. Whilst the wheels are turning - the gifted bluesman already has six tracks completed for his new album. Jose says that he plans to: “Record four more songs at Delmark’s studio in Chicago sometime this year with Chicago blues musicians, session musicians to make it ten tracks.”

Jose’s intention is to: “release a full album, either end of 2021 or beginning of 2022.”

Jose Ramirez’s latest single “Whatever She Wants” is out now via Delmark Records.

AYRON JONES

JONESING FOR JONES

WORDS: Adam Kennedy PICTURES: Alysse Gafkjen

The West Coast of the USA has produced many legendary artists and musical movements in years gone by. If you look at the Pacific North-West, Seattle is the home of Jimi Hendrix, the alternative-rock boom of the early 90s and most recently, the latest guitar slinger to come of the area is none other than Ayron Jones.

Seattle’s latest export wears his heart proudly on his sleeve. The city skyline is the backdrop to his recent music video for the song “Take Me Away,” shot at the area’s iconic landmark, The Space Needle. Speaking of which, Ayron said: “I definitely want to represent my hometown and my home city. And to make sure that in the first video that I put out, that it was, very well known that I was from Seattle.”

The US-based artist recently signed a high-profile deal with Big Machine/John Varvatos Records that will see Jones release his debut album ‘Child of The State’ on May 21st.

RISKY BUSINESS

As you will all agree, the current pandemic has introduced a whole raft of logistical challenges to our movements. For Ayron Jones, this certainly added a layer of complexity whilst trying to complete his album in Nashville last year. Speaking of how the pandemic affected the recording of ‘Child of The State,’ Jones said: “It was greatly impacted. Essentially, in order to finish this record, I had to assume the risk of getting COVID to do it. I had to very strategically say, I’m going to travel, I’m going to do this here, and I’ll be around these people. So, it was greatly impacted - I would say that for sure. It’s a hell of a time to release a record.”

Having been honing his craft for many years - Jones’ debut album embodies a collection of songs that he has written throughout his career.

Speaking of the makeup of the tracks on the record Jones said: “It’s a bit of a mix. Some of the songs are very much older songs that have been with me a really long time. And then some of them are a little bit newer, and some of them are brand new. Some of them got written at the end of last year. So, it’s a great mix of all these tunes. There is an old saying, you have a lifetime to write your first record and like a month to write your second.”

Ayron Jones has sunk his heart and soul into his latest recordings. Speaking ahead of the release of ‘Child of The State,’ he is in high spirits about the grand unveiling of his debut album. “I’m excited, nervous, curious - all of it. In my opinion, it’s a great first record. I think it was a good compilation of a bunch of different stuff I’ve been working on throughout the years, as well as some new stuff. And I’m excited to put it out, and for people to start to get to know me,” Jones proclaims.

HAVE MERCY

During the writing and recording stages of Ayron’s debut album, he has worked with several industry heavyweights. For his recent hit single “Mercy,” the Seattle-based artist wrote the track alongside Marty Frederickson and Scott Stevens. Speaking of their collaboration, Jones said: “It felt right. I spent years in the indie grind and having to self-teach myself. I didn’t go to music school. By doing that, I had to learn, on my own, how to put songs together and write

songwriter and an artist in all the ways

those cats, it’s hard because you don’t know if you learned the right things to be good at what you’re doing. It was a bit of an affirmation; to finally be in a room with these top-level songwriters and to be able to contribute. To be a part of it without having to be told what to do or have to sit back as a wallflower and just let them do what they do.” As a result of this experience, Jones states that: “For the first time, I realized that I have become a songwriter. I’ve become somewhat of a professional that you need to be an artist to survive in the major aspects of your career. So, I was really proud of that.”

BAPTIZED IN MUDDY WATERS

Ayron Jones’ sound is both gritty and genre-blending. Throughout his career, Ayron has opened for everyone from BB King through to Janelle Monae and even Guns N Roses. But at the heart of what he does are his blues influences. There is even a track on his forthcoming album called “Baptized in Muddy Waters”. Speaking of his blues influences, Jones explains that: “Stevie Ray Vaughan, as a blues-rock artist, was pretty inspirational in terms of sound. Although, I was never a huge fan of his tone per se. His tone wasn’t as chaotic as my sound.” He continues by declaring that “Stevie Ray was definitely the person that inspired me to really dive into the blues. And then digging into his

influences, like Albert King, BB King, all the way back to Robert Johnson.” Jones states that “I have so many musical influences in the blues,

but that was the guy that started all.” in struck Waters

it was very different

One blues legend, in particular, really struck a chord with Ayron Jones. “Muddy Waters, I’d say it was in terms of his swag and just overall, that was also a big influence on me. I mean, you could even say Muddy Waters was almost like hip-hop for his time. His blues came across right, and it was very repetitive and straightforward. He told you exactly what it was. It wasn’t a bunch of different changes; it was straightforward. Just in your face, over and over again, and I love that. So that was also a

big inspiration for me,” Jones explains.

tarist has been constant throughout his career. “I had a group before I got signed. It was Ayron Jones and The Way. It was a big three-piece band sound that didn’t sound like a three-piece. So, it was super influential for me in terms of guitar playing because he pioneered that thumb over kind of hybrid playing the chords and the solos at the same time. There was as a lot of Jimi Hendrix influence,” said Jones. “That that sticks with me to this day.”

A LIGHT AT THE END OF THE TUNNEL?

If you take a walk around Seattle, there are nods to Jimi Hendrix all over the city. From his bronze statue on Broadway to the Jimi Hendrix Park in the city’s vibrant Central District or his Memorial and last resting place in Renton. To be an aspiring guitarist coming from that area, it’s no doubt that Jimi Hendrix would feed into the very fabric of your artistry.

Central District or his Memorial fabric of

Speaking of Hendrix, Jones goes on to say that:

“He’s been a huge influence. There’s no doubt about it, even the style of guitar I took on. I took on this thumb over style of play. Because I studied these three-piece bands as a kid and then figured out what they did to sound so big.”

of guitar I took on. I out what they did to

With the imminent release of his debut album on the horizon and a gradual lift on lockdown restrictions. Is there a light at the end of the tunnel? Will we see Ayron Jones on the road any time soon? One thing is for sure the much talked about artist is missing touring life. Speaking on the subject of performing live, Jones said: “I miss it a lot. I’ve tried to keep myself in a meditative state to get through this. And to not go crazy about it. But I’ve missed it a ton. I am looking forward to getting back out there. I’m seeing more and more signs that it’s probably going to be possible in the summer, but we’ll have to see. I’m not going to get my hopes up too much. I’m going to keep my head down and try to get the rest of this record all packaged up and out.”

‘Child of The State,’ by Ayron Jones, will be released via Big Machine/ John Varvatos Records on May 21st.

Hendrix’s influence on the gui-

www.ayronjonesmusic.com

JIMI HENDRIX – A LOCAL HERO

JOHN HIATT

John Hiatt, ‘?? Blues??,’ I was recently asked. Presumably by someone unaware that the guy wrote the song that was to become an album cover-title for no less than two blues greats, BB King and Eric Clapton many years ago. And Hiatt is one of those immensely successful US musicians and song-writers who has always crossed genres with a swagger and ease that most can only marvel at. With a new album, ‘Leftover Feelings,’ about to launch, Blues Matters! Caught up with him at home in Nashville, Tennessee, for a chat about the launch, the life and music.

WORDS: Iain Patience PICTURES: As Credited

With around fifty years – he laughs at the very thought – now behind him, Hiatt can readily afford to be pragmatic about the musician’s life in general. Songs, he says, come to him in bits and bobs, a verse here or there maybe, or a melody he works on, developing a theme before taking them near-fully-formed into the studio for a final polish: “I started as around a seventeen-year-old as a songwriter in Nashville. I worked that at $25 a week. Six years of writing, though I couldn’t read music. It was pretty cool at the time. Nowadays, I just go at it, I guess. I pick up my guitar, I’ve been doing that every day since I first started playing back when I was eleven. You just give it a go, see if it flies. You run it sort of up a flagpole. If it comes, it comes,” he explains.

Known for his love and continual use of Gibson guitars, I ask why he favours the brand: “Well, Martin is a particular sound, it’s a sweeter thing. I’ve always loved the funk, the sound at the bottom-end with Gibson. It’s a different thing, the Martin’s more slick from top to bottom. My whole jag is a kinda funky-rhythm kind of thing, so Gibson suits me real well.” Hiatt describes himself as a ‘sort of chunk-a-chunk player’ never aiming for anything too fancy or overworked in his brand of picking and delivery.

So, where does he see himself in the modern musical world? With his feet in modern Americana, blues and a past history that includes rockier material through the years, he again laughs but finds it hard to explain his own position: “You know, I don’t really tend to spend much time trying to figure just where I fit. It’s just about doing the work. I guess it’s always

been about that for me. A worker among workers, is how I see myself.”

Hiatt’s latest release, ‘Leftover Feelings,’ finds him paired with US dobro, slide wizard, Jerry Douglas, one of the busiest musicians on the planet and an absolute touchstone session man in Music City, Nashville, where his skills are ever in demand. With much of the world in lockdown, gigs cancelled and many months of live-music drought still swirling around when we speak, the thoughts of how to promote a new album is clearly on his mind: “We’ve done a lot of video clips of tracks. The idea is to piece together a forty-five minute or one hour video to be used on the record. We do have a tour, starting Chicago, August.

Our fingers are crossed, though the best laid plans of mice and men often go awry. But so far everybody – and I know the people are dying to hear live music – as we are dying to play it again. That’s an unfortunate term, as so many people have died. What I mean to say is people are hungry to go see some live music and it’s looking like in some form it may need limited-size audiences but we’re gonna start this tour on August 24th in as safe a manner as we can. But we’re all hopeful that it’s going to happen.” Hopefully, not too long after that, we can get back over to Europe. That would just be great,” he adds optimistically.

Hiatt recalls how he first made it big in Europe when he was a relative youngster and new-comer to the scene, with the Netherlands in particular playing a big role in his success and musical development: “The Netherlands sure

did. I like to say the Netherlands was the first place I could get arrested. Yea, and I almost did! Every pun intended but I had an audience there way before anywhere else really. I appreciate it to this day. From there we built up a base and audience in Scandinavia, the Benelux countries and France. So, we love coming over to the continent.”

When I tell Hiatt I’m actually based in SW France where the big-balladeers, with a near-fifties sound, still hold sway, he again chuckles and says: “Yea, they have a certain sound they love out there. And they have that Johnny Halliday thing. You just got to laugh, I suppose.” And when I advise him that seldom a month passes without some newspaper, TV or other media feature about the late French rocker being published or aired, Hiatt again laughs and adds: “I love that idea.”

Thoughts then turn to his reputation for holding back songs for future release: “Generally speaking most of the songs are or have been written within a couple of years before recording. One of the songs here (on ‘Leftover Feelings’) comes from a time when we had a baby in the house, so that was thirty-two years ago. My daughter who is now thirty-three. But I just never recorded it. I pulled it out when we were in rehearsal about to make this record and it just felt good, it worked great, so we recorded it.”

With Jerry Douglas onboard, it’s impossible not to wonder about how the pairing came about and what Hiatt feels about working with Douglas and that slide Dobro sound: “He’s an amazing musician of course. James Taylor calls him the Muhammed Ali of the Dobro! You know, he’s the guy! I remember back around 1970, the guy then was Tut Taylor. He was the

“My whole jag is a kinda funky-rhythm kind of thing”

John Hiatt recording with Jerry Douglas

master in town and I got to meet him and hang around and watch him play. Then Mike Aldridge turned up on the scene. Mike was the next in line, then Jerry came along, the next in line to those guys. I still have friends up north where if I say ‘Dobro’ they look at me, puzzled like that HMV dog!”

Having started here with the thought that Hiatt is the man behind the famed ‘Riding With the King’ release by BB King and Eric Clapton, when asked about that, Hiatt is happy to confirm

that he specially reworked his own composition a bit for them: “I reworked some of the lyrics for them. It was a cool project. I was glad to be part of that.” Over the years, Hiatt songs have been covered by Bob Dylan, Joe Cocker, Carl Perkin, 50s rock icon Ricky Nelson, Jeff Healey, Delbert McLinton, Bruce Springsteen and Willie Nelson. Bonnie Raitt had a significant hit in 1989 with ‘Thing Called Love,’ and he played in a band for a while that included the likes of Ry Cooder, Nick Lowe and drummer Jim Keltner.

explaining

together. we picked

‘You know, don’t

After nine Grammy nominations but no awards to date, I suggest it may be sort of frustrating to be regularly nominated but never picked as a winner. Again, Hiatt laughs throatily before explaining his thoughts: “It’s rigged! I remember being at the ceremony with Guy Clark. We were sitting at a table together. I don’t remember what songs we were there for but we didn’t win anything. Guy picked up his drink, turned and looked at me and said, ‘You know, I don’t like this losing. I’m not coming back here again.’

I agreed with him, so we both downed our drinks, stood up and walked out. We never went back!”

so we both downed up We

www.johnhiatt.com

DISCOGRAPHY

John Hiatt has been recording since 1974 so has a huge back-catalogue. Recent offerings have included:

"The eerie tone is sublime... 'Burn' sounds like an unreleased Deep Purple track with blistering guitar work..."

