Blues Matters 62

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BLUES MATTERS! EDITORIAL

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EDITORIAL team

Alan King / Gez Morgan: editor@bluesmatters.com

Founder

alan@bluesmatters.com

Contributing writers:

Liz Aiken, Roy Bainton, Andrew Baldwin, Adam Bates, Duncan Beattie, Adrian Blacklee, Bob Bonsey, Candye

Kane, Bob Chaffey, Martin Cook, Norman Darwen, Dave

Drury, Linda Fisher, Jamie Hailstone, Stuart A. Hamilton, Beryl Hankin, Ray Hansen, Nat Harrap, Brian Harman, Alan Harvey, Gareth Hayes, Steve Hoare, Tony Holmes, John Hurd, Billy Hutchinson, Peter Innes, Duncan

Jameson, Martin Knott, Brian Kramer, Frank Leigh, Geoff

Marston, Ben McNair, Vicky Martin, Michael Messer, Martin

McKeown, Martin ‘Noggin’ Norris, Merv Osborne, Mike

Owens, Frankie Pfeiffer, Thomas Rankin, Clive Rawlings, Paromita Saha, Graeme Scott, Dave Scott, Andy Snipper, Richard Thomas, Bob Tipler, Tom Walker, Mel Wallace, Kevin Wharton, Rhys Williams, Philip Woodford.

Contributing photographers:

Christine Moore, Liz Aiken, Arnie Goodman, Vicky Martin, Philip Woodford, Paul Webster, others credited on page

Production-Art/Layout

Kitty Rae:

Advertising:

Alan King: ads@bluesmatters.com

Tel: 01656-745628

Subscriptions/orders:

Jenny Hughes: jenny@bluesmatters.com

Tel: 01656-743406 Mon-Tues only 10am-4pm.

IT/Web Management:

Diana Stone:

Stand Manager:

Christine Moore: christine@bluesmatters.com

Event Manager: events@bluesmatters.com

Printers

Harcourt Colour Print. SA5 4HN

© 2011 Blues Matters!

J.Pearce t/a Blues Matters. Original material in this magazine is © the authors. Reproduction may only be made with prior consent of the Editor and provided that acknowledgement is given of the source and copy is sent to the editorial address. Care is taken to ensure that the 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.

Ah, BM62, time marches on, and the Blues marches on! Thank goodness. Yet trying to find those elusive CDs in a store near you is nigh on impossible. HMV are faltering each day because they’ve deserted the record buyer to pander to the gamers and DVD market. Have you got a fine Blues store near you? If so let us know so we can feature them.

BM is soon to be in 360 new outlets across the UK. Remember that your subscriptions make a big difference and give stability so do encourage others to join in support of the Blues. This issue, we go from the young flaming haired Andy Poxon to the old stagers who still fill stadiums in Foghat. The intriguing Robert Randolph, the story telling Roy Bookbinder, the former Gary Moore tribute act Mick Simpson now playing his own Blues We have the wonderful and recently touring Hat Fitz & Cara who soon return to Australia, coming back in 2012 to enthral you all. The much talented and tortured Beth Hart returns to form with an album featuring Joe Bonamassa. Beth talks about the trials and tribulations playing Janis Joplin and falling into that very life style, the way back and the damn fine new album which carries some of Joe’s best playing of late. Also, a feature on Steve Salter’s mission to provide unmarked Blues graves with head stones, a very interesting read indeed. Part.2 of the slide guitar feature from Michael Messer plus Gig/Festival reviews..........and the late sad news of the death of David ‘Honeyboy’ Edwards.

A new CD/DVD set out from Chris Rea we aimed to review here (‘Dancing My Blues Away’ from the CD has even been BBC Radio 2 record of the week). Comprising a music disc and 2 DVDs of which one is all about Bullfighting, the other simply called San Spirito. We’ve not viewed it all hoping to bring you Chris discussing this new release to the full but his PR changed and he went on holiday. We wanted to bring you more than a Mojo or Q interview and really get to the Blues of Chris Rea so we wait so Chris can do San Spirito full justice.

In this issue we have the ‘2011 BM Writers Poll’ which many of you have asked for and eventually we have given in to your requests – the results are in.

We’ve re-printed reviews on Robin Trower and Hadden Sayers as somehow the body of each review was transposed under each other’s headings in BM61.

A recent quote we liked by someone at a Blues weekend; “I’m not in a rut, I’m in a groove!”

Alan & ‘Uncle’ Gez............and of course all the BM ‘Team’

BLUES MATTERS is sponsored by Harcourt Colour Print www.harcourtcolourprint.co.uk

128

BB King and Anna Popovic, Black Country Communion, David Sinclair, Derek Trucks and Susan Tedeschi, Gregg Allman, Philip Sayce, Robert Cray, Ian Siegal and the Mississippi Allstars and Warren Hayes. BONAMASSA to JOHNSON

18 INTERVIEWS

Andy Poxon, Austin ‘Walkin’ Cane, Beth Hart, Big Joe Louis, Dago Red, Foghat, Karl Demata, Mick Simpson, Robert Randolph, Hat Fitz & Cara Robinson and Roy Bookbinder.

54 FEATURES

54 Killer Blues 58 Writers Poll

68 History of Blues Slide Guitar

128 Johnson to Bonamassa

82 FESTIVAL FEVER

Abertillery Festival, Blues On The Farm, Hebden Bridge Festival, Ritzville Blues Festival and Worthenbury Festival.

131 COMPETITION

Win Eric Clapton and Chris Barb er CD’s

AL HUGHES, ANA POPOVIC, BETH HART & JOE BONAMASSA, BLACK COUNTRY COMMUNION, BUDDY WHITTINGTON, ERIC SARDINAS and BIG MOTOR, ERROL LINTON, FATS DOMINO, HADDEN SAYERS, THE JEFF HEALEY BAND, JIMMIE VAUGHAN, JOHN MAYS, JOOLS HOLLAND, KARL DEMATA, LAZY LESTER, LEWIS HAMILTON AND THE BOOGIE BROTHERS, LIL JIMMY REED, MIKE ZITO, PADDY MILNER, PHILLIP SAYCE, ROBIN TROWER, RUFF KUTT BLUES BAND, SLIM HARPO, TAB BENIOT, MAGDA PISKORCZYK & SLIDIN’ SLIM, VINTAGE TROUBLE, JAMES ‘YANK’ RACHELL. etc. etc.

Cover feature

Frontman Robert Randolph is part of an American funk soul band playing pedal steel guitar. He was trained as a pedal steel guitarist in the House of God Church and makes prominent use of the instrument in the band’s music. The instrument is referred to in many African-American Pentecostal churches

Foghat

Beth Hart & Joe Bonamassa

MickSimpson

Andy Poxon

RoyBookbinder

Karl Demata

Hat Fitz

Cara Robinson

BLUES MATTERS invited the young and upcoming Oli Brown to tell you about his Top Ten (current) favourite Blues albums and why. So without more ado;

1. Albert Collins - Best Of

I know that it’s not a great thing to talk about a compilation album but this is the first one that even put me on to the Blues. I remember hearing ‘If Trouble Was Money’ for the first time in the garden at home when I was a kid. Albert switched me onto Blues and it was by this album.