-Blues Matters!

"There's SRV crossed with a Crazy Horse energy at work here, a ruggedness that you don't find in that many records these days"

-The Rock Doctor

ZITO A BLUES RESURRECTION

WORDS: Colin Campbell PICTURES: Scott Lukes

was crowded, the people were so eager and excited to hear the music. I would love to think we were so great that they loved it, but any kind of live music would have turned them on; they were so excited. Even in St Louis, where it was very strict with social distancing, we still sold a lot of tickets and it was packed. We played Knuckleheads Club in Kansas City (This was A Tribute To Chuck Berry Show), Albert Castiglia, Joanna Connor, Samantha Fish played with us. It was like the old days!”

With numerous Blues Music Award merits, Mike Zito, releases his new album, Resurrection with Hillside Global. As well as being a talented singer-songwriter and guitarist he also co-owns Gulf Coast Records based in Texas which has a multitude of blues talent on the label. His last lauded release, Quarantine Blues, dealt with the world pandemic. This new release, produced by Grammy winner David Z, who worked with Prince, Etta James and John Mayall, seems a more personal and deep-rooted emotional journey for Zito. Blues Matters caught up with him as he was driving his band and dropping off members at their accommodation before an event for The Villages Blues Society in Florida, the joys of being a band leader. We talked about various subjects but mostly his new release, Resurrection, his personal debut on his Gulf Coast label.

For a start, who is he now working with, a good starting point in our chat: “We have Matt Johnson on drums, Doug Byrkit on bass guitar, Lewis Stephens on piano and organ( He’s played with me for years), Eric Demmer on saxophone and Fernando Castillo on trumpet. All world class players, collectively they have played with BB King, Eric Clapton, Jason Mraz, Bonnie Raitt. They’re way too good for me!

We’ve tried a few things during the year to stay busy and maybe playing local. This is the first actual tour in fourteen months. It’s the first time we’ve played shows like I forgot about the pandemic. In Kansas City almost all people are vaccinated, some wore masks, some didn’t. It

Pursuing the live music theme, Mike became very excited: “I’m ready. We’ve done a lot this year, I’ve found things to do, and we’ve done things online. We toured as a trio when there were outdoor events but it feels really good to be on stage again. Really good! We have our Gulf Coast record label, I finished my recording contract with Ruf records, then I recorded my new album last Fall. It comes out this July. This is the first release officially by me on the label. It’s exciting. The world’s opening up, I’m on my own record label. I think this new one is the best I’ve made in a really long time.”

We went on inevitably to talk about the new release, Resurrection, which is excellent by the way… Was there a theme of rebirth? Here’s Mike: “Like any record I do, sometimes I have

an idea right away. I have a theme, then I write songs to see if they fit around this. Through all of this, I knew at some point I was going to be making a record for my label and with all the down time in the studio I went through lots of phases. I could do anything, I was writing and recording songs and I never had that much time before.

Usually you write the songs, work on them for a year and then record the songs in the studio. You record the songs in a week, then that’s it. For this, I re-recorded songs and we had time. I kept trying things out. We went to a different studio instead of my back-yard. We went to Darkside Studios in Louisiana so I could get away from my back-yard and get to go to a big studio. I only had to play guitar and sing! The theme kind of came about when I was writing tunes. I wasn’t limiting myself to doing a blues record; or it has to be this type of music. It was like, hey, I can do whatever I want - just make sure the songs are good.

Then I wrote the song Resurrection. This is personal and deep, nothing to do with the year we’ve had but it made sense. I’m starting over again. I’m on my own label and have a lot of freedom. There’s no one there to give you guidance if it’s good or bad. The song was about my wife and I having a rough time, we’d been married for four or five years, we were settling in. I’ve been married a few times and about every five years into a marriage I feel I should leave and runaway. But I was older this time and thought this is a great thing, this woman’s wonderful, why have the urge to get away. Answer; I have a fear of real intimacy. In the middle of this, our youngest daughter, Jose, was born. I wrote a song about it and thought it was a good theme. Sometimes you’ve got to stick it out; our marriage now is wonderful. You need to

get past yourself. You know what I mean? Noone wants to listen to an album about the pandemic.

I let myself do things musically that I wanted; if the song needed distortion it would be added. I didn’t make it like everything should be the same. There’s no shuffles or slow blues, it’s not a blues record per se. Don’t think I really make specifically blues records.”

“I never went into this wanting to be a blues artist. I like blues and do bluesy songs. I loved the process of making the album. I wanted to make it different; that’s why I brought in David Z. He brought it all together with the mastering as well. It’s got a different sound to it.”

We have been playing the JJ Cale number, I’ll Make Love To You, and this will be the first single. We also play Presence Of The Lord. I love that song. We play, Don’t Bring Me Down; it’s kind of about Facebook and everyone’s fighting and arguing and it’s not fun anymore.

My son’s making the video with goofy stuff in it! That song’s been going good. It’s weird. Besides the pandemic, we’ve had three hurricanes, an ice storm in Texas - it was an insurrection. That song was like, can I just go online and drink coffee and maybe laugh. Everything is divided! Dreaming Of You, is about my chick. It’s a love song. I’m usually away from home. That’s probably why we have such a good marriage! When I’m not there we have a High School type relationship. We flirt and text. There are probably more love songs on this album than I’ve written before. I turned fifty this year; it was like I’m going to do whatever I want! A highlight is, In My Blood, which seems autobiographical.

That’s me. I can relate to the guy in the song. I

“my main job is to be the artist”

siser effect on my slide, it sounds like a weird

didn’t write it specifically about me but about a guy who can’t sit still, he’s always got to go. That song was like, how I would make the record. But then if I made it all like this, sure I’ll love it and some fans would like it, but it’s the first on your record label and the fans who want you to rock some guitar, let’s ease into it. In my head I had Delbert McClinton singing this! When It Rains, was written as a story. I wanted this to be a “song” not just the blues. It has the guy in a hotel room with a gun having no reason to live. I wrote it like a movie scene. I played slide guitar on that. David put a crazy synthesiser effect on my slide, it sounds like a weird whistle. It’s an epic song. I’m excited to play this live. You Don’t Have Me is a fun song, that’s me bitching in my head! Men can probably relate to this song! Damned If I Do, I wrote in a minor key. I had this idea this guy is hooked on this woman, who takes advantage of him. It has a horn section. I thought it would be great to have all these musicians on stage for these big ensemble songs. It’s got some rocking guitar on that’s cool. Running Man is obvious. I wrote that with my partner, Guy Hale, he’s a hell of a song-writer.

We’ve it’s Southern Rock with We

Lewis does a great job on keya

We’ve done several songs together. I probably had twenty-five songs I could have used. This song stayed, it’s Southern Rock with some Country. It’s about the Presidential election. We thought it would be funny to make a video of this, with me being the Politician, kissing babies and getting in the limo doing drugs and having hookers and booze! I like the riff, it’s Claptonesque! Lewis does a great job on keyboards. Evil, is a cover of a cover, I

do the Luther Allison take on Willie Dixon’s tune. We would jam with it for years, that’s bluesy, and we can play it live more often. I liked the sequence of songs, it’s Evil then Resurrection! That’s the Catholic coming out of me!” Mike’s take on his record label is interesting.

He summarised it this way: “We started out with the idea we agreed in 2017. It was to only put out a few albums a year by lesser known artists. I budgeted the first year on making four records and support beginner artists. It fell apart when Albert Castiglia’s record Masterpiece fell on my lap because Ruf records didn’t like the way it sounded. We had to up our game. We didn’t know what we were doing. Between that and a pandemic, sixteen records later, now it feels we have to be a record label. We had to hold back this year. There’s a lot going on. If a new artist was to come along now, I don’t know if we could help them for another year. We look for somebody that works hard, not afraid to travel, get online and promote themselves. Just being good at the guitar doesn’t really cut it any more, you’ve got to be able to do a lot more than that. We have some exciting things happening. We have signed Tito Jackson of the Jackson Five!

“This is a hard job, This is the blues - you have to hustle”

That changed everything, we’ve got plans to tour the artists and have guest appearances. It’s heartfelt honest music. I don’t know where the idea of being an independent artist playing the blues didn’t mean you had to work for it! This is a hard job, this is the blues. You have to hustle. Even Tito is not the most famous person in the world; he’s ready to go out and play live and sell CD’s. That’s exciting!

It’s been a chore the first few years. Now we have a wonderful team. I am on tour and my main job is to be the artist. The team is working the label. It’s like having a great band playing the right instruments. They’re all helping, you can’t do it all yourself, that’s the key to being successful in any group situation.”

Asked about his song writing technique, Zito usually likes writing in the morning, with coffee and alone. He picks his guitar up and starts strumming and singing. He records things on his phone, keeps notes and writes lyrics. He only thinks about writing songs when he makes an album.

Musically, the best advice he can give to an up-and-coming musician was given to him by Walter Trout: “if you want to be a musician don’t quit. Once you quit, it’s over. If you keep doing it, you’ll find a way to make it work. You can get better at what you do but if you do, then you feel better about yourself. You also find out what you’re not good at.”

As to the future of blues music: “It could be a bit more popular than a few years ago. There has to be room to grow, always. If you don’t want to call my music, blues, I don’t have a problem with that, but hope you enjoy my music and listen to it. The blues genre is important. Every time someone is taught how to play an instrument, that’s part of the process.”

We touched on the demographics of a Mike Zito concert: “We’re getting people who are sixty years young! We are getting younger people coming. People in their forties and fifties that

grew up with guitar orientated 80s and 90s rock are bringing their kids to my concerts. I think this is also because we don’t just play blues, our songs are on acoustic radio stations and that brings in other people.”

“When touring in America our shows can be early, some shows start at 6pm and are packed. It means I take a nap! I work out in the morning; we get to where we’re going. I take an old man nap for thirty minutes, lots of coffee then warm up my guitar and get ready. There also needs to be a hair dryer in every hotel we use or the old women will be disappointed! I tell the band, hey, it pays the bills! Future plans, more touring with the Big Band and playing Festivals and cruise ships. We won’t take these for granted. We’re thinking of doing a ‘Greatest Hits’ album, that might be fun, the fans seem to like this idea. We may re-record songs, could be live and studio songs. Guy Hale wrote a novel and we wrote a soundtrack, so that is interesting. It’s country music old-time style, not a Mike Zito record. I’m playing the character in the novel. We hope to pitch it to a TV streaming service. That’s in the can anyway.

THE BIG

CELEBRATE THE MUSIC OF PETER GREEN AND THE EARLY YEARS OF FLEETWOOD MAC

BMG

ALBUMS

TOBY ORNOTT

THE DAMN TRUTH

NOW OR NOWHERE

SpectraMusique/Sony Music

Can you handle Now or Nowhere by The Damn Truth; that is the question?

For the Canadian quartet’s latest offering, they teamed up with fellow countryman Bob Rock at Bryan Adams’ Warehouse Studio in Vancouver. Just one look at the award-winning producer’s impressive resume, and you will notice that he has worked with the best in the business.

To see Bob Rock’s name on the album credits is a testament to the quality of the contents, he doesn’t just put his name to any old project. Lead vocalist Lee-la Baum has drawn comparisons to Janis Joplin and Grace Slick, which along with her impressive voice, also ties in with the band’s retro aesthetic. Baum’s vocal range is astounding, but where this comes into play is during the band’s anthemic chorus lines. Everything Fades is a perfect example. On the other hand, in the case of Lonely, Baum’s sultry and soulful performance is reminiscent in places of blues great Beth Hart. There are nine tracks on the release, and unlike many other albums, you don’t find yourself skipping through the tracklisting but instead listening in full. The quality of the songs is consistent throughout. Highlights from the release include the beautiful Only Love and Tomorrow. Each of which is strong enough to be radio singles. The twin part guitar harmonies on Shot Em are of particular note. Whilst, Look Innocent will inevitably be a live favourite on the band’s forthcoming support tour alongside UK blues/rockers King King next February. The Damn Truth is the best Canadian export to the UK in years, and their music is just as sweet as Maple Syrup.

ADAM KENNEDY

STEVE CROPPER

FIRE IT UP Mascot/Provogue

It’s been quite a few years since Steve Cropper released a solo album, but Fire It Up more than makes up for that. The opening track, Bush Hog is also the closing two tracks. It is an instrumental in three short but very satisfying parts. The funky guitar of Cropper eases you into the album with bass and drums filling in the grooves. The title track and single, Fire It Up brings the vocals of Roger C Reale to you for the first time. His voice is stunningly good, raspy, and full of grit. Keys and horns combine on this so well. Cropper’s guitar work shows no signs of abating, which is so evident all through this album. This album is a mixture of blues, soul, and a bit of gospel here and there. The funky guitar and gritty vocals fit so well together. I’m Not Havin’ It starts at a harder pace than the first three tracks, then settles into a more mellow pace, only to roar back into life once again. The

vocals of Roger C Reale as exquisite. The one thing that I did notice about the album is the use of eight different drummers. Anton Figg, Simon Kirke, and Chester Thompson are just three of the drummers that bring something different to the table. Out Of Love immediately reminded me of Steve Cropper’s days at Stax. This is not some rehash of old Stax stuff, it’s got an identity of its own. The feel and vibe of the Stax days are there, but it is done in such a way that makes you think that it’s the first time that you have heard it. I love this tune. Say You Don’t Know Me, has an Americana feel to it. Superb horns and keys edge you towards long drives across vast open spaces without a care in the world. Heartbreak Street is such a sweet tune. Simple, but oh so effective. Lyrically this is in a class of its own. Wonderful writing and arranging. As I mentioned at the beginning, Bush Hog starts and ends this wonderful album as an instrumental piece. I hope it’s not too long before Steve Cropper releases another album.