2. Jonny Lang - Wander This World

It’s between that and ‘Turn Around’ for me. ‘Lie To Me’ is a great album, but you can hear how much he develops throughout each of his albums. There are some great songs that have been written in Wander This World and his voice is amazing in it. ‘Still Rainin’ being one of my favourite all time tunes.

3. Sean Costello - We Can Get Together

Buy any of his albums and you won’t be disappointed! His final album really is the best one for written song content. Great lyrics and melodies with some amazing guitar tones. I love his sound and voice. But then go back and listen to an older album from him like ‘Cuttin’ In if you really want some old school Blues, close your eyes and listen to his solo in ‘Double Trouble’, such a haunting and amazing solo. Makes my hair stand on the back of my neck every time.

4. Tom Waits - Mule Variations

There is a strong Blues vibe in this album in my opinion. Listen to ‘Get Behind The Mule’, such a great tune with some pretty dark lyrics. Once again I could list more worth listening to, but I have always thought this album had a Blues influence in his approach of writing. I think Tom Waits is a genius, such an innovative musician always pushing the boundaries and never afraid to do something different but always writes inspiring songs.

5. The Thomas Oliver Band - Baby I’ll Play

This is a New Zealand band I met last year who played such an incredible live show. They had a real modern take on Blues and were doing something really special with it. They are a fantastic live band. This album was a recent release and it’s always on play on my iPod. The sound they got from this album is something else! Amazing song content, playing and singing by the whole band. Some great musicians simply making an amazing album.

6. Anders Osborne - Ash Wednesday Blues

Anders Osborne is a great artist. I love the grooves on this album. I actually used to cover one of the songs on here for a little while ‘Snake Bit’. Such a powerful song throughout. I used to cover it and I aim to play it again in the set, I’m just arranging it differently so I’m not just covering the song note for note. He’s got some great guitar tones on this album too.

7. The Black Keys - Brothers

Such a good band with a completely unique twist on the Blues sound really pushing the boundaries of it. They inspire me a lot in my writing and a sound I look for, they just have something incredible in their sound that no one else is doing. Great song content, lyrics, sounds and grooves. They made a few music videos for the tracks on this album that are worth checking out, really quite funny. ‘Howling For You’ is a very unique take for a music video.

8. Robert Cray - Shame & A Sin

‘Up And Down’. Just a breath taking song which really makes this album for me. There are plenty of great tunes on this, but that song is just amazing. I never get tired of listening to it.

9. Marc Broussard - Carencro

Now granted this is a lot more of a lighter side and probably a bit far off the Blues style. But his opening song really goes to Blues roots in a modern way. ‘Home’ is a quality song and Marc’s voice is incredible in this. A white Donny Hathaway. It’s quite something when you play them both after each other.

10. Blinddog Smokin’ - Up From The Tracks

This is a re-recording of some of their older, stronger songs mixed in with some new tunes and with some great artists. The amount of people involved are too many to list. Watch the DVD before hearing the album, see the story and inspiration behind every song and for why this album is recorded. Lyrically each song has some amazing story to it that I get lost listening to. This was released just this year. This is the band that really told me to do what I do now. I had never any intention to sing and lead my own band but they kept pushing me to and taught me so much more. You can find out more about Oli at: www.olibrownband.co.uk

photo by Christine Moore

TOP TEN BRITISH BLUESMEN OF ALL TIME

ANOTHER LEVEL ALTOGETHER GUITARIST & ALBUM OF THE YEAR

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Nugene Records

NUG1102

uK tOuR: OCt/NOv ‘11

OCTOBER

NOVEMBER

Sat 22 LONDON CaDOgaN HaLL as part of the Blues for Heroes fundraiser

Wed 02 MiLtON KeyNes tHe stabLes Thu 03 sHeffieLD O2 aCaDeMy

Fri 04 fLeetwOOD fLeetwOODstOCK festivaL Sat 05 NewCastLe RiveRsiDe

Thu 10 gLOuCesteR guiLDHaLL Fri 11 bRigHtON CONCORDe 2

Sat 12 seveNOaKs stag aRts CeNtRe Sun 13 LiCHfieLD guiLDHaLL

Mon 14 exeteR tiMepieCe Tue 22 LONDON DiNgwaLLs

Wed 23 COLCHesteR aRts CeNtRe Thu 24 OxfORD O2 aCaDeMy

Fri 25 seLby tOwN HaLL Sat 26 CLitHeROe tHe gRaND

Management & bookings: Nugene Music / richard@nugene.co.uk

Guitar & Bass

Mojo

What you want to vent!

Well Hello at Blues Matters!,

I’ve not long found your excellent ‘little’ magazine after returning from a time in South Africa. Somewhat sadly I have had to return home but I always find solace in my music which means the Blues! I was reading used copies of Blues Revue for a while until my colleague who was sent them also had to return home (in his case to the US of A). I was at a gig in Leicester and heard a few people talking Blues between songs and heard this ‘Blues Matters!’ coming up a few times and saw them handing round this tiny book so with pint in hand I sidled over and waited until I could get a word in and asked “what is this blues matters you are talking about?” Jeff showed me the book they had, Stuart said “this is the one you want! Greg Allman on the cover and Norman Beaker and John O’Leary (I haven’t heard those names in years!) It was a joy and I got my sister to do the ‘web thing’ for me and have signed up and wanted to just say a big thank you for all you do.

Paul Slade, Hinkley.

BM says: So welcome home Paul and thank you so much for supporting us. We trust you will continue to enjoy the read.

Dear Blues Matters!

The magazine just gets better and better and I’m really proud to be part of the membership. Would love an in depth interview with my favourite guitarist Robin Trower and his band. Cheers guys

John White, The Wirral.

BM says: John thank you so much, Robin will be on tour later this year so we hope he is coming near you. The new album is terrific and may be one of his best.

Dear Blues Matters!

Please keep up the sterling work, love every issue so far

B.M. Wells, Uckfield, East Sussex

BM says: thank you very much B.M. we blush with pride!

BM,

Any chance of a gig list of venues that regularly hold Blues gigs ranging from fairly small pubs to larger venues? This may help to spread the word of the Blues and help upcoming bands in their area. Also publicity for said venues.

PS. Please send me some fliers to help Blues Matters. My town is very musical + blues loving town!! Cheers

Dave West, Milton Keynes

BM says: Dave, thank you for your support. Fliers sent to you as requested. Anyone else happy to do the same please let us know and we will send you a few or as many as you can handle.

On the gig list – we tried this some years ago with a special supplement but it did not work or pay for itself over a period so was dropped after over a year. To put a gig list in the

magazine we would lose valuable text space and gigs are time-bound. So where many readers holds on to their copies of BM for reference to features, interviews, reviews etc the gig space would be ‘dead’ space once those dates had passed which could have held more material of longer interest. Also we offered readers the opportunity a short while ago to send us information up to 400 words on their local venues also local artists who served the Blues but remained ‘local’ but deserved for a wider outlet through our pages to raise awareness. These could have been new, young acts for the Blue Blood features or good old time served Bluesers… There was no uptake on this although the Blues Blood does feature pretty regularly.