STEPHEN HARRISON

“Cropper’s guitar work shows no signs of abating”

ELIANA CARGNELUTTI AUR

INDEPENDENT

Whilst the music world stopped last year due to the global coronavirus pandemic, Eliana Cargnelutti got to work on her eagerly anticipated new studio album Aur. This being the Italian-based blues guitarist’s first new solo album since 2015’s Electric Woman. With Cargnelutti’s latest offering, she has sunk her heart and soul into this release. The songwriting is personal and somewhat cathartic. When you look at the structure and flow of the songs on the album, they tell a story of love and loss. And these emotions are reflected in the song lyrics and the performances throughout the album. The opening track Chaosnero is an atmospheric introduction featuring the use of futuristic guitar sounds. This nicely leads into Breath Again, with its infectious melody, heavy groove, catchy hooks, and passionate delivery. Subsequently, the artist’s uplift-

AJ FULLERTON

THE FORGIVER AND THE RUNAWAY VizzTone

See now, that is a proper voice that is. Husky, gritty and lived in. Which is slightly surprising as he’s still in his twenties. Not that that’s stopped him picking up, count them, sixteen Colorado Blues Society Members Choice Awards in nine different categories over the last four years. Now that borders on showing off but based on this, my first exposure to his music, I suspect it is very well deserved. Young Mr. Fullerton blurs the lines between blues, soul and roots music with ease and there is a vibe to the music that is addic-

ing recent single Who Is The Monster? features early on. Cargnelutti joins forces with blues/rock superstar Ana Popovic on the funky number I Don’t Know, one of the standout tracks on the release. The song features some world-class playing from both artists. Whilst Love Letters showcases a more soulful side to Eliana’s songbook. Eliana Carngelutti’s scorching fretwork during the up-tempo number, I Won’t Change, is of note. The second guest to feature on the album is US-based guitarist Eric Steckel who adds his touch to the smouldering blues/rock song Diablo’s Fire. The final songs on the album Alone and I Swear are brooding, emotional numbers, as their titles imply. The latter of which features a powerful, heartfelt solo from Cargnelutti. It may have taken six years for the follow up to Electric Woman, but it was worth the wait. In musical terms, with Aur, Eliana Cargnelutti has quite simply struck gold.

ADAM KENNEDY

tive. Add in some memorable tunes and you are on to a right winner here. He’s written most of the songs here as well with a couple of well-chosen covers in the shape of JD Taylor’s Cherry Red and Colin Linden’s Hooks in the Water. There is not a duff tune here but I particularly like it when he goes a wee bit swampy. Could’ve Been Mine is the best example of that. It’s a song designed for long summer nights, sitting on your porch, whisky in hand, wondering where it all went wrong. The aforementioned Cherry Red is another standout with some lovely rolling piano and a lazy harmonica riff. It’s a real gem. Mr. Fullerton took himself off to Canada to record this and the production is fantastic with a warm, rich tone that envelopes you in its sound. The musicians he’s surrounded himself with do not take a wrong step so hats off to Glenn Milchem and Matt Sobb on drums, Jesse O’Brien on keys, Aaron Goldstein on pedal steel, Anna Ruddick on bass, Jake Friel and Paul Reddick on harmonica. Of course, it helps that everything is carried along by the voice I mentioned at the top. His is a name we should be hearing for years to come.

STUART A HAMILTON

“Eliana Cargnelutti has quite simply struck gold”

“for long summer nights, sitting on your porch, whisky in hand”

CHRIS CAIN RAISIN’ CAIN

Alligator Records

This is Chris Cain’s fifteenth album and his first for Alligator Records. This is the right label for such a prestigious performer, a musician’s musician. He has ploughed his own blues furrow recently, on this new release there just seems such energy and flow in his writing and musicianship. Twelve stunning originals, recorded at Kid Andersen’s

EDDIE 9V LITTLE BLACK FLIES

Ruf Records

Greaseland Studios have boosted his enthusiasm. There’s everything here, blues, funk jazz, humour all mixed up in a San Jose gumbo. There are influences throughout; including BB King and Albert King he just lives the blues. In his words “It’s an eclectic record, like catching lightning in a jar”. From the humour in Honey Hush through to the autobiographical, Born To Play, this is a masterpiece. He also exhibits his piano playing on four tunes.

The surprise tune is the instrumental, Space Force a tribute to Billy Preston at the end. There’s blues throughout, I Don’t Know Exactly What’s Wrong With My Baby, being a particular favourite. Too Many Problems is peppered with great rhythmic vibes taking the listener to what feels like a live performance, the horn section is superb. He is accompanied by his own band, Steve Evans on bass. Drums are shared by Sky Garcia and D’Mar Martin. Greg Rahn provides keyboards and Kid Andersen adds backing guitar. His wife Lisa adds harmony especially noted on As Long As You Get What You Want. Chris is at the top of his game on this stunning release destined for awards.

Occasionally a release comes around giving the listener a real shot of blues for a new generation, you smile and feel yes, they get it! Here is Eddie 9V (Volt, but is it a mobster moniker or the battery?) from Atlanta with a compelling rhythmic, contemporary retro blues approach. This has it all and more with a quality band also. His brother Lane Kelly produced this twelve track masterpiece at Eco Deco Studios Atlanta. Cody Matlock is on guitar, Brandon Boone on bass. Hooked from the first note of opener, Little Black Flies which has a punchy dramatic music score relating to a crime scene, horns and hooks aplenty, it sets the musical score. 3 a.m. In Chicago is full of intoxicating rhythm and sung with such feeling.

The guitar solo is fantastic. She Got Some Money is edgy acoustic blues with rhythm. Don’t Come Round This House is a real slow smoking blues burner. Back On My Feet is steady blues. Reach Into Your Heart mixes riffs with passionate vocals, musicianship is superb. Miss James blends blues and soul uniquely. Columbus Zoo Blues narrates the story from the animal’s viewpoint. Puttin’ The Kids is a euphemism a very witty sharp song. Albert King’s Traveling Man is given a contemporary take. Last song is Chicago blues, You Don’t Have To Go, encapsulates that live, organic sound. Dynamic, punchy, raw deep rooted in blues, this hits all the right notes, a stunning release!

COLIN CAMPBELL

COLIN CAMPBELL

“Dynamic, punchy, raw deep rooted in blues, this hits all the right notes, a stunning release!”

“on this new release there just seems such energy and flow in his writing and musicianship”

NEW

MOON JELLY ROLL FREEDOM ROCKERS VOL 2

Stony Plain

Invite a bunch of top tier big name blues roots musicians over for an extended house party, record the inevitable jam sessions, and then hide the tapes for over a decade until the host has gone to the great gig in the sky.

That’s the story behind the New Moon Jelly Roll Freedom Rockers’ album Vol 2, the imaginatively titled follow-up to the previously released Vol 1. Let me just give you the cast list on this little gem; Charlie Musselwhite, Alvin Youngblood Hart, Jimbo Mathus, the late Jim Dickinson and his sons Luther and Cody. I mean, how could this possibly have been anything less then impeccable?

Intentionally or otherwise, the whole laid-back vibe is very reminiscent of Dylan and The Band’s The Basement Tapes. Nobody gets much beyond second gear, but nobody must. Blues For Yesterday and Black Water, a loping shuffle groover and a moody

BOB CORRITORE & FRIENDS

SPIDER IN MY STEW

Vizztone Records CD

Oh, yes indeed. If you are a regular traditional blues aficionado using Facebook no doubt, you will often see collections of fine vintage blues photographs under the heading Bob Corritore. I am pleased to see that this fine album is also a hallmark of Bob Corritore. You will not find anything more Chicago blues-flavoured or satisfying this side of Christmas. Chicago-born Corritore is a terrific harmonica player who learned his craft directly from the greats. On these 14 rocking

minor key workout respectively, are both instantly recognisable prime time Musselwhite. It was also a treat to hear NMJRFR’s revival of Sir Douglas Quintet’s 1965 garage band classic She’s About A Mover, complete with tinny Farfisa organ chords. It is a 12-bar of sorts, I guess.

Blue Guitar, credited to Earl Hooker, sounds to these ears like an instrumental take on Willie Dixon’s You Shook Me, but Luther plays the slide part just fine. This release has already been widely acclaimed, so my further praise is superfluous. Buy it. And buy Vol 1 as well.

DAVID OSLER

performances he’s joined by an impressive assembly of guests, including names such as Lurrie Bell, Johnny Rawls, Bob Margolin. Kid Ramos and others. The songs are all classics, including Watcha Gonna Do when your Baby Leaves, originally by Chuck Willis, Willie Dixon’s Don’t Mess with the Messer and Wang Dang Doodle, which has a sizzling vocal by Shy Perry. A truly soulful Lurrie Bell takes the vocal and guitar on the title track, and there’s other fine renditions of classic blues compositions by J.B. Lenoir and others. Corritore’s meaty, moody harp underpins everything. This is a vary satisfying album for a blues fan. The CD’s distinct packaging too fits the mood; a dark, tongue-in-cheek comic-book art which totally matches the smoky mood. There is even a Bob Dylan song, I Shall Be Released sung with real soul by Francine Reed. Best track? Undoubtedly Johnny Rawls singing Sleeping with The Blues. This is just what we need to lift us out of lockdown. Best thing I have heard this year so far.

ROY BAINTON

“This release has already been widely acclaimed, so my further praise is superfluous. Buy it. And buy Vol 1 as well.”

“This is just what we need to lift us out of lockdown. Best thing I have heard this year so far”

BLACK BANJO

OUT OF THE SKIES Independent

Although the band is Italian, their tastes, influences and sound are one hundred percent American, and southern American at that. The flyer that accompanies the album confirms the considerable levels of experience available from the musicians on show here, but to be honest, the quality of the playing demonstrates that perfectly well. Every track is executed with perfect playing, the level of cohesion that only comes from seasoned players locking in together and bringing their various musical experiences to the table to contribute to a uniformly high level of musical output. The key to listening to high-calibre musicians like this, is to understand not what they put into the music, but what they leave out. Unburdened by the need to showboat and make their individual presences felt, they play together with a style that, to use to oft-used but always true cliché, serves the song. There is no jockeying for musical supremacy, every part by every player is delivered with supreme musicianship. The rhythm section of Archelao Macrillo’s drums and Francesco Caporaletti’s bass are a solid engine room, the bed for the band to lie on. The songs however, become more of an issue as the album unfolds. The musicianship cannot really completely disguise the fact that on a song like The Contest has an uncomfortable ‘Euro-pop’ sound about it, which even the peerless sax of Blue Lou Marini can’t rescue. If It Wasn’t For The Music is also lyrically and vocally weak. All is not lost though, Last Man Standing has some nice guitar work interlacing harmony vocals, Youth Of The Nation benefits from some atmospheric slide guitar, but by now the inescapable feeling has taken root and will not be shaken – the weak link in this band is the lead vocal. It’s not strong enough to match the musicianship, and it takes the edge off what would otherwise be a creditable collection of Americana songs. Bumps Boogie is clearly the concert favourite, and don’t let the final song, Sue’s Gone Away, put you off choosing your own enjoyment from this album.

ANDY HUGHES

PAPA GEORGE

THESE WHEELS Independent

This is an album I have found hard to take off the CD player as it is so enjoyable! This is one of those albums that captures you. Great songs, great playing, great vocals and nicely presented (although I still don’t like card sleeves). In cahoots with Papa, here we have Pete Stroud on bass and Darby Todd on skins. There are also guest appearances by legends Jeremy Spencer and Zoot Money. We have ten splendid, original tracks that simply flow along. You can drool in places at any part of a track, the voice in places takes the points, in others the guitar as it eases or bites its way through a tune and gives out a good lickin’. The rhythm department is solid and clearly experienced as it gives Papa the room and flexibility needed. Occasionally Papa’s vocal sings out like the very best of some of Tinsley Ellis’s tonsils have given us over the years. The album gets into gear almost literally with the driving title track and you can feel the wind as it rolls along this musical highway. Heartache ’n’ Pain has ‘tone’ and feels like the ice caressing your bourbon as you gently swirl it. Your senses get goingwishing the song lasted more than four minutes. The pace moves up for Roll With You to a good foot-tapping, head-bobbing beat. Those tones return on Love Won’t Die In Vain, lovely

keys weave around this gentle sad tune that makes you ooze, and there’s some mighty fine toneful guitar too. The closing Deep Blue engages you like the gentle ripples on water before it creeps up and gets hold of you. You can’t resist, losing control of your feet, clapping got me, head bobs, irresistible as it winds down and eases out with every instrument flowing away to close a fine album. What you get here is authentic, genuine, straightforward, uncomplicated, unpretentious, enjoyable, well-played and original blues music that satisfies the soul, the ears, and the spirit. Highly recommended!