Dear BM

I would love to see a complete overview of Paul Butterfields’ career e.g. CDs, DVDs, film scores, TV appearances, books (what happened to the book Tom Ellis III was meant to be writing as per the notes of Butterfield Blues Band Live? Also an article on Cyril Davies career.

Christopher King, Chelmsford, Essex

BM says: Christopher, wow, a big job on Butterfield there, we’ll see what we can do but easier on Cyril maybe. Have you been to one of the ‘Tribute’ nights in London last held 23rd March and reviewed in BM60, excellent night run by John O’Leary (ex-Savoy Brown) and Alan Glen (The Barcodes)

Dear BM,

Had your mag not been around I for one would not be playing Blues, not going to Blues Fests, not booking Blues bands and artists featured in your mag. What more can I say!!! Please keep going with your brilliant mag Chris Bougthon & the team at Legends Blues Club, Tamworth, Staffs.

BM says: Thank you for your kind words Chris and team. We appreciate your support and will continue to bring the very best interviews, features and more.

Festival Saturation Point

Like many other readers, I’m a regular at many of the major blues festivals (and some smaller ones too) which take place during the year. With numbers dwindling at a number of them this year it is concerning that it appears we have now reached saturation point with the number of (blues) festivals operating in the UK.

In summer there’s barely a week without a blues festival somewhere, many having cropped up for the first time in 2011. While I am supportive of different areas in the UK having their own blues festivals, it does appear that there are simply too many for the number of blues fans in the UK.

In particular the trend for festivals being set up by organisers outside the local area threatens to have a detrimental effect on the established and genuinely regional festivals. While the Carlisle blues festival announced a superb programme for November back in April (before most of the summer festivals announced), it is concerning that in the last month or so, another blues festival has been announced in Torquay to go with yet another which cropped up earlier in Stoke on Trent, both to be held in the very same week and all three with the

same format. To make matters worse Tenby is also held that week. It’s madness and obvious something will have to give, which probably means we’ll all lose out in the end! While Carlisle is a successful model and has run on the same November week for the last 4 years it does appear rather stupid that other festivals with, to be fair, less inspiring line-ups have been set up to run in the same week. In the current climate it is hard enough for our best blues festivals to retain a good attendance and continue on a sustainable footing without poorly considered and ill timed rival events splitting the audience and thereby threatening the future of them all.

I, for one will once again be travelling to the Carlisle festival which for the last 5 years has consistently had the best line-up in the country (in my view). It just about guarantees some of the best British bands, some inspired imports and a surprise package or two.

In fact I can’t wait but I only hope I won’t be looking forward to it for the last time.

Annabel Cook, Doncaster

BM says: Annabel we couldnt possibly make comment on this, lets see what the readers say about it as the debate maybe needs to be started.

As you say more and more are cropping up, unfortunately more are failing too because of lack of audiences and advanced ticket sales. The Yorkshire festival comes to mind and If blues enthusiasts dont buy tickets earlier for festivals it will mean more and more folding before they even get started.

Replies would be appreciated lets hear from lots of festival vetrans.

BM Website News by our Webmaster

If you visit www.bluesmatters.com you will find a few changes.

We have recently revamped our website and created a more contemporary design which is also easier to navigate. We have listened to your feed back to help us revamp it and we are also open to suggestions about content you might like in future.

We will also be introducing a lot of new features. These already include podcast audio interviews, and soon some video interviews as well expanding on some of the magazine articles. For example you can see Wilco Johnson talking very animatedly (and looking these days a lot like Alf Garnet J) about his forthcoming autumn tour. Also the team from the New Crawdaddy club telling us all about running a blues venue. You can listen to the Blues Matters radio show presented by Clive Rawlings, by just clicking on the radio icon at the top of any page. Since the start of 2011 the BM website has had just over 1 million page views and we are adding new content all the time. As you can imagine we are rather pleased about that as it is really helping to bring BM and the blues to people’s attention.

Features we are considering include a photo gallery and we will be re-introducing the gig guide shortly in hopefully a very easy to use format. This will be part of the main website and you will be able to post your own event details. There is a mailing list you can join to help you keep up to date about what’s happening. If you’re not already a magazine subscriber it’s very easy with a couple of clicks to subscribe at the website for the print version or if you are one of these new fangled folks then you can subscribe to the digital download edition.

There is now a BM forum www.bluesmatters.com/forum where you can discuss anything blues related and also post gigs and venue and blues news simply by registering. We note that one or two Blues promoters are doing just that already. If you are signing up for the forum don’t forget to use a fairly sensible name as need to make sure that it doesn’t get filled up with Viagra ads,(though some readers might find that useful J). Don’t forget we are on facebook.com too. Diana Stone

diana@bluesmatters.com

The Jive Aces - Bring Me Sunshine Film Festival Frenzy| After winning a prestigious Silver Telly Award, our “Bring Me Sunshine” video is now appearing in several film festivals around the USA including the New York Independent Film Festival, the Port Townsend Film Festival and most appropriately the Feel Good Film Festival in Hollywood, California! The band have received great feedback from these screenings and are looking forward to more! If you are in need of a shot of sunshine then go to their web site www.jiveaces.com/sunshine. To download the song follow the links to iTunes there too.

The Killer Blues Headstone Project (KBHP) is pleased to announce the placement of two more headstones; J. T. Brown and Little Johnny Jones. This makes a total of 7 purchased by KBHP for blues artists lying in unmarked graves. This recent purchase was made possible by funds raised at the 5th Annual White Lake Blues Festival in May of 2011 at the Playhouse in Whitehall, MI featuring The Vincent Hayes Project and Keith Scott. Funds were also raised through the sale of the 4th annual Buried in the Blues Calendar. Steve Salter, President of KBHP is already working on the next headstone. “I’ve got a long list of artists who need headstones”, said Salter. For more information on the Project visit www.killerblues.net.

World renowned Australian acoustic guitarist Tommy Emmanuel will embark on a 10-date nationwide UK tour throughout December 2011.

Tickets are available now from the 24 hour box office: 0871 230 1101, www.seetickets.com and www.tommyemmanuel. com. The December UK tour dates include Hull City Hall (Dec 1), Harrogate International Centre (Dec 2), Buxton Opera House (Dec 3), Liverpool Royal Philharmonic (Dec 4), Birmingham Town Hall (Dec 5), Brighton Hove Centre (Dec 6), Cambridge Corn Exchange (Dec 7), Cardiff St David’s Hall (Dec 13), London Union Chapel (Dec 15), Salisbury City Hall (Dec 16). Best known for his complex finger-picking style, Emmanuel’s energetic concerts allow him to perform over 300 shows a year, with fans the world over coming to watch the magic hands of the “guitar wizard of Oz”. Throughout his career Tommy has played with many notable artists including Chet Atkins, Eric Clapton, Sir George Martin, John Denver, Les Paul and Doc Watson.

Otis Redding back in US singles chart after 41 years

Otis Redding has a top 50 Single and a top 15 R&B single for the first time since 1969 with a little help from Jay-Z and Kanye West. Otis, billed as Jay-Z and Kanye West Featuring Otis Redding, is on the R&B Singles for the first time since September 13, 1969 when his Free Me was at number 30. The number 15 position is the highest he’s been on the chart since early 1969 when Papa’s Got a Brand New Bag made it to number 10. The break of 41 years and 10 months is the longest in R&B history, beating Cab Calloway who held the old record at 30 years. On the Hot 100, it has been 42 years and 1 month since his last appearance. Here, he doesn’t break a record as the Chipmunks had a span of 46 years between 1962 (Rudolph the Red Nosed Reindeer) and 2007 (The Christmas Song (Don’t Be Late) (2007 Version).

Hugh Laurie Could Forgo Acting for a Musical Career

Fans of Hugh Laurie may lose the actor to his other passion: music. Laurie’s musical prowess – he plays piano, guitar, saxophone and also sings – has been featured in much of his television work including Fox’s House. But his love of New Orleans Jazz and Blues is front and center in an instalment of PBS’ musical series Great Performances, which documents the making of Laurie’s first album Let Them Talk (Warner Bros.) which features Allen Toussaint, Irma Thomas and Tom Jones.

“This whole project and whole experience has really been closer to who I am than many things I’ve done,” Laurie told reporters during at the Television Critics Association press tour. The British actor has been nurturing a love affair from afar with the music of New Orleans since he was a boy and he first heard Willie Dixon and Muddy Waters on the radio.

TCA Summer 2011 Coverage on THR

“New Orleans is a unique city in many ways,” he said. “It is musically unique – there are so many different influences Spanish, French, English, Caribbean. It has its own feel. It looks like nowhere else I’ve ever been. Ever since I was a small boy the sounds of that city have just thrilled me like nowhere else.” Warners approached Laurie to make a record, he said,

and he was rather close to declining the offer. But he realized, “this is not going to come my way again,” he said. “This was a diem I had to carpe.” The PBS special, Hugh Laurie: Let Them Talk – A Celebration of New Orleans Blues, premieres Sept. 30. Of course, Laurie is self aware enough to be utterly intimidated to play with legends the likes of Toussaint, Thomas and Jones in a town where music is a religion.

“There I was sharing a room with my heroes. Tom Jones for half a century has been one of the most famous singers in the world,” said Laurie. “And who the hell do I think I am sharing a room with him, sharing a studio with him? But they were... incredibly generous. I’m sure there were times where they were behind my back rolling their eyes. But if they did, they did not show it. They could not have been more generous.” Performing live in New Orleans’ French Quarter for the PBS special, he said, “was without a doubt the most frightening thing I’ve ever done. I recently did a tour in Europe. It was only eight shows. But that was a very very daunting, but wonderful experience. But then surviving something daunting can be wonderful. Being attacked by a lion can wonderful. Surviving is important, of course.”

Berkshire based band Case Hardin, fronted by singer-songwriter Pete Gow are set to release their second fulllength studio album on Clubhouse Records, The new home for Americana in the UK. Every Dirty Mirror, released on September 26th follows on from their much acclaimed 2007 album, Some Tunes For Charlie Spencer which Maverick Magazine decreed “pumps with the headaches of broken hearts and empty bottles”. Formed in 1999, Case Hardin have seen a revolving door of contributors used essentially as the outlet for Gow’s tales of sorrow, heartache, and flirtations with life’s dark side. For Every Dirty Mirror Gow has settled on a firm and focused line-up who are drilled and driven for the project. Joined by relative newcomers Jim Maving and Tim Emery, and marking the return of original Case Hardin drummer and founding member Andy Bastow alongside regular contributor Adam Kotz, it’s clear that here we have a bunch of musicians comfortable in each other’s skins both on record and in the live arena. Written and recorded in the summer of 2010, Every Dirty Mirror, like its predecessor, was conceived and sequenced as two old sides of vinyl, the first of which and fuller sounding assault whilst the second hints at a more contemplative side of the band. From the opening ‘You Never Seem Game For Very Long’, echoing Waits in style and grit, we move quickly into the glorious country-driven guitar rock of ‘A Lullaby (of sorts)’, all chiming chords and harmonious melody with Jim Maving’s electric guitars conjuring up all the finesse and finery of prime time Burritos swagger and killer riffs. The quirky, sing-along ease of ‘Where Angels Fear To Tread’ plays the perfect foil to the equally infectious and immediate roots pop finery of ‘First To Know’. Here is a band that knows how to write (and deliver!) great songs that are both immediate yet absorbing. As we move into the ‘second side’ of the album Gow allows his melancholic side a free reign. The epic ‘Champeen’ – the battle cry of an aging yet unflinching prize fighter – is as good a country ballad as you are ever likely to hear whilst ‘First Steps Out Of The City’ echoes Dylans’ ‘Desire’ period in both scope and atmosphere and marks out as one of our finest storytelling songwriters. www.casehardin.com www.clubhouserecords.co.

HAPPENIN’

Etta James Death Hoax

Legal team is investigating a fake article claiming the death of blues and R&B singer Etta James. Rumours flew over the Internet and Twitter that the 73-year-old singer had died, originating from an article posted on the hoax site Wednesday evening. The imitation looks almost exactly like the actual TMZ site, bearing the same logo, format and phone number for news tips. “We are aware someone has faked a TMZ site and our legal department is all over it,” said Casey Carver, spokesperson for TMZ. James’ son confirmed Thursday morning that his mother was not dead.

“She’s fine. I just saw her last night and she was fine,” James remains seriously ill and is being cared for at her suburban Riverside home. She has been diagnosed with dementia and is undergoing treatment for leukaemia, and has spent time in and out of the hospital over the past two years.

Petit Records with big guns in Nashville

UK-based American guitarist Stephen Dale Petit heads to Nashville, Tennessee to record a third album with Grammy Award-winning Producer alongside Jack White, The Raconteurs & The Dead Weather The US is temporarily to re-import one of its more successful exports. Top Blues guitarist and, according to MOJO Magazine ‘Guitar Hero 2011’, Stephen Dale Petit is heading to Blackbird Studios, Nashville to record his new album with producer Vance Powell at the production helm. Powell crashed into the ‘Producers Major League’ for his recent work with Kings of Leon, Willie Nelson, Alicia Keyes, The Dead Weather, Buddy Guy, Jars Of Clay, Keith Richards and Merle Haggard as well as scooping Grammy Awards for Keb’ Mo’s 2004 album Keep It Simple and The Raconteurs’ Consoler Of The Lonely.