“authentic, genuine, straightforward, uncomplicated, unpretentious, enjoybale, well-played, original, blues music ”

ELLIS MANO BAND

AMBEDO JazzHaus Records

Swiss blues/rock outfit the Ellis Mano Band return with their exceptional sophomore album Ambedo. For their latest release, the band dig deep and cover a lot of ground musically. The opening track The Horrible Truth is an incredibly catchy start to the record. Set against a marching rhythm, with a wah-infused soaring guitar solo from Edis Mano.

The four-piece quickly changes pace with Sweet Sin. It’s a lot slower than the opening number, but the tight beat, guitar tone and infectious melody are notable. With Ambedo Mind, the song is exceptionally mellow and sits on the soulful side of the band’s blues repertoire. The addition of horns is very effective and adds a nice texture to the song.

The Ellis Mano Band aren’t afraid of including a couple of lengthy numbers, and that’s certainly the case with The Fight For Peace and Breakfast. Each of which is approaching almost six minutes long. As they say, Breakfast is the most important meal of

THE HITMAN BLUES BAND

NOT MY CIRCUS, NOT MY MONKEY Nerus

The first thing that strikes you about this album is that it has a fine set of production values. It oozes a smoothness which elevates it above many of its contemporaries. Now some would say that as a result it lacks a purity of “real blues” but I say so what? Formed in New York back in 1989, as you would expect, there have been a few personnel changes along the way but that is no never mind as this band are tight as the space

the day, and in this context, it may also be the most important or prominent songs on the album. It’s a slow soulful blues number with a retro feel. The song features incredible keyboard playing and a fantastic guitar solo from Edis Mano as the track plays out. The group showcases the breadth of their repertoire with the Celtic tinged Long Road, the country/folkbased number Keep It Simple, and the blues/rock of The Question.

The latter of which features Australian Hammond heavyweight Lachy Doley. Each track on Ambedo takes the listener in a different direction, but not in a negative way. To listen to the album in full, you are taken on somewhat of a musical journey. There are certainly no signs of second album syndrome here.

ADAM KENNEDY

between two pound notes (remember them he he?). Mixing a sound which crosses blues and soul they put me in mind a little bit of Scotland’s Lights Out By Nine which also has a great horn section. Eleven cuts, eight / ten are originals and one blistering and very different cover. What I hear you ask am I on about? Well two tracks are based on Blind Willie Johnson songs Nobody’s Fault But Mine, covered, for example, by led Zeppelin and Eric Bibb but this time with completely new lyrics. John The Revelator follows closer to the original lyrics by a slim margin. Whatever both are cracking tunes and what they do with Dylan’s The Times Are A-Changing is brilliant. It is like a brand new song with little shades of Pick Up The Pieces in the horns and rhythm. The album opens with the title track and I have to agree that this neologism of a phrase is likely to enter wider society given time. Walk With You is full of hope of a fruitful dalliance whilst Everybody But Me is full of 1950s angst. I like this album a lot simply because it is fun and sounds great.

GRAEME SCOTT

“To listen to the album in full, you are taken on somewhat of a musical journey”

“I like this album a lot, simply because it is fun and sounds great”

UNITED STATE OF MIND

UNITED STATE OF MIND

Manhaton Records

This collaboration brings together Robin Trower, Maxi Priest and Livingstone Brown, all leading lights in their respective areas and genres. Robin will be the most familiar among blues followers and whilst the writing credits are split equally his fingerprints are all over the musical arrangements. The title track is first up and sets the tone for much of what follows, smooth soft rock with a jazzy vibe. Maxi Priest is a good vocalist giving the songs just what they need. Slightly understated strings and brass never intrude into what the main players are doing.

The opener drifts effortlessly into We Are Just People, maybe my favourite track on the album, soulful vocals augmented by a slightly funky guitar showing Robin at his best. On Fire Like Zsa Zsa is next, a bit more up tempo it bubbles along always threatening to go into overdrive but keeping the tension right to the end. Walking Wounded is a beautiful love song building slowly from a guitar and vocal intro, just wonderfully executed. Sunrise Revolution like many songs on here is an observation of the troubles in the world today but offers hope and positivity. Hands To The Sky does allow the horns to come to the fore a little more, another song of positivity, Maxi is clearly having fun delivering the lyrics, and the band funk it out at the end. Good Day is funky RnB, a real builder that gets you nodding along to the rhythm.

The closer Where Our Love Came From is another wonderfully understated piece of classy musicianship. Robin reproducing echoes of Bridge Of Sighs style guitar softly taking centre stage between the lead vocal. Livingstone needs a special mention, not only for the superb bass and keys throughout but for the lions share of production which is world class.

AMAURY FAIVRE

2020 Independent

Here for me is an unusual thing, a French Blues artist who won the Swiss Blues Challenge in 2017. Not having come across many French artists in our genre, I’m intrigued. Amaury studied his music in Besancon (France) then moved about before settling in Geneva. Having done two albums already, one with an electric band and one as an acoustic duo his third starts off with the harmonica blasting Amusebouche which screams Sonny Terry and has me sitting up in my chair and boom as quick as it started it finished going straight into Wrong Girl, where we get to hear Amaury’s quiet but affirming voice with guitar and harmonica.

Often people say how and why are the blues still being played in the 21st century, well heartache and sorrow will always be around and so will the blues. This type of album will help to keep Blues alive, the sadness is there, especially on the third song, Sister. It’s as if his harmonica is crying, a soul of its own, the thing that I love about this album is his voice and the

way it softly entwines with his reed blowing. On Kinda Girl and Heart Of Stone I get a feeling of floating, songs that make you think of being somewhere else, looking at the mountains through the trees, or by a waterfall watching fish jumping. Invite A Danger literally takes me to the French quarter of New Orleans grabbing a beautiful girl and dancing round like you have no cares, enjoying everything around you. Such a mixture and I’m only on the sixth song, but here is an album of eleven original songs, eleven great songs.

Eleven songs I’ll play again and again and with it comes a lovely little booklet of lyrics, but you really don’t need it cos the songs speak for themselves. Viva la France.

BARRY BLUESBARN HOPWOOD

“This type of album will help to keep Blues alive, the sadness is there”

JOE BONAMASSA

NOW SERVING ROYAL TEA-LIVE AT THE RYMAN

Mascot/Provogue

I was lucky enough to see the live stream gig of this in 2020. A smaller band than usual accompanied Joe, but that did not in any way diminish the performance. The gig itself was amazing on the night. When One Door Opens was a surprising choice of an opener but it ticked every box. Presenting his latest album, Royal Tea in a live setting, Joe burst out of the starting gate like a man with something to prove. Precise, tight, and fully in sync, the band roared through this effortlessly. The Title track was next up, and you get the feeling of being in the Abbey Road Studio listening to it. Royal Tea was Joe’s homage to his British Blues Boom heroes of the early sixties, and this shows in spades. You feel that Joe has studied at the feet of his heroes in every song. My favourite on the album is High Class Girl, co-written with Bernie Marsden. It’s such a bluesy song with great vocals and brilliant lyrics. Joe’s guitar on here is some of the best stuff I’ve ever heard him do. If anyone has any lingering doubts about Joe as a blues guitarist, then just listen to this. A Conversation With Alice and I Didn’t Think She Would Do It raise the tempo to a fever pitch. It’s like hearing a Ferrari revving its engine ready to pin you back in your seat with G-Force. Petrol-Head blues/rock that will leave you thunderstruck. Lonely Boy, Co-Written with blues icon, Jools Holland mixes boogie-woogie piano and blues guitar like only these two guys could. I found it fitting that Jools should be included on the album, given that he was instrumental in introducing Joe to a British audience. The last three tracks are from Joe’s first album, A New Day Yesterday. Cradle Rock, Walk In My Shadow, and A New Day Yesterday. If you like watching and listening to Joe perform live, then you could not get a better album than this. Joe Bonamassa has been writing and playing this album his whole life. This is the fruit of the root.

STEPHEN HARRISON

TOMISLAV

GOLUBAN EXPRESS CONNECTION

Blue Heart Records

Croatian blues singer and harmonica player Tomislav “Little Pigeon “ Goluban returns with his 12th album Express Connection, continuing his mission to prove that music is truly an international language. Following on from last year’s Memphis Light, Goluban is once again joined by the fine rhythm section of David Green on drums, Bill Ruffino on bass, with keyboardist Rick Steff and stellar guitar playing from Mark Johnson and co-producer Jeff Jenson. Guests include singer-songwriter Kelly Zirbes on vocals, with Kirk Smothers on saxophone and Mark Franklin on trumpet creating an authentic Memphis Horns Sound on three tracks. Express Connection consists of nine original tracks and one cove., Opening with the band getting a vigorous workout on the short but energetic foot tapping title track Express Connection, the first of three instrumentals on the album. Up next with its punchy horns and guitar bursts is the satirical hard luck blues of Used To Be Someone, with an easy upbeat tempo and well-crafted harp solos driving along. Babe On The Run, it’s another solid foot tapper. Changing pace with a cover of The Velvet Underground song Pale Blue Eyes given a country blues makeover, featuring some melancholic slide guitar from Johnson and gentle county harp by Goluban. Adding a different texture to the sound Kelly Zirbes takes on lead vocals for the swinging boogie blues of Shoestring Blues that will have you up dancing. Keeping the upbeat tempo is instrumental Extra Boom, a Chicago style shuffle paying tribute to Little Walter. This is followed with a duet as Kelly joins Tomislav on the piano driven New Orleans sounding Seeds In The Bag. The harp leads us into the witty country blues of Bite Me Like A Snake with Joseph Franher on baking vocals. Social justice is the theme for No Future In The Past driven by some excellent piano and horn. The band are on exquisite form as they close out with the jazzy blues vibes of instrumental Beast Work. Tomislav impresses with more exquisite blues. Highly recommended.

SHIRL

REDFISH

SONGS FROM THE FIRE STATION EP

Rakehell Music

This four track EP was recorded live at The Fire Station in Carlisle and highlights the UK Blues band performing their live favourites in front of a fairly restrained and placid audience. The band are a five-piece who have built up a strong following over several years and are regulars at blues festivals around the UK. The EP kicks off with an extended cover of Bob Dylan’s Meet Me In The Morning, which is played with plenty of soulful energy, vocalist Stumblin’ Brian Harris does a great job. He has a rough edge to his voice which is ideal for singing the blues, Guitarist Martin McDonald and keyboard player Fraser Clark add some nice touches to the song with

SELLING MY SOUL KING BIZKIT

King Bizkit Records

Since the early nineties King Bizkit have earned themselves a fantastic reputation as a great festival band playing all over Europe and America where they’ve been the headline act on many occasions, so when they bring out a new CD, it’s waited for with excitement and like before this doesn’t let you down.

Massive sounding from the word go with Together Again, where the combination of nineteen musicians and vocalists come together to record something very special, with guitars solos, Hammond organ and brass section this is going get into your soul and take wild horses to drag it out, if it can. Leaving Time follows the opening track and effortlessly flows into Or Die Trying, by now this my album of the month and I’m only tree tracks in, horns and Hammond will always win me over but throw in unusual vocals on Fatmans Game and I’m completely hooked.

When I listen to music on CDs, I’m usually on my own so I can be immersed in the music, not only does this album do that, it engulfs me, Don’t Want You Round Me No More, has me toe tapping in my living

their jamming although on the Bill Withers song Use Me, Martin creates some awesome Jimi Hendrix style “echo soloing” which is a real standout. The two remaining tracks are classic blues songs by Jimmy Reed and Hound Dog Taylor namely Bright Lights, Big City and Give Me Back My Wig, which allow Fraser Clark to come to the fore to demonstrate his dexterity on the piano. The rhythm section comprising of Rod Mackay and Sandy Sweetman should not be overlooked as they are solid throughout and keep everything together. While this is just a small selection of music without any original material, I still believe what I have heard is sufficient to establish that the band have the qualities required to take them to the next level and will undoubtedly be popular when live music resumes.

room. Guitar solos with horns embracing them just makes my face smile and then sprinkle in a simple organ solo and I’m in bliss this is why I buy music, for the joy it brings, my ears, my emotions and my soul! The sixth track The Letter Makes Me Think, I know why these boys have been headline acts at festivals, I can picture people with their arms in the air swaying, singing along, captivated by the band. Tracks Don’t Quit Me Baby, A Fast One and the title track Selling My Soul flow like streams to a river and become one because these boys and girls bring it all, passion, soul, class and that’s what it’s all about..