Work starts on SDP’s as yet untitled third Universal Music distributed album in mid-August for an autumn release. His new band features young guns Sam Odiwe (Bass), Jon Moody (Keyboards) and Chris Williams (Drums) and boasts an average age of just 22 which is “indicative of the Blues’ massive and youthful current musical influence and is the tightest collection of musicians I have ever worked with” enthuses Petit. And so highly anticipated is Stephen’s arrival at Martina McBride’s world famous Blackbird Studios in Nashville that local music celebrities (and there are many, believe us) are lining up to appear on the album. It’s been a huge year for the Californian Gibson-worshipping anglophile (he’s collecting an ‘SDP’ Signature Model SG while in Nashville) – kicking off with massive critical plaudits for his second album The Crave; his widely publicised and almost single-handed efforts (with a little help from his friends from The Beatles, Stones and others) to save Central London’s famous and iconic music venue The 100 Club and culminating in the realisation of his long held and loudly voiced beliefs that the Blues would return to days of former glory and influence as recently officially confirmed by The Sunday Times Culture which declared: “It seems the most cutting edge music in 2011 is Blues” Petit returns to London in time for his 100 Club residency on Saturday 8th October 2011 – a not-to-be-missed London hot rock ticket.

New solo album from Leslie West.

The legendary guitarist / vocalist, and founder of the band Mountain. Entitled ‘Unusual Suspects’ the album, released on September 19th by Provougue Records, features West alongside some of the finest guitar players alive today, including Slash, Joe Bonamassa, Zakk Wylde, Billy Gibbon and Steve Lukather. The album release follows the shocking news that, on June 17th West underwent life-saving surgery, which saw one of his legs amputated above the knee. Undeterred by the set-back, Leslie was determined to adapt to life with one leg and insisted on sticking to the September release date of “Unusual Suspects”, further still, he is so committed to the recovery, he has confirmed that he will still tour the US in October as originally planned.

The International Songwriting Competition (ISC) is now accepting entries for the 2011 competition.

Now is your chance to enter what the NY Times calls “The competition to take note of” with $150,000 (US) in cash and prizes and the most prestigious judging panel of any songwriting competition worldwide. ISC, now in its tenth year, is an annual competition whose mission is to provide the opportunity for both aspiring and established songwriters to have their songs heard in a professional, international arena. ISC is designed to nurture the musical talent of songwriters on all levels and promote excellence in the art of songwriting, and to provide the opportunity to have these talents heard by the most influential decision-makers in the music industry.

Artist Judges: Tom Waits; Jeff Beck; My Morning Jacket; Kelly Clarkson; Tori Amos; Massive Attack; Darryl McDaniels (Run DMC); Robert Smith (The Cure); Keane; James Cotton; Wynonna; Craig Morgan; McCoy Tyner; Michael W. Smith; Black Francis (The Pixies); Chayanne; John Mayall; Mose Allison; Toots Hibbert (Toots & The

Leslie West

Etta James

Maytals); Robert Earl Keen; Jeremy Camp; Billy Currington; Trombone Shorty; and more… Industry Judges; Monte Lipman (President, Universal Republic Records); Ric Arboit (President, Nettwerk Music Group); Allison Jones (VP A&R, Big Machine Records); Dan Storper (President, Putamayo World Music); Angel Carrasco (Sr. VP A&R, Latin America Sony Music and President, Discos 605); Kim Buie (VP A&R, Lost Highway); Bruce Iglauer (Founder/ President, Alligator Records); and more… Enter your songs before September 21st at our website –http://www.songwritingcompetition.com

The big music labels may be experiencing the first upturn in sales since 2004, but they still singing the same old song when it comes to layoffs.

Both Universal and Sony Music, the No. 1 and No. 2 music companies, respectively, are expected to cut more jobs as they reshuffle their ranks following management changes at the top. Behind the widespread restructuring is an effort to cut costs, move employees off the books and contract with outside A&R executives. Universal’s owner, Vivendi, is set to release second-quarter earnings on Aug. 31 and is expected to detail further cost-cutting moves. According to Vivendi’s 2010 annual report, Universal has reduced headcount to 6,967, down 753 over a two-year period.

By comparison, Warner Music Group, the No. 4 music company, employs half that number, with roughly 3,700 employees. Warner has already said it will shed employees again if its bid for EMI is successful. The company spent $10 million on severance charges in its latest quarter, $5 million alone from the corporate entity. “We’re at a constant farewell party,” said one insider. While the labels continue to slash costs, overall music sales for the first half rose 8.5 percent to 821 million units compared to the year-earlier period. That figure includes albums, singles music videos and digital tracks.

Matt Schofield back in the UK

Coming off a 50-show tour of the USA & Canada, Matt Schofield is back in the UK this autumn for a 15-date tour. 2011 has seen the release of his highly-praised Anything But Time album, festival appearances as far afield as India and Quebec, and the aforementioned tour, which included two consecutive nights headlining the T-Bone Walker Festival in T-Bone’s home town of Linden TX. Previous headliners include Jimmy Vaughan and Johnny Winter. While here Schofield, who these days spends most of his off-road time in Toronto, will also cross the channel to record a TV special and do shows in Holland and Belgium. Back in the summer he played the main stage of the North Sea Jazz festival in Rotterdam ahead of Paul Simon and BB King to a great audience reaction. He rounds off the year with two shows in Istanbul. For 2010/11 Schofield has been touring as a trio with long time collaborator and fellow Brit, Jonny Henderson, and Californian Kevin Hayes, who for 18 years was drummer with Robert Cray before joining Schofield. This line up recorded the latest album in New Orleans with legendary producer John Porter (Buddy Guy, Santana, BB King, Keb Mo’ etc).

PRESS RELEASE

October 22, Cadogan Hall, Sloane Square, London: Paul Jones, Matt Schofield, Ian Siegal, and special guests play Blues For Heroes Blues for Heroes at the Cadogan Hall on October 22 is special event to say thank you to the Armed Forces’ personnel who have been injured in the course of their service. Three of Britain’s greatest Blues artists will join together for this intimate evening and at least one special guest will be announced nearer the time. All proceeds will go to The Help For Heroes charity.

Opening the show, Ian Siegal is described by Mojo magazine as the cleverest writer and most magnetic performer of blues in the UK. Matt Schofield comes to the Cadogan off a 50-date tour of the USA. Since rising to prominence he is being talked of as the most exciting British blues guitarist since the iconic names of the sixties. Closing the night, Paul Jones and the Blues band need little introduction. 30 years and 19 album releases says it all.

http://www.cadoganhall.com/showpage.php?pid=1569

Organiser: Colonel Mark Lavender – contact c/o Nugene Music 07973 217140

HAT FITZ & CARA ROBINSON

by Kevin Wharton

Beauty and the Beast talk with Christine Moore

Back in the day of real folk and fairies in the village of Leish there be a fair young maiden Ruby Mulholland, and a poor stone mason Fitzpatrick. In the days of invasion in Ireland Fitzpatrick was shipped out to sea and branded a convict to the far off baron land of Australia for disagreeing in the new laws forced upon him and his country. He left behind his true love, where 200 years later the ancestors of this time have found each other under unforeseen circumstances, fallen in love & brought to life this fairytail love of the Fitzmulholland Legend.

BM: If you don’t mind me saying you are an unusual couple, how did you get together there must be a good story in there?

CR: Love at first site, we met in county mayo at a blues festival, had one dance then Fitzy got the plane home to aus the next day and we remained in contact everyday by the telephone only for 9 months till we could afford a flight over, the rest is history. The scary part is that we could be related both parents being from leish originally, read the cd in leaf of Beauty N The Beast!

Which artists influenced you both when you decided to take up music?

For Fitzy it was Colin Fitzpatrick and for me was my Dad’s collection of old vinyl, we both have now found a shared love for Jessie Mae Hemphill.

What would you say your style is, in comparison with other artists, how would you describe your music?

Our music is raw and with energy and is inspired from the folk blues world of the 1930’s with our own twist too.

You tour I know most of the year what is your schedule like do you play mainly in Europe as I haven’t caught your act in the North of the UK?

We are touring 8 months all over Australian summer time to tour 4 months throughout Europe over the last two years together, mostly we have been playing the South of England with roots around the world. But already we are covering parts of the North and Europe and Ireland also.

Blues on the Farm is where I first saw you this year, do you enjoy playing festivals or small gigs?

Loved the festival was a great layout and great warm vibe, enjoying both actually it’s the crowds that make it !

Hat and Cara @ Paris P’tit Garage

HAT FITZ & CARA ROBINSON

HAT FITZ & CARA ROBINSON

Have you played in other bands before you got together as a duo, and which ones were they?

Fitzys passed bands were Hat Fitz And The Blues Bitz, Hat Fitz And The Jug Slouchers, Hat Fitz And Itchy and now Hat Fitz N Cara.

Cara Robinson passed bands, Rhianna Kenny, Corinne Bailey Rae Girls On Top, Cara And The Robinsons. Cara you play percussion and have an amazing voice, do you play any other instruments?

Thank you, I play flute and whistle and write a few on guitar but would never play live really on guitar

Same question for Hat, you play guitar and a great voice also, do you play another instrument or have you ever had any desire to play another instrument?

HF: Thanks, just banjo.

As you are both from different countries, Ireland and Australia where are you based? Mostly Australia

Have either of you had any formal musical training, and how long did you stick at it? I was classically trained on flute. Fitzy is self taught and me also on voice.

From seeing meeting and speaking to you I am know you both have very strong wills so I am interested in knowing who has the last say on the songs that go on your album? 50/50

Your album Beauty N The Beast is a great title and a very good CD, along with your own compositions you do some very good covers of Jesse Mae Hemphill, Jon Este’s, Fred McDowell, Blind Willie McTell and Blind Willie Johnston. Do you have a favourite old Blues artist and why? Fitzy, O like them all

Cara, also like them all, although I have a weak spot for Jessie Mae hill and Freddie McDowell.

What do you see as the future for Hat Fitz and Cara Robinson, do you enjoy playing as a duo or would you prefer to play as solo artist or in a band format?

Just the two of us.

When are you next in the UK I am sure our readers will want to catch you somewhere in the near future after reading this article?

We will be back next year, and you can subscribe to newsletter to keep in touch at

Beth Hart has experienced both the extreme highs of success and lowest depths of despair in a music career which began in her childhood and saw her emerge as one of the finest female vocalists of the modern age. Behind her early exposure on televised talent shows and early chart success, were addictions to alcohol, heroin, and later prescription drugs, which saw her lose her record contract with Atlantic Records and jailed for writing false medical prescriptions. For a time, it appeared her life would parallel that of one of her greatest influences Janis Joplin, whom she performed in a theatrical version of her life. Happily though, through her own personal strength, Hart has managed to escape her demons, which also included struggles against bi-polar disorder and the tragic death of her sister from aids, and has successfully resurrected her career. Her superb live performances have given her a strong fan base in her native US and in parts of Europe and while few have seen her as yet in the UK. However this is something Hart intends to rectify soon. Until then her live CD/DVD ‘Live At The Paradiso’ is highly recommended as an introduction to her impressive musical repertoire to date. Her profile looks certain to grow in the coming months with the release of ‘Don’t Explain’, a collection of Soul covers recorded as a collaboration between her and Blues Rock guitarist Joe Bonamassa. From initial conception together they drew up a list of over 40 possible songs, which they narrowed down to record a superb collection 10 of these by artists such as Gill Scott-Heron, Etta James, Aretha Franklin and Ray Charles. The album promises clear crossover success; indeed at the time of writing it was announced that BBC Radio 2 has just chosen the first single from that album, ‘I’ll Take Care Of You’ as their record of the week. Blues Matters are delighted that Beth took time out from her tour of Poland to discuss her life experiences with Duncan Beattie, and also talk in detail about the recording of ‘Don’t Explain’ with Joe.

BM:- I’ve read that you were fascinated with music from a very young age. How did your love of music develop from your childhood onwards?

BH:- First it was classical artists like Beethoven and then later I discovered Billie Holiday and this took me in a new direction. I started playing piano at a very young age. Basically I found music made me really happy and that’s the main reason I love it so much.

When did you first start singing and who were your early influences?

I started singing at 4 or 5 years old. A lot of the tracks we recorded on ’Don’t Explain’ were originally recorded by the main influences for me. Artists like Etta James, Otis Redding, Aretha Franklin and many more of the old Soul/Jazz singers.

You had a difficult upbringing; your website bio states that your father was imprisoned for drug dealing when you were five. Then at the age of eleven you started taking alcohol and drugs. How did you get exposed to that environment and when did you break out of it?

Actually my dad wasn’t in jail for drugs, he was in for fraud. My surroundings were wild and I was even wilder. It’s been a rollercoaster and I’ve had my ups and down, but now I’m in good spirit and feel better than ever. I’m so excited with the upcoming album I did with Joe, life can’t be better.

You attended the Los Angeles High School for the Performing Arts and during this time participated in talent contests like Star Search where you won 13 episodes in a row and the final competition. How did these experiences help develop you as a performer?

It gave me more self esteem when it came to my talent and showed me even more that I knew how wonderful it was to perform for people. And till this day I still love performing.

Your big break seemed to come when David Wolff became your manager after you were heard singing on 3rd Street Promenade in Santa Monica and you signed for Atlantic Records to release ‘Immortal’. Can you tell me a little about that exciting time?

It was… dreams were really coming true. I felt on top of the world at the time, but little did I know how things would change.

From The Hart

In 1999 you had a hit with your song ‘L.A. Song (Out of This Town)’ from your second album ‘Screaming for My Supper’ which is a great example of your strong song writing. Have you found song writing been a source of release for you from the issues in your personal life?

Yes always. Song writing is a wonderful way not only to heal but also to cry for help. Also it’s a great way to give thanks to God, to life and to family. For me writing is love.

You then took the role in a theatrical version of the life of Janis Joplin entitled ‘Love Janis’. This must have been a huge, yet challenging honour, and I believe the role took a heavy toll on you.

Everything you just said is perfect and I’d like to add that she carved the way for strong women (performers) to come.

Things then came to a head after your appearance on the ‘Tonight Show’ with Jay Leno when your record company ended your contract and it was following this you started to get treatment and rehab. This must have been a very challenging episode in your life, which must have taken considerable personal strength to overcome.