BARRY BLUES BARN HOPWOOD

ADRIAN BLACKLEE

“because these boys and girls bring it all, passion, soul, class”

“what I have heard is sufficient to establish that the band have the qualities required to take them to the next level”

LITTLE MONSTERS

MOST OF THEM BLUES Sacrem

Laurent Moitrot is not a name that I was familiar with until he sent me an email saying that he was sending me an album for a possible review in BM. So, imagine my surprise when a vinyl copy arrived at my door. Little Monsters, who I also knew nothing about are the band that LM has gathered around him. The opening track, The Teacher, is as blues as you could get. The vocals are full of passion and feeling which is exactly what you want to hear on any blues album. As well as contributing the vocals, LM also shows his skills on the guitar. The next two songs are covers of Peter Green songs, Watch Out, and Looking for Somebody. Both tunes are slightly different than the originals, but still have that unmistakeable Peter Green ambiance about them. Please Call Me carries on the pure blues theme of the previous tracks, not intending to deviate in any way shape, or form from what this band

BIG HARP GEORGE LIVING IN THE CITY Blues Mountain Records

With nearly twenty musicians on this album, you get a lot of notes for your money! The album is written by the harmonica player and singer Big Harp George. The songs range from the brass heavy opener Build Myself and App to the Latin flavours of Living In The City and Heading Out Italpu, with its lazy acoustic guitar and violin opening. This is an album where everything is a surprise, the writing of all parts is tight, and all add to the stories of the songs. Big Harp George

does best, play authentic blues. I’m disappointed in myself for not hearing of these guys before. Side 2 begins with I Wanna Be Free which has a slightly harder edge to it. It leans more heavily onto the electric side of the blues, and that goes down very well with this writer. It brings a howling wail to the proceedings that intersperse with the electric guitar to give it a guttural feeling. Three Times A Fool, for me is the best track on what is a very good album indeed. Every track is good, but this seems to raise itself ever so slightly above the parapet. An absolute gem of a track, among a plethora of diamonds. Come With Me ends this truly remarkable album. It has been a joy to listen to it. I emailed LM to thank him for sending it to me, and asked why he had chosen to send me a vinyl copy? Because I want you to hear it properly, came the reply.

STEPHEN HARRISON

is on fine form throughout, with his dramatic Harmonica and part spoken part sung vocals relating the stories that form the album. This is not an album for the purist, as it borrows ideas from many genres, from Latin, Jazz, Blues, and Soul. There is an over-riding sense of joy on the album, with all the musicians giving their all to the album. The instruments range from full brass, basses, guitar, drums, and keyboards such as zither, violin, and Paraguayan harp. The Hammond Organ on Copayment is a particular delight, and on Try Nice there is a similar feel to Van Morrison at his most cheerful. Bayside Bounce is Orchestral jazz at its finest, while closer Meet Me at the Fence opens with haunting bluesy zither that adds an entirely unexpected spin to the song. If you are looking for an album that takes you through many different genres, then look no further than this very well put together collection.

BEN MACNAIR

“An absolute gem of a track, among a plethora of diamonds”

“an album where everything is a surprise, the writing of all parts is tight, and all add to the stories of the songs”

THE WILDROOTS

WILDROOTS SESSIONS VOLUME 1

Wildroots Records

Celebrating 16 years of a musical partnership that began in 2005, Victor Wainwright and Stephen Dees have released a new Wildroots record, Wildroots Sessions Volume 1. Their take on the Eddie Floyd/Steve Cropper penned hit 634-5789 is a soulful duet between Wainwright and the soft sounding Patricia Ann Dees with the late Eddie Zyne on drums (the album is dedicated to him), lead guitar from Todd Sharp, David Kent tickling the ivories and Mr John Oates providing rhythm guitar and backing vocals alongside Beth McKee. A strong start imho. Move Along Part 1 is a groovy blend of Robert Caban on percussion and drummer Billy Dean as they give space for Greg Gumpel’s electric guitar solo. Oates returns to provide the lead vocal on Our Last Goodbye (an original composition written by Stephen Dees) complete with a Billy Joel-esque Tenor Sax solo from Charlie DeChant. Wainwright’s very early festive offering with Leiber and Stoller’s Santa Claus Is Back In Town puts a smile on my face whilst Square puts me in a poetry-slam environment complete with Mark Roffe’s bongos and Doug Bare on Hammond Organ. Co-written by Pat Travers and Stephen Dees, Misty Morning In New Orleans has a radio-friendly vocal and harmonica by Mark Hodgson and will appeal to fans of Paul Weller’s dulcet tones! In A Sad Room is a truly heart-breaking number not just because of the tender lyrics that remind me of a Foreigner tune or Chris Merell’s majestic voice but the fact that it includes the late Lucky Peterson on Hammond Organ, the late Scott Corwin on drums and Merrell also passed away. Hauntingly beautiful. In conclusion, this sixteen-track record is brimming with talented musicians and songwriters and it is the kind of album that over time will grow on you, it will mean something different to each listener.

GLENN SARGEANT

CHRISTOPHER DEAN BAND

SONGS FROM FRENCH STREET

Lost World Music

Accompanying this album was the most comprehsnvie press pack I have ever seen, it included photocopies of flyers dating back twenty years, together with posters featuring the band and their many and various appearances at gigs and festivals over the length and breadth of the USA. Of course, here at BM, we are less interested in what has been done then, and far more interested in what is being done now, specifically with this album.

This is cool smooth r’n’b, lots of layered orchestrations, horns and keys, all underpinning a wonderfully soulful voice from Christopher Dean. Keen to cover all bases, the accompanying notes helpfully advise which tracks should be addressed, depending on your musical tastes, or more probably which your radio audience is going to find enjoyable. The list directs the blues listener, that would be me, towards track five, Keep Loving Me Baby, and it’s unsurprising to find that the song is a driving blues song. It still features the same orchestral sound, but it is accented differently, with the drums being further forward, and some neat guitar figures coming through the mix.

Also included in the blues-leaning track list is Not That Kind Of Man, and this has less of the full sound, leaving Christopher Dean’s voice to cut right through. Although this is undoubtedly a blues song, it is still resolutely upbeat in its musical approach, with its jaunty rhythm and cheerful vocal refrain, and tasteful guitar and organ interplay. Highlight song of the blues-ish set is You Walked Away, where once again the smooth and soulful vocals of Mr Dean are underpinned by his equally smooth and soulful guitar playing, always just enough to colour in the sound, never anything approaching guitar heroism, and all the better for that.

The remaining cuts are all perfectly fine, just more soul than blues-based, but we are not sticklers or purists here at BM Towers, we like anything that is well presented and sincerely sung and played. This collection ticks all the boxes.

HOT TUNA TRILOGY

Floating World

Hot Tuna may have started out as an offshoot of Jefferson Airplane, but it has far outlived the original band and is still active. original Airplane members Jorma Kaukonen and Jack Cassady having been ever-present since 1969, though other members have fluctuated considerably. Originally conceived to play live gigs during an Airplane hiatus, Tuna began as an acoustic blues duo with an inclination to jam and stretch out. This collection brings together three all live recordings. The 1970 self-titled album has Jorma on acoustic guitar and vocals, Jack on bass and harp player Will Scarlett. The repertoire is some of Jorma’s solo compositions and lots of classic country blues, Rev Gary Davis being the top pick with four songs. The original LP had ten tracks, but

FEDERICO VERTERAMO & HOMERO TOLOA

WHAT’S NEXT Independent

this version adds five more and it’s a great listen for blues fans to enjoy Jorma’s picking and Jack’s rumbling, percussive bass. Worthy of mention are Hesitation Blues, Death Don’t Have No Mercy and Jorma’s impressive instrumental Mann’s Fate. 1971’s First Pull Up, Then Pull Down adds violinist Papa John Creach and drummer Sammy Piazza as the band went electric though the repertoire remains firmly rooted in the blues with more from Rev Gary Davis, Blind Blake and Lightnin’ Hopkins, plus a couple of Jorma’s Airplane tunes including Embryonic Journey. Three tunes are reprised from Hot Tuna and it is interesting to compare the acoustic and electric versions: the extended Keep Your Lamps Trimmed And Burning is particularly good here. If you wanted an example of how this band liked to jam check out John’s Other which opens the album with lots of Papa John’s violin in ‘conversation’ with Jorma’s guitar. Fast forward to 1978 and Double Dose which is split across CDs 2 and 3. The band is a four- piece, but the album starts with a foursong acoustic section, including a third version of Lamps and a second of Jelly Roll Morton’s Winin’ Boy Blues. Jorma’s songs make up most of the material with the slightly folky Watch The North Wind Blow and majestic I See The Light being the pick. Blues remains very much part of the repertoire with tunes from Muddy Waters, Chuck Berry, Billy Boy Arnold, and Bobby Rush all given a heavy guitar makeover.

One of the best things to come from the imposed lockdowns, has been the influx of new music from many artists who used to the time to be creative, and this is one such example. First up, I love the slide guitar, and the fuzzy sound that is evident throughout the EP. What I enjoyed the most though, was the overall feel. The release was recorded in a single take, as a jam session, rather than laying down separate tracks and mixed later, and as a bonus it was laid down on analogue tape! This of course leads to something that sounds raw, with no bells and whistles. It’s exactly as it was intended to sound, and is beautiful in its simplicity, and with just guitar and drums, there’s just nowhere to hide. There are two kinds of EP. One is where you’re happy that you weren’t subjected to a full album, and the other is where you’re left wishing there were more. This one most certainly falls into the latter category. It’s simply not long enough, but then such is the quality of the music contained, I would say thirty tracks may not be enough. That’s just my opinion of course, but you get the idea of how good I think this is. If there’s any fault at all, it’s that at times I just zoned out on the vocals and focused purely on the instruments. The guitar is just subliminal, but on the whole, all of the tracks are musically and vocally extremely good, and most certainly well worthy of your time.

JOHN MITCHELL

“a great listen for blues fans to enjoy Jorma’s picking and Jack’s rumbling, percussive bass”

Roots Music Report’s Blues album chart

STEVE HILL DESERT TRIP No Label

Just to clarify, “No Label” is the name of the label! Canadian singer and guitarist Steve Hill has “won enough blues awards to fill a bath-tub” (well, eight Maple Blues awards for starters), his publicity tells us, and he has here a fine set of very bluesy Americana. A few years ago, he attracted some attention in the UK with gigs and the release of his fine live album, Live, The One-Man Blues-Rock Band, but for Desert Trip he mainly plays excellent acoustic guitar. There is some very fine and individual slide playing on this set, and some notable fingerpicking, and many other instruments. Most importantly for this set, maybe, he has an expressive and sometimes grizzled voice, and he writes compelling, memorable, and meaningful songs. There is certainly a strong

MIKE FALL & THE FALL OUTS BIG CITY Independent

Six track EP from this Swedish band with their brand of self-penned retro style blues. Opening track Big City (For A Country Boy) is a lovely loping slow blues featuring a fine swagger in Fall’s vocals and excellent harp work. What a

feel of the desert heat thanks to the expansive production on the opener Evening Star and the somewhat languid Make Believe. That may be unsurprising as many of the songs here come from a time when Steve headed down to California and then spent a few weeks checking out the state’s natural wild places. He reminds me of Johnny Cash’s rawer side on I Won’t, and Days is extremely bluesy, with an atmospheric blues harp added (played by Steve) and a touch of John Lee Hooker in the vocal. Judgment Day is pitched somewhere between the darker side of country, southern rock, early 60s rock instrumental, and maybe 70s David Bowie, it works too, a rather haunting track. If this all sounds rather heavy, then there is always Cold Hearts with its poprock feel, demonstrating Steve’s versatility on this very listenable release.

great opener. The band are clearly very experienced and feature guitar, electric/acoustic bass and drums and add roughhewn backing vocals. Jack & Coke is a real toe tapper featuring Fall’s declamatory vocals and wailing harmonica and a fine guitar break from Torbjorn Fall. Walk Of Shame is a steady paced rocker and I must say that the whole band sound like the real deal and I’d love to see them live. The aptly titled demand Keep Your Distance (Covid Boogie) is an absolute party stomper with everyone joining in the rave up. Phew! The pace drops for the slithering Old Town Swag with Fall using acoustic harp to a backdrop of jazzy guitar, and brushed drums. The album closes with the lively instrumental Minor Boogie. I look forward to hearing more in the future.

DAVE DRURY

NORMAN DARWEN

“he has an expressive and sometimes grizzled voice, and he writes compelling, memorable, and meaningful songs”

“the whole band sound like the real deal ”

REVEREND RANDY MAC

KING OF CLUBS NO RUNNING FROM THE BLUES Independent

Reverend Randy Mac spent many years as a songwriter and session player, before releasing three albums as a Country artist. After building and selling a thriving transportation business and been ordained, the Reverend Randy Mac has returned to his love of music with new album No Running From The Blues. A collection of nine original Detroit Style Blues Rock tracks with a cutthroat attitude and an emphasis on an analogue feel in a digital world.

Reverend Randy Mac plays electric, rhythm, acoustic and bass guitar on the album and is joined by seasoned musicians Timothy Sears on drums, Allen McMillan on percussion and features Richard Fidge on lead and backing vocals, with Neil Barbu on keys for three tracks, who sadly passed away during the recording of the album, Title track No Running From The Blues starts the album, a thumping bluesy rocker with guest Kim Lange supplying backing vocals.