Yes and still takes effort every day. I thank God that Atlantic pulled away. It was part of what saved my life. It really made me feel I had to step up and change my ways.

The last few years has seen artists such as Sean Costello, a fellow bi-polar sufferer and Amy Winehouse lose their lives to substance abuse. This must be a painful reminder to you as to what might have happened?

They are terrible reminders. Bi-polar is a horrific and unfair disease. Mental illness is devastating.

Back to music, your live album and DVD ‘Live At The Paradiso’ are superb releases. Would you agree these captured well your exciting stage act?

Yes I’m so proud of this DVD. That’s because it captured all the feeling of what it means to me to perform. The Paradiso, and Amsterdam in fact, are those places that are really special. I really love that town and the Paradiso feels like a home from home. It really is unique.

Yes, you’ve got a very large fan base in the Netherlands and elsewhere in continental Europe, such as Denmark. Do you find the audiences there are more appreciative of your style than elsewhere?

Well I would say it’s basically where I tend to play the most, but when I venture somewhere else, they’re great as well.

You have had a settled band for a number of years Jon Nichols, bassist Tom Lilly, and drummer Todd Wolf; with whom you recorded your album, ‘37 Days’ live in the studio with guitarist. What do they add to your music? They all have an individual voice that never demands but always embraces their truth. Each demonstrates courage in their styles and phrasing. I love them.

Your most recent studio album ‘My California’ which was released in 2010 has perhaps a greater emphasis on reflective song writing such as the moving ‘Sister Heroine’. Did you take a different creative approach and what do you like most about the album?

I did take a different approach, particularly within the time frame of events that I used as a muse. I limited the music to be cohesive in the simple melodies layered and with complex stories, what I like most is its humility.

I have had the pleasure of hearing your collaborative album with Joe Bonamassa ‘Don’t Explain’. How did you get together with Joe to record the album, and are you happy with the results?

I’m so f*****g, f*****g, f*****g thrilled! Thank God for Joe, the producer, Kevin Shirley and the rest of the Great Musicians involved. He (Joe) simply called and I simply said YES!

We had meet beforehand, on the road; playing similar festivals. Joe came down to one of my first shows in the UK as he was doing promo work in London. We really enjoy each other’s company and each other’s music.

The chemistry between you and Joe is amazing. Is the album a complete one off or do you think in the future you may record or indeed tour with Joe in the future?

I think there’s definitely another one to come, there’d better be or I’m gonna jump off a roof!

You’ve worked with a succession of stars in the past including Slash, Born, Les Paul, Jeff Beck and Neal Schon, how did working with Joe Bonamassa compare to those experiences? He is most like Jeff Beck to me in his seemingly effortless way to play puzzles upside down drenched in life’s abating joy and pain. He’s a Genius!

All Photos by Mike Prior

Beth Hart & Joe Bonamassa

The album is a departure from your solo albums in that it is exclusively covers of artists including Etta James, Nina Simone and Aretha Franklin. This must have presented a different challenge to which you have risen superbly. Was it daunting tackling these songs?

Yes it was. I see it as a crazy duel of challenge and decadence: a fantastic supper.

Also with the level of players in studio, including Joe, I really had to rise to the occasion and bring my best to the table. So I’ve studied these tracks like hell and was singing in the car on the way to the studio all the time. That kind of focus was humbling, and it was great. We had such a good time making the record. I felt so much growth just by virtue of listening to these amazing singers. I hope some of those chops rubbed off.

What other music artists are you enjoying at the moment?

Many, as of right now they include the following: Ella Fitzgerald, Fiona Apple, Amy Winehouse and Frank Sinatra.

I see you have a forthcoming show in London at Dingwalls. Do you have any other UK shows planned?

I’m sorry, I’m unaware. - like usual. My husband just told me we probably have 3. One is Dingwalls in London, that’s on the 29th November.

What are your plans for the future?

To love, to fall, to climb back up and love again.

And from guitar man Joe Bonamassa himself:

*Surprisingly the idea for a collaborative album with Beth Hart came to Joe Bonamassa when he was listening to the Rolling Stones.

“I was out in Greece last summer making the ‘Dust Bowl’ album and couldn’t sleep. I started randomly playing songs from my iPod. I’d just got the reissue of ‘Get Your Ya-Ya’s Out’ which also included Ike & Tina Turner, and BB King. I’d just done a show with Beth in Switzerland and when Ike and Tina came on, I said out loud ‘Beth Hart’. I wrote an email to Kevin saying “Let’s do a soul covers record with Beth”. She’s a fantastic singer and a wonderful person”. Producer Kevin Shirley thought it was a great idea and was delighted with the results of the recordings for ‘Don’t Explain’. He reflected on working with Beth for the first time by saying “Beth’s got a pretty heady voice, very reminiscent of Janis Joplin. She’s also got a lot of Etta James in her too, but had never accessed it. On this material, there’s a gentle quality in the way she delivers the most heartfelt tunes. She’s done a fantastic job.”

THE LEFT BANKE

Goin’ Bach: the exclusive inside story of New York’s baroque pop legends

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A Scene In Between: The Rain Parade, Long Ryders, Three O’Clock, Dream Syndicate, Bangles and more

THE BEAU BRUMMELS

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ROY HARPER

The folk troublemaker’s early years

LOS DUG DUG’S

Psychedelic madness from Mexico

Plus: DON JOHNSON • ANNETTE PEACOCK • LANDSLIDE • WILDERNESS ROAD • GEORGIE RIZZO and so much more!

SHINDIG! QUARTERLY NO.3 from www.shindig-magazine.com + record stores, newsagents, bookshops, Amazon

Interview with Tony Holmes

A beautiful summers day in Cambridgeshire, blue skies and balmy temperatures I got a chance to sit down with Austin “Walkin Cane”, (http://www.walkincane.com) from Cleveland, Ohio USA, he’d come to the UK for a few days of gigs in Peterborough and Wales. He’s a very laid back guy, especially considering that the airline he flew with had lost his bags (containing all of his clothes, CD’s and merchandise) and at last check these were all at an airport somewhere in Philadelphia, although no one seemed to know for sure.

BM: Hi Austin, great to speak to you, have you played in Europe before, do you travel much?

AWC: Yeah, in fact the first time I played in France, FIMU, International University Music Festival, there were about 10,000 people watching one of my shows, and they had a bunch of different stages, and the huge stage was a beautiful day like today, and I didn’t really think about that I went up to play, I just went up and did my thing, and a bunch of people were singing along with my new song that I’d just written like it was old news, which was amazing to me, cause it proves that they were actually listening to the music.

When I saw the photos that somebody took, from standing behind me, and I saw this sea of people, that was a little unnerving, but it didn’t bother me at all when I was there. I’ve never been treated that way before so that was pretty amazing. Then from there I did a Himalayan blues festival in Katmandu, I played at a sacrificial slaughtering ground, it was pretty amazing, temples at every corner, in the USA we have drug stores on every corner (laughs). Then someone who saw me at the Himalayan referred me to Australia, so we were right there in Australia last year, and y’know it’s all word of mouth.