Where Are You Tonight has a funkier rhythm with some wah wah guitar, the excellent screaming horns /sax soloing from Eric Noffz makes the track for m., An acoustic guitar opens Have A Good Time, a deep bass line and Barbu on the B3 organ drive this rocker along. Up next is Not Good Enough, a foot tapping rock n roller with boogie piano from Dennis Orris. Another foot tapper follows, the drum driven jaunty So Mean including a mean bass solo, up next is the ballad, Until You with soulful vocals from Fidge and keys from Barbu, this takes us to, Are You Ready another bluesy rocker with a deep rhythm beat and heavy guitar riffs.

The uptempo Fools Paradise is driven along by a deep bass line and some nice keys from Barbu. Closing the album with something different, The Devil has a great walking bass line giving this a cool swing vibe, growling vocals and guitars mixing in screaming horns and wah wah giving this an edgy finish to the album.

Randy Mac certainly knows his way around guitars, one for the blues rockers

SHIRL

SAMBA TOURÉ BINGA

Glitterbeat Records CD

One driving desire among blues fans is to identify that primeval ‘roots’ element in our choice of music. You can always hear it in Son House, Hooker, Wolf and Muddy. That echo of something that speaks of Africa and a stolen past. So, here’s a thrilling album that’s as deep as you want to go. I can’t do better than quote the words of Ilka Schlockerman, who wrote the fine press release for this CD. “’Binga’ is the music of a realist. It’s a cry from the soul, but even more, an affirmation of a nation’s history, and Samba Touré’s pride in it. For him, it could never be anything else. “This is pared-back, spare music featuring Mali’s star Samba Touré on electric guitar and vocals, Djamé Sissoko, ngonis and Souleymane Kane on calabash, and there’s a fine harmonica in the mix from Richard Shanks. The simple instrumentation produces a mesmeric sound which draws you in. The ngoni is a typically African string instrument from Mali formed of a resonant shell covered with a goatskin (or a wooden cover), with a wooden handle. The strings, made of nylon, are attached with rings, parallel to the handle which follows the same line as the shell. Large hollowed-out gourds, calabashes are simply dried and used as percussion instruments, especially by Songhai people of Mali. The songs ride on a national background of continuing political and economic strife. Tamala is a Songhai classic, Atahar is a cry of anger over Mali’s failing school system, Kola Cissé (once the head of the Malian Football Federation) is a homage to great Malian characters of the past. Sambalama is a positive song where Samba overrides Mali’s turbulence with hopes for the future. This album is a door which opens on an ancient world yet connects to fans of blues and roots music across continents. Samba Touré’s place in this world is that of a brilliant, brave survivor. A superb CD in every way.

ROY BAINTON

SUITCASE SAM

GOODNIGHT RIVERDALE PARK

Curve Music

Using an artist’s alias in a similar alliterative vein as Seasick Steve, Suitcase Sam packs a gentle and nostalgic load of countrified blue-hued ditties on his first long-player album release. Clocking in at a little over 32 minutes, Goodnight Riverdale Park is a compact and pleasurable collection of woebegone and out of time tracks that reminds of Leon Redbone and The Band’s Levon Helm in the distinctive stylings of these down-home, blue-dyed canvas of songs. Purposefully shrouding his back story in mystery, this Toronto based musician tells his tales of the hobo outsider with a recognisable drawl and slight yodel to his voice.

The simplicity of the songs betrays a studied level of craftsmanship as evidenced on opener

Growing Up and throughout. The upbeat instrumental of The Maple Leaf Stomp is replete with a clarinet that would have raised the eyebrows of Eric Dolphy in appreciation.

As an artist of fewer years than his self-made wizened styling suggests, The Band/Basement Tapes feel to Frankie And Me and Morning Mail’s lament reveals a songwriter of no little skill and promise. In keeping with his good ole boy, old school approach the album was ascetically recorded and produced under strict analogue conditions and laid down on 2 1/2” tape by analogue wizard Walter Sobczak. And it’s this wistful approach to the instrumentation, songwriting, arrangements and recording method that admirably captures a Honky Tonk sawdust floor ambience of considerable sepia-tinted charm on an album worthy of going back to time and again.

PAUL DAVIES

“a compact and pleasurable collection of woebegone and out of time tracks ”

MIKE EDISON & GUARDALPE PLATE THE DEVIL CAN’T DO YOU KNOW HARM

Everlasting Records

There is a deep slice of the blues on this album. It has a tremendous sonic atmosphere, very little in the way of soloing, and songs that don’t immediately jump out as you as obvious choices, but the whole album works very well together. Although it is largely covers, the three originals by Mike Edison fit well alongside better-known songs. The traditional spiritual songs, such as Joshua Fit The Battle Of Jericho, John Henry, and Go Down

DANNY KROHA

DETROIT BLUES

Third Man Records

Danny Kroha is best known as a member of Detroit garage rock band the Gories. Recently he has been dusting the blues archives for some rare authentic blues tunes. On his new release he reinterprets blues, folk and gospel tunes and takes a raw authentic approach.

The arrangement of these fourteen gems is stunning. Opener, Lead Belly’s Poor Howard has all the hallmarks of the master storytellers and guitar style, his vocals have a rough edged tinge making the lyrics stand out for a younger audience of listeners. Detroit Blues is narrated well, close your eyes and you are there on the back porch, and the fingerstyle guitar work is versatile. He does play around with some verses but to no detriment of the song. Gospel take on, I’ll Be Rested shows a strong character. Then humour comes via some jug band take to Rich Girl, Poor Girl. Adam And Eve has witty storytelling

Moses, suit the gravelly, low toned vocals of Mike Edison, whilst his tremolo infused guitar adds a lot to the atmosphere of the music. Although his reading of Dylan’s To Make You Feel My Love is an interesting arrangement, it is unlikely to get the same amount of radio play as Adele’s version. The ten tracks on the album do not overstay their welcome, with the sterling musicianship of Guadalupe Plata adding to the mix, particularly during the Theremin saturated co-write of That’s Where I Am At. Although the lack of soloing may disappoint some people, the songs are tightly written, and arranged and distinctive. If you are after an album that is deep in the blues, but touches successfully on other genres, then this album is worthy of some attention.

also. He even uses traditional instruments. His version of the Georgia Turner’s House of The Rising Sun is a bold take using banjo, a different slant in tone, droning vocals. On, Run Johnny, he starts playing Jewish harp with some musical percussion, an interesting instrumental.

Way Down In Florida On A Hog, the Darby and Tarlton song is given new life but sounds so authentic. Up Above My Head is very uplifting. Another highlight is Come Out Of The Wilderness a traditional Gospel tune. Something for every blues fan here.

COLIN CAMPBELL

BEN MACNAIR

“Detroit Blues is narrated well, close your eyes and you are there on the back porch, and the fingerstyle guitar work is versatile”

“The ten tracks on the album do not overstay their welcome, with the sterling musicianship of Guadalupe Plata adding to the mix, particularly during the Theremin saturated co-write of That’s Where I Am At”

MICHELE BIONDI

DOWN BY THE RIVER Independent

Self-penned blues rock and related stuff from Italian guitarist Michele Biondi and musical accomplices. There’s nothing in this set you won’t have heard many times over from other artistes, but it’s a universally well-executed brief tour of roots genres and overall a worthwhile listen for anyone who might have seen him live on the continental European gig circuit, or who is simply curious. The blues content is concentrated in the first two songs, the title track and Lonely And Lost, the latter bearing some sonic resemblance to Howlin’ Wolf’s Smokestack Lightnin’ and thus

THE JUJUBES

WHERE ARE WE NOW Independent

The Jujubes are an upcoming blues trio based in London who have released their debut album. Where Are We Now opens with the Fred Mac Dowell tune, You’re Gonna Be Sorry complete with an upbeat harmonica solo by Pete Sim.

Change Is Coming is one of three original compositions with a steady drum beat and a textured vocal courtesy of Nikki Brooks. The sultry Why Don’t You Do Right? (originally by Joe McCoy) includes a smooth double bass that transports you to a smoky jazz club. The sombre Funeral Song reminds me of the Oasis song The Importance Of Being Idle but has Sandy Michie’s fluid Spanish acoustic guitar that is crystal clear.

The addition of the Elmore James tune It Hurts Me To is technically well-executed whilst the clapping backbeat on Son House’s John The Revelator sounds like Johnny Cash might be an

possessed of instant earworm potential. Also, worth hearing is Crosseyed Blues, a song vaguely modelled on the Riot In Cell Block Number 9 riff and accompanied by appropriate soloing. It tells the life story of a kid who went cross-eyed at the age of three and had to wear an eye patch for the next 13 years. Biondi doesn’t say whether it’s autobiographical, but it clearly comes from the heart.

The multiple Chuck Berry licks on Moving To Texas might appeal to anyone who remembers Dave Edmunds’ Rockpile from back in the day. But the best cut here is Angel Of The City, the lyrical Americana-focused tale of an older woman whose man upped and outed, which displays a certain gift for evocative storytelling and some facility for acoustic slide work.

I can’t honestly say I was knocked out at any point, but all in all, not without some merits.

inspiration, I could hear this arrangement working quite well on Sons Of Anarchy. Wrapping up proceedings with Dark Was The Night Cold Was The Ground, it is a lonesome tale delivered with an emotional voice. In conclusion,

The Jujubes are talented in the songwriting department but they have opted to travel through blues music history in an almost archival fashion which whilst respectful, is musically very safe.

Hopefully some more original material will shine through in the future like it deserves to.

GLENN SARGEANT

DAVID OSLER

“I could hear this arrangement working quite well on Sons Of Anarchy”

“a certain gift for evocative storytelling and some facility for acoustic slide work”

THE RAZORS SELF-TITLED Independent

This Manchester area band released a four-track EP in 2019 which was well received, garnering a very positive BM review from Stephen Harrison. Since then, a combination of Covid and young guitar player Jake Poole going to Uni has hampered progress, but lead man Jonny Slidewell has every intention of getting The Razors back on the road and sent in this 14-track demo of original material. The four tracks from the previous EP are included, plus material from an ill-fated follow-up album which was not widely distributed. The material ranges across blues with a Delta feel courtesy of Jonny’s slide work, Feelgood style bar room boogies and even a few country-tinged rockers.

The rhythm section of Dave Roberts (bass) and Stu Wright (drums) keeps pace with whatever the front men throw at them and the whole collection whizzes by in just 37 minutes; the tunes are concise and well-crafted, solos sharp and kept to a sensible length, no showboating here! Jonny handles the vocals, guitar and harp and there is plenty of good interplay between the two guitars, as on the Hooker-style boogie I’m Losing. Several songs omit the drums, A Love To Last being in a folk style, The Devil’s Make definitely a blues.

Throbbing bass underpins Jonny’s slide on Bad Woman and the harp gives Down So Long a real blues feel while the drums return on the upbeat shuffle of Let’s Go Dancing. Young Jake’s guitar skills stand out on several tracks, one highlight being So In Love - Part 2 which shows a different side to the band, the gentler tune giving Jake the opportunity to deliver a fine solo that brought 60’s West Coast rock to mind (Wooden Ships, for example). As to the future, one thing that Jonny may wish to think about is the band’s name, as Google comes up with a covers band in London and a disbanded Belgian punk rock outfit! Maybe he will return to JP & The Razors, a name used in the past by the band.

GREGOR HILDEN ORGAN TRIO

VINTAGE WAX

Acoustic Music

Gregor is a highly regarded guitarist from Münster in Germany, working on this mainly instrumental release, the follow-up to his album First Take, with Hammond organ player Wolfgang Roggenkamp and drummer Dirk Brand. The music itself harks back to the extremely bluesy organ jazz of the early 60s. That is back in the days when people like Jimmy Smith hit the charts with his version of Got My Mojo Working and Jimmy McGriff scored a success with All About My Girl (which these guys do cover here, in a wonderfully swinging version), often in the company of guitarists like Grant Green or Kenny Burrell, the latter was acknowledged as a big influence by Otis Rush. There are two jazzy vocals well-handled by Herr Roggenkamp, but I suspect that for most readers, the main attraction of this set will rightly be the superlative guitar playing of Gregor, who keeps more to the bluesy side of the music throughout. He pays tribute to Freddy King with the six and a half minutes of San-HoZay and to Peter Green with the impressive and surprisingly jazzy Greeny (Peter originally

recorded it with John Mayall). The real icing on the cake in my opinion though is the title track, a wonderful slab of Magic Sam flavoured west side Chicago blues guitar running to almost seven and a half minutes. The presence of a cover of the 1971 Pop Tops hit Mamy Blue filled me with apprehension until I heard it, successfully converted into a blues! Some tracks have the slightly fuzzier, warmer tones of jazz guitar but though, if your blues tastes veer to soul-jazz, then you’ll find every track here very, very rewarding. Even if your tastes aren’t so broad, you’ll find plenty to enjoy anyway.

NORMAN DARWEN

JOHN MITCHELL

“keeps more to the bluesy side of the music throughout”

JOHN VILLIERS A DIFFERENT CIRCUS

Into The Red Recordings

In taking a self-confessed lead from the early 70s period of English countrified-blues music expounded by artists such as The Faces, McGuinness and Flint, and Gallagher and Lyle, Villiers has produced an upbeat album of ringing pandemic blues tunes.

Isolation Blues kicks off the prolific Villiers’ third lockdown album and belies its song title with a Gasoline Alley styling that melds into an early acoustic era John Martyn feel. The two-metre

HONSHU WOLVES

COSMIC CREATURE CAPTURE

Voodoo Rhythm Records

They are billed as ‘today’s Delta Blues Desert Gospel Space Punk Sensation’. Keep that in mind when you are listening to this effective, if rather sinister sounding, recording. The Honshu Wolves live in an alternative universe on a trailer park called Zaffaraya near the centre of Berne in Switzerland. (I’m not making this up). Those of us of a certain age will recall that a genre loosely known as ‘space rock blues has existed in various forms for decades. Think back to Hawkwind, Gong, Steve Hillage, and other assorted luminaries, not to mention Sun Ra. In terms of what we at BM might regard as traditional blues format, the Honshu Wolves are a galaxy away from the old 12 bar shuffle. The Wolves are fronted by Maryann Shewolf, who plays guitar, piano and percussion and sings with a mysterious alien energy on songs such as Goddess and the very

rule of separation is poignantly reflected in Villiers dolorous tone on So Close. A voice that some will appreciate as an acquired taste, it’s Villiers ability on acoustic 12 and six-string guitar which impresses and is especially reflected on Sunglasses with some nifty picking catching the ear.

An accomplished acoustic instrumentalist, Villiers has resurrected his country blues stylings on Riding In The Country, taken from his previous album Unsung, performed in common open tuning it reveals Villiers’ deft abilities on a fine strung fretboard. His seemingly effortless glide and slide technique is further evidenced on The Best Way To Say Goodbye’s bottomless well of sorrows.

This recording’s a no frill straightforward expression of lockdown woes is summed up in the final titular tune of groundhog day blues that is worthy of a repeat.

seductive and ethereal Come Closer. Maryann’s performances are framed in the kind of echo you’d expect from recording in the lower chambers of a salt mine, but with the backing of Mige on drums and percussion and the atmospheric guitar styles of Fabu (surnames don’t figure in this outfit) the whole effect is entrancing. All the songs are written by Maryanne and with lyrics such as ‘come on in and follow me/welcome, to a woman’s inside’ this is all reminiscent of a ride on a naughty aural ghost train. This is a strangely insistent album and Voodoo Records live up to their sardonic motto ‘Records to Ruin and Party’. Turn out the lights and cover the budgie, this is weird stuff.

ROY BAINTON

PAUL DAVIES

“Turn out the lights and cover the budgie, this is weird stuff”

“it’s Villiers ability on guitar which impresses and is especially reflected on Sunglasses with some nifty picking catching the ear”

REBECCA DOWNES

STRIPPED BACK Independent

I’ve been lucky enough to see Rebecca perform live three times, and I’ve also had the pleasure of interviewing her on two occasions. So, I have a good knowledge of her work from the beginning up to the present day. Reading the liner notes on the album, I discovered that due to the pandemic, and the disruption it has caused, she decided to release a stripped-back album of songs from the second and third studio albums. The result is a well-crafted, brilliantly arranged album of fine tunes. Take Me Higher kicks off the album giving us a taste of what is to come. Along with her long-term writing partner, and band member, Steve Birkett they have delivered a treat. Birkett plays all the instruments on the album and Rebecca does what she does best, sing brilliantly. It does what it says on the tin, well-known tunes are given a laid-back softer more subtle outing. Blues For Us was always one of my favourite RD so listening to this version makes me appreciate it even more. Not only does the vocal talents of Rebecca shine through in a different tone and delivery, but the showcasing of Birkett’s musicianship is there for all to see. He’s a truly gifted guy. Screaming Your Name is so sweet and soulful. No need for the powerhouse vocals from Downes that usually are this tunes trademark, but more of a bluesy husky delivery that wafts over the playing of Birkett like a fine wine. The same can be said for Sailing On A Pool Of Tears, which gets similar treatment. The acoustic, almost Flamenco style playing by Birkett adds a dynamic to the song that you don’t quite get in the original. Some may say that this is an easy way out of recording a new album, but I would strongly disagree. No one can play live gigs at the moment, so this was a perfect opportunity to do something a little different. Downes and Birkett have hit the bullseye with this album. A true insight as to how good Rebecca Downes is as a blues singer.

STEPHEN HARRISON

ERIC ALLEN ERIC ALLEN Independent

Eric Allen might not be a familiar name, but he is an interesting character. Born in Portland Origan, based in New York but spending many years living and performing in Beijing. This is his debut album and is totally acoustic, his world-weary raspy voice giving all these heartfelt songs a real authenticity often lacking in others. Lyrically the songs all reflect true events throughout Erics life. Night Falls Again was written following the Malibu fires of 2018 and loss of his sister’s home in those and recalls childhood memories from that home and town. Inspired by his time in China, She Waits tells the story of Fang Dazeng, a war correspondent and the loyalty of his mother and sister waiting for him to return home.

Rattlesnake Mama is a piece of unadulterated Mississippi Hill County, wonderful stuff. Really Miss is a song of loneliness and longing but lyrically avoids the predictable and gushy, Eric has a knack of making us feel the true emotion of his inspirations. Stillhouse Blues is real Southern blues straight from the Kentucky mountains and the moonshine stills hidden there. 40 Years was written soon after his father’s death and is about his life moving from his home to find factory work in Indiana while being an active musician at the weekends. Hello Soul is a super song recalling the part of Eric’s journey playing bars and dives in New York. All On Death Row celebrates the often-lonely life of a bounty hunter inspired by a childhood friend who followed that life path. Unafraid to cover subject matter that others don’t, Ugly Dog is about a loved one who suffered from Bulimia, again using thought provoking lyrics to paint authenticity. In the sleeve notes Eric describes Road Travels On as the first song he wrote that he liked, it’s about the late-night difficulties of song writing! All 13 tracks here are superbly crafted and performed. I highly recommend it.

THE OUTLAW ORCHESTRA

POWER CUT Independent

Another one of those antidote releases to the present lockdown and the lack of live music. This mini album is bookended by clever radio jingles and the introduction does imply these six songs will be played unplugged because of a power cut. That’s what you get here from Southern rock infused trio from Southampton, they serve blues, country and rock with a positive vibe. Encompassing David Roux on vocals and guitar, Ryan Smith on drums and vocals and Pete Briley on banjo normally the tone is loud and in your face. Here they have mixed an all acoustic set including revamping songs from their last album. Rattlesnake Sour is the first tune and what a groove there is here including fantastic

PATTI PARKS

WHOLE NOTHER WORLD Booga Music

Patti Parks’ latest release Whole Nother World was produced and arranged by American Bluesman Kenny Neal and released on Kenny’s label, Booga Music. Kenny also appears on the album, on vocals, harmonica, and guitar, as well as contributing to the writing on various tracks. Patti expresses her special thanks to Kenny and states that “the excellence of his musicianship and brilliance brought the album to a Whole Nother World”. The blues maestro’s influence is clear from the start. I’m Trouble is a raunchy blues number, which makes a great opener, in a big band blues style, interspersed with some classy keyboard playing.

banjo playing a true bluesy tone and slide guitar rhythms. God Knows, is a laid back mellow tune with a country feel with fine harmony vocals from Trish Manser. Chicken Fried Snake was previously released but here is given a total revamp, raw and stripped down, very comical lyrics mix well with fine slide guitar. Got It Made, has a drinking song type feel, will go down well with a live audience, lap steel taking the main focus here. Back To Georgia sees the banjo take spotlight; blues meets Southern rock fusion, great musicianship here. Finally, Send Some Whiskey Home is framed in a country style. A consummate band in touch with their acoustic side, they bring songs full of tone and swagger.

More Than You’ll Ever Know is a slow blues number, befitting a slot in a late-night cabaret. James Brown’s It’s A Man’s Man’s Man’s World is full of foreboding power and is a great vehicle for Patti’s very soulful vocals. Baby Bee is in country blues style and features Kenny duetting with Patti in a very stripped back format, along with some very nice harmonica. Stickin’ To My Guns is a much rockier number and has a definite Chicago Shuffle feel to it, with some wailing harmonica in the background. Don’t Play Me Cheap is a complete contrast, with Patti accompanied initially just by piano and sax before the song develops into a soulful ballad. I Can’t Think is a funky tune, with a very defined bassline, some groovy sax, and an organ for even more soulful authenticity, sounding like a classic from the sixties. No Means No is a bluesy funky number trying to get a message across to those who weren’t aware of the meaning of the above words in certain situations. (It’s probably a good antidote to countless blues songs which have not been entirely supportive of equality and respect issues.) The whole album was recorded in Kenny’s Brookstown Recording Studio in Baton Rouge, Louisiana and is a fine selection of well executed, heartfelt blues tunes from Patti, who remarkably, in addition to being a sizzling blues performer, is also a working nurse, and the creator of the “Nurs’nBlues” education program, which she developed to help high risk children at drug rehab centres.

STEVE BANKS

COLIN CAMPBELL

“A consummate band in touch with their acoustic side, they bring songs full of tone and swagger”

DEBBIE BOND BLUES WITHOUT BORDERS

Alabama blues lady Debbie Bond returns with a new album, recorded – like many these days – during the pandemic by whatever means possible and very much against the odds. Bond managed to beat the odds to some extent by having drummer, Mickey Barker, luckily visit her at home in Tuscaloosa before lockdowns became the new norm. So, Barker – a regular band member when Bond tours the UK – was able to add his considerable talent and weight to the project alongside her usual blues partner, ‘Radiator Rick’ Asherson on keys, harp and supporting vocals.

Bond is one of those blues musicians who, mysteriously and incomprehensibly, moves below the modern blues radar at times, despite her lifelong immersion in the music and having played with so many old-time greats from Johnny Shines to Eddie Kirkland and Willie King. With this new release, she delivers an exceptional album, easily her finest offering to date, that features her vocals, grainy,

moody and muscular to great effect; while her fretwork-picking also reliably drives the whole thing along with ease and a sophisticated ripple throughout. Bond is never a slouch when it comes to singing and playing; and her writing skills also shine brightly here with a clear grasp of the music and the recording game.

Don’t expect guitar pyrotechnics here, Bond is too self-assured and experienced to fall into that kind of musical trap. Instead, what you have is a genuinely gripping blues offering that slips along purposefully and strongly from start to finish, covering all those essential blues bases with a confidence and command that make this an essential release for blues lovers everywhere.

“she delivers an exceptional album, easily her finest offering to date”

PHOTO: Robert Sutton

NOTHING CONCRETE

THE HABERDASHER’S VOYAGE

Round Flat Records

For music fanatics of a certain (ahem!) age, it’s really not easy to produce something utterly unlike anything heard before. When such an album comes along, it is such a surprise and deep pleasure that the urge to impress on everyone else just how wonderful it becomes imperative. Such is that impulse as I luxuriate in the deeply articulate and equally left-field imagination of songwriter Fergus McKay. The songs are all intriguingly and superbly constructed vignettes of a world that may be parallel to ours, and remains deeply intriguing. The instrumentation that acts as a medium for these surreal flights of fantasy are at once different from each other, and simultaneously bound together by their left-field arrangements which entirely suit the complex and deft wordplay that weaves its way around the speakers. Second song in, I Don’t Know, is as complex, clever, arch, witty and amusing as this collection gets. Dear Liza starts with a pseudo-antique version of the novelty Harry Belafonte song There’s A Whole In My Bucket, but it sharply hairpins away into a re-working of the song that has the feel of a Nick Cave murder ballad, with violins, banjos and harmony vocals, again, the imagination used in its construction and execution is breath-taking. By now, the anticipation of knowing that something utterly different is bound to follow is amply rewarded with a blues-swing track, I Need Money, and right after that, another swerve, with a cautionary tango tale called Provolone. That’s an Italian cheese by the way, nothing to do with the story, as you’d completely expect. Fine Desolation is played on a slightly out-of-tune piano, and once again the lyrical gymnastics are front and centre, this is music for people who like to feel their intelligence appealed to, as well as their wry sense of humour, because those are the two major factors involved in the writing and construction of these songs. This album feels like a wonderful dinner with fine wine, completely satisfying and to be looked forward to repeating very frequently in the future!!

ANDY HUGHES

BILL TOMS & HARD RAIN KEEP MOVIN’ ON Terraplane

Bill Toms started out as the guitarist for Pittsburgh’s Joe Grushecky and The Hosuerockers and since 1997 he has produced ten albums with his band Hard Rain. His latest features nine originals plus one cover and it’s a great listen for those who enjoy the sort of anthemic, horn-driven music produced by Springsteen or Southside Johnny. Indeed, vocally Bill sounds quite like The Boss and Man’s Soul Is On Trial could easily be a song from mid-period Bruce (think Streets Of Philadelphia). The title track I Keep Movin’ On is an acoustic-based tune with Bill playing mandolin as well as a stirring electric solo, one of three songs that omits the horns. The soulful Come To Me is a strong track with a great horn chart and Bill’s echoey guitar hook while opener I Got Love is an absolute winner as the horns combine with a hook-driven chorus and elegiac guitar on a song that celebrates all that’s positive in life. Everybody’s Talking adds a dash of Caribbean lilt as piano and the three members of The Soulville Horns each take impressive solos. Walk In My Shoes rocks out a little more, the bright and bubbly I Know has an insistently catchy rhythm and Ain’t No Walkin’ Back is an old school Rn’B tune that has a definite Memphis feel about it. The sole cover closes the album, from the pen of another Pittsburgh area veteran, Bubs McKeg, who adds backing vocals to Bill’s interpretation of his fine song that sets out clearly the notion of a Nation of Immigrants and the pride that Americans have in their history: “I’m an American, well I’m a dreamer, I’m just like you, I’m the red, white and blue, I’m an American Dreamer”. Two great songs bookend the album and there are several other good songs too, making this an album that those with broad tastes should enjoy.