So you’ve got quite a few recordings under your belt already, have you got anything new on the horizon. Actually I was hoping to have this live record which I recorded a couple of months ago and was hoping to have that for this, but hey that wouldn’t even matter since my bags are still in Philadelphia anyway [laughs]. But that’ll be a live record, and I’ve never done a live record before where it was all my stuff. I’ve played on live recordings before with other people, where I’d play one or two songs and it’d end up on a complication or something, but it world out pretty well, they’re basically all my own songs, but the initial thing was that I was gonna use some bits form Katmandu, some pieces from France and Germany, Holland, and then Australia and piece it all together into a world of blues kind of thing and maybe do some shows at home to fill some of the gaps. But then this last show I did, probably ended up better than them all, I had some great guys working with me. A friend, Don Dixon played upright bass, a guy on the harmonica Dave Morrison, who’s very similar style to Paul Butterfield, just this kind of raw nasty Chicago harmonica. So as far as I can tell it sounded really good, but won’t know until I get to sit down and listen to properly. So hopefully that’ll be the next record then I’ve got a three

or four tracks for the next studio album, and I think I’m gonna play some electric too, it’s been a while since I recorded with the electric. Sure there’ll be some acoustic/resonator stuff in there too, but not another whole record of acoustic, because the last however many have been lit that. I tend to be working on 2 or 3 albums at a time, ya know, I’ll listen to a song and think to myself. Ok this doesn’t really fit with this album, so I’ll toss it aside and other things will start to work with it, and fit together for that album. Hopefully the live album will be out by August, the studio album probably sometime next year, maybe both on iTunes.

The internet has helped many blues lovers get great access to blues that would have otherwise been able to. Do you find it’s helped you in your career?

The internet got me a lot of the jobs that I’m doing that are outside of Cleveland. I mean in Cleveland I can work 7 nights a week, with seven or eight gigs, sometimes double or triple, but you gotta get outside the box, cause you gotta get the music out there.

So who’s out there right now, that you’d love to work with? Ahhh man, there are so many great people out there, John Hammond, BB King, Taj Mahal, Tom Waites I think is great…..

Yeah, I’m a big john Hammond fan….

John’s great, I’ve had the opportunity to open for John several times, he and his wife are just great. One time it was at a benefit, for roots of American music, they get grants from the state of Ohio, and go around the schools playing for kids, teach em how to write music a bit, all within their school curriculum, and I opened up, and some guy had this huge picture of Dylan on a mic with John and some other guys in the background laughing, I think from Highway 61 revisited. Anyway I’m sitting there thinking, what tune can I open for John Hammond with. I was gonna do my own song, but then they wanted me to play with this upright bass player, so I’m like, why don’t we do this tune from Highway 61, and John and his wife really liked it. Then I’m at the king Biscuit festival last year, where he came on after me, so there’s Jimmy Duck Holmes, me, then Hammond. Let me just say that Jimmy Duck Holmes was great, just this real old school kinda guy, and then I played my set, and I hung out with John and his wife, and got to hang out with him for a couple of hours after the gig, really great guy.

So you travel around a lot, with a family do you find it hard. Yeah… especially touring on your own, I’m much better now, but for the first six months or year it was just brutal, cause I play a lot of college gigs in the USA, and you’re playing to a bunch of 17 to 21 year olds, some are into the blues, some play guitar, and they’ll come and ask questions about the national resonator, which is great, but sometimes you’ll be on the road for 8 or 9 hours play a gig and drive home, I mean you’d grab some sleep and stuff, but there’s only so long you can keep yourself entertained for so long before you go crazy, but now I’m more used to it. The flights are a little interesting too, I always carry my guitar, so it doesn’t get lost in Philadelphia! And so I know it’s safe, and you’ll have it when you get off the plane. But coming here, I got home off the plane from Mississippi at 1am Tuesday and left again at 4pm to come to the UK, sure it’s hard but I’m enjoying it, the only thing that might make it better is to have a good booking agent or something taking some of that weight off of me.

So the venue you’re playing here in Castor, has been home to some of great blues artists, are you looking forward to the gig?

Yeah, these guys have something great going on here, I feel great to be a part of it, they’ve brought over some other artists from Cleveland too, I think, Travis Haddix, Wallace Coleman…. then after this I’ve got some gigs in Wales for the next couple of days.

So when I was doing the King Biscuit this last time, the guys saw me and they approached me and asked me if I’d be interested in coming to the UK, and I said sure! But you know how it is, everyone knows someone or can help you get work and stuff, everyone’s connected when you talk to them and nothing comes out of it, so I always take with a grain of salt and if things work out then it’s great. But when I got home, I had emails waiting and things just fell into place and here I am, which is great! In that sense the internet’s a beautiful thing, you know you can build relationships and collaborate with people on the other side of the world, and that’s probably the only reason that it happened for me. But some of the talent they have here is just amazing to me, I’d really love to come back here in the future, maybe get to Scotland or something next time, maybe for a bit longer next time.

BM: I was listening to your album 706 Union on the way over. Can you share the story behind that?

Yeah, my wife and me got married there, that’s Sun Studios, they didn’t charge us to get married and I asked them if I could book a couple of hours at the studio, and recorded a bunch of the tunes there and recorded the rest back home, and that was my first acoustic album which I’d always wanted to do. I think Blues Matters did a review of Murder of a Blues singer, and they were really kind to me. Let’s see, first Blues record was ‘Help Yourself’ that still sells well which is interesting when you look back and think that it was a handful of years ago. With that album I wanted to get a whole different range of aspects of the blues. The next album was radio cafe, which was one with my band, which did well, and it was a whole collaborative thing. I write a lot with my buddy Chris Allen, we’ve been doing stuff together since we were kids.

BM: So you’re a hard working guy….

Well you know, I don’t know how long I’m gonna be around, and I got a great group of friends who are musical and really creative, so I just keep playing, keep recording and keep on moving along..

It’s been great talking to you and thanks for giving us the time to get to know you a bit better, and I hope your luggage catches up with you soon!

talks to Linda Fisher

Now firmly in the Blues hierarchy, with listings in the Penguin Guide To Blues Recordings and the Guinness Who’s Who Of Blues, Roy Book Binder has come a very long way since he bought his first guitar…and he’s still travelling.

BM: I believe you bought your first guitar at a military base in Italy

RBB: Right...it was an Echo arch top. A shipmate and I got the guitars and he showed me some basic chords...was later told by my division officer, ‘If you worked on your radar skills as much as you play that guitar, you could have a pretty good career here!’

Over the years I have come to love the sound of pre-war American guitars...photos of me and my guitars can be found in books about Gibson, Martin and Washburn guitars...

Then, back in New York, you met Dave Van Ronk and the Rev. Gary Davis Met Dave up in Providence RI, where he gave a concert. Told him how his sound changed my life and that I wanted to be a Bluesman…two years later, I opened a show for him. ‘Remember me?’ I asked...’I do and you did’; nice when your heroes become your pals...I miss him a great deal. He was always very supportive. I did admire Rev. Davis playing. When given his phone