JOHN MITCHELL

3TIMES7

SMILE WHILE I SING THE BLUES Independent

The very prettily packaged EP, Smile While I Sing The Blues, is a new collection of 5 tracks from the Surrey based band, comprising Jenny Lawrence on vocals and David Holdstock on guitar, accompanied by Jon Steele on drums. The music is very hard to pigeon-hole, but I would whole-heartedly agree with their claim that “It brings a welcome splash of colour to a grey day”. It’s a sort of mixture of Blues, Soul and Rock and Roll. The opening track, Ode To New Orleans, is a perfect example of the above. It has a speedy bass line, some fast guitaring and very bouncy vocals in a tribute to the much-lauded city of New Orleans. 40 Days continues with crystal clear vocals and a very nice guitar break.

The title track, Smile While I Sing The Blues, is one of those oxymoronic numbers, a happy song about the blues. This one would be great at a gig and might even become one of those singalong songs, it has such a catchy refrain. Lost at Sea is full of witty words of wisdom “If you can’t pay the bill, don’t order the wine. Don’t stare at the clock if you don’t wanna know the time”. Not everyone can get away with stating the obvious in song form, but 3Times7 have got the knack of doing so (and adding a little smile in the process) as is obvious from the penultimate track, Lost At Sea. The track showcases both Jenny’s infectious vocals and David’s melodic guitarwork. The final track is the much-covered Etta James song I’d Rather Go Blind. It’s given a novel rendition and is performed more in an English folksong style than the usual heavy soulful blues style, which one has come to expect. It shouldn’t really work, but surprisingly enough, the song doesn’t suffer from this radical change in style, which is the sign of a true classic. The band is looking forward to playing this material live and as they so nicely put it “reuniting everyone at live gigs soon”. Can’t wait!

STEVE BANKS

BLUES SOCIETY OF CENTRAL PA.

BACKYARD BLUES

Blue Heart Records

This is such a refreshing album to review. Sixteen original songs from artists that used to meet up and jam together every week until the pandemic spoiled all the fun. All the artists are unknown outside of the Central PA area. Original songs by local bands, what a fantastic idea. The first track is by Blues On The Loose, performing their song, A Bad Influence. It’s an uplifting blues tune performed so brilliantly by the band. A great opening track. Outside Cat, by Rose Hudson with Barrelhouse, is simply sensational. The vocals of Rose Hudson are exquisite. Blues/funk both musically and lyrically bring out the best of Rose and the band. She could be the find of the year within the blues community. Since We’ve Been Apart by Rocky And The House Band is 100% blues. As good as you will hear anywhere. Listening to this album makes me wonder why lots of other labels don’t do this sort of thing at least once. It would help new artists get heard and in turn that would be beneficial to the label. It seems a win-win situation to me. Getting back to the album, Trouble All Over The World (Bob Wineland& The House Band) is the first of their two tracks on the album. Funky/soul with a major dash of blues to keep the pot boiling away nicely. I can’t get enough of this album. It’s like a breath of fresh air. The Blues Will Burn Ya, the second track by Rose Hudson and Barrelhouse is equally as good as their first offering. I predict big things for these guy’s Watch this space. A stunning vocalist surrounded by great musicians. More Whiskey by The Mighty Klucks, is what the blues is all about. Whiskey and the blues have long been bedfellows, and this hits the spot like an eighteen-year-old single malt. True Force Of Nature, by Buzzard Luck, finishes this excellent album. It has been such a pleasure reviewing it. It’s already a strong contender for album of the year in my opinion.

STEPHEN HARRISON

JIMMIE BRATCHER

I’M HUNGRY

CD Baby

Jimmie Bratcher is also known as “The Electric Rev”. He lists his influences as Hendrix, Cash, Albert King, B.B. King and other blues greats. His career as a blues guitar player never took off, “due to a lack of professionalism and commitment, and substance abuse”. After a journey down a very rocky road, he found Jesus and his calling to the ministry. In 1997, after receiving a Fender Telecaster as a gift from his son, he began playing again and has since released 12 albums. He tours prisons, churches, and clubs, “alternately preaching and performing”. His 13th album, I’m Hungry, has a food-based theme and is probably not suitable consumption for vegans or vegetarians. The opening track, I Love Her Name, sets the table with some very nice barrelhouse piano from John Selle. Mama Won’t Fry No Chicken is a bluesy shuffle, lamenting the doctor’s order to cut out the greasy stuff. (Although it could be a metaphor for something else, who knows?) Bacon Is On My Mind is a heavier blues number for carnivores, but probably best not played after a heavy meal. Baby, I Like What You’re Cooking is a self-confessed schmaltzy number. (Schmalz being the German for lard). However, the lyrics and slow beat make the extended innuendo very cheesy. The Keb’ Mo’ tune, Government Cheese, gets a funky treatment, where the electric piano compensates for the somewhat Zappaesque delivery of the vocals. Where You Gonna Stop rips along tastily and sings the praises of various Kansas City eateries. Greasy is a delicious instrumental and possibly the highlight of the album. Chicken Tastes The Same has a rumba beat and adds to the variety of the album. Green Bananas has a New Orleans feel to it. Grits ain’t Groceries is given the Texas Shuffle treatment, which works very nicely. Bologna Sandwich Man is a humorous country blues number, which is a bit of an acquired taste. The album finishes with Happy, another instrumental, which works very well, despite its lack of culinary allusions.

STEVE BANKS

MARIA MULDAUR WITH SKINNY TUBA

LET’S GET HAPPY TOGETHER

Stony Plain Records

Well, what can be said about Muldaur that hasn’t already been said? A true roots and blues veteran, Muldaur has been in the thick of it for something approaching sixty years now, a near-staggering thought.

Her last release, Don’t You Feel My Leg, was launched by UK label, Last. This time, she returns to Canada’s Stony Plain, sharing production duties with Holger Peterson. Joined by the youthful, traditional band, Tuba Skinny – an eight-piece jazzy outfit who bring that much-loved, old-school, old-timey sound to vibrant, sparking life, Muldaur rattles through a range of songs that feature her wonderful vocals and always inspiring, delicious take on roots music generally.

Tracks include Delta Bound, Big City Blues and the eponymous title track, which in many ways exemplifies the thinking behind the release and Muldaur’s own thoughts on the entire project and her time

working and recording the album with New Orleansbase band, Tuba Skinny, in the Crescent City itself. As the years pass, Muldaur’s voice seems to gather strength and importance with a truly astonishing range and versatility always behind it, underpinning everything she turns her hand to. Let’s Get Happy Together is one of those remarkable releases that must appeal to lovers of traditional roots, jazz and blues music while also satisfying most music modern blues lovers demands at the same time.

A fabulous album from a towering roots music giant at her very best.

IAIN PATIENCE

“A fabulous album from a towering roots music giant at her very best”

HARVEY BRINDELL

PENNIES ON THE DOLLAR Independent

Harvey Brindell has been playing the blues for decades. Mainly in the Midwest where he was in various bands who opened for the likes of Magic Slim, Guitar Shorty, Mike Zito, and many other well-known names. He’s since relocated to Portland, Oregon (home to a branch of my family!) and recorded this album, the first under his own name. I do not imagine that it will come as a tremendous surprise, given his pedigree, to learn that his take on the blues is rooted firmly in days of yore with his songs pretty much slap bang in the middle of Chicago.

The songs are a combination of old tunes he recorded with previous bands and a few unreleased and just plain lost. But you certainly can’t see the join and Brindell and his band swing through a set of really enjoyable tunes. He’s an excellent guitarist and a mean harmonica player as well. There is a lengthy guest list of musicians but it is very much his show with Mike Brindell, JW Jones and Johnny Burgin on guitar, Alec Brindell, Dave “Shakey Dizz” Wagner, Eric Byorth, and Joel Meints on bass, Mitch Kashmar, John “Honeyboy” Turner, and Jim Wilson on harmonica Jimi Bott, Gary Williams, Dave Meints, and Don Holmquist on drums and Dennis Lusk on Hammond Organ all making splendid contributions. His lyrics tend to take a wry look at life which makes for some fun listening.

There are more than a few jazzy guitar runs in there with The Old Zoo Bar a prime example. Elsewhere the title track is an amusing take on what it’s like to be struggling to make ends meet while Blues For Omaha sounds like it could have come straight out of 1950 as he finds himself homesick, broke and carless after his woman done done him wrong. Worst of all, he’s going to have to explain this to his wife! An excellent release.

STUART A HAMILTON

TRAINMAN BLUES

SHADOWS AND SHAPES

Independent

Trainman Blues is fronted by lead singer and guitarist, Irishman Richard Farrell and producer and bass guitarist from Denmark, Laust Nielsen. Their debut album garnered best blues album in the Danish Blues Challenge in 2018. There are twelve original tunes written by the vocalist. Losing Time, opens with some traditional blues with a very atmospheric groove. This album encompasses many styles an eclectic mix of blues, soul, and roots influences. Can’t Keep On Running has slow soul rhythms, soaring vocals mix with mellow guitar riffs. Undivided Seer adds a funky haunting tone. Poor You, has blues tones throughout, about somebody with a narcisstic personality, full of visceral lyrics. Better Everyday, has a more positive message with fine harmonies on an upbeat note. Nine musicians collaborated on this and all bring

differing personalities to the overall sound. Shadows And Shapes just has such a laid back feel. Troubled Mind brings some Gospel to the mix with some great slide guitar on this catchy tune. I’m Fire has a great melody and is carried by the keyboard player, Christian Jorgensen who solos on Wurlitzer also, a great arrangement. Sing Your Own Song really exhibits what a tight band this is, catchy chorus, sharp guitar solos, wonderful. Spice Of Life is another upbeat tune with surf guitar work by Ronni Boysen. I Cried, is sung acapella and is very haunting, it resonates with the listener long after. Last song, Find My Wings is a soothing melodic ballad with sweet soul tones.

COLIN CAMPBELL

“styles an eclectic mix of blues, soul, and roots influences”

DIK BANOVICH

RUN TO YOU

Banovich is no newcomer to these pages. A Scot, now based in France, he spent much of his formative years in blues-central, Chicago. In recent years, he’s delivered a number of offerings all based around his acoustic-driven guitar picking and a gritty vocal that can be moody with hints and undercurrents of modern Americana at its heart.

Banovich is widely admired in the French blues scene where he gigs extensively across the country, with his usual melange of roots and blues music always tempered by a liberal dose of modern Americana music thrown in for good measure.

RALPH BEEBY & THE ELEPHANT

COLLECTIVE

ANOTHER SWING OF THE SCYTHE

Independent

With Run to You. Banovich covers a few John Hurt classics, with the ever-popular melodic flow of Lewis Collins and the rarely heard, Payday. Other tracks include a few self-penned pieces and covers of the classic How Can a Poor Man, Walk on Boy, Catfish, and Lead Belly’s, She’s Gone. Throw in a pinch of the master of the single entendre, Bo Carter, add a touch of Norman Blake, and you have an eclectic but effective mix which absolutely sparkles from start to finish. A self-released effort, Run to You features Banovich on guitar, vocals and banjo. A damn fine album well worth discovering.

IAIN PATIENCE

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When is a mini album not a mini album? When it’s a two-disc, six track double EP in a digipack, that’s when! You will be glad to know that there is a method to this madness as the first disc on offer here, Totentanz, sees Mr. Beeby continuing in his recognized folk / blues style of solo guitar and vocals, while the second disc, Mönchsgeier, adds in violin, clarinet and viola and a slightly more electric approach. It’s not a cheery double EP containing, as it does, a collection of songs about death and mortality. But then we are living in a world where people are being reminded of this. It’s not like when I was a boy and death was a part of life and these songs reflect that. As you will know Totentanz translates as Dance of Death, but you won’t be dancing a jig to these tunes. Mr. Beeby has a funereal voice which certainly suits the material on offer and Bodies Back To Crow is exactly what I imagine Donn

will sound like when he comes from Teach Duinn to claim me for his own. The guitar work is exemplary and on the acoustic side really shines through. Over on Mönchsgeier (which is the vulture native to mainland Europe) the cheeriness continues but with an added Nick Cave vibe. Actually, thinking about Nicks there is also a touch of the late Nick Marsh on display as well. A tip off the hat to the very talented Matt Steady who plays violin on Lilith, the standout track on EP2. And when he’s not singing about Adam’s first wife, pre-Eve, he’s taking on bereavement, loss and some spooky shenanigans. I’m not going to claim this is going to be for everyone, but I found it a dark, rich experience.

STUART A HAMILTON

“A damn fine album well worth discovering”

“Mr. Beeby has a funereal voice which certainly suits the material”

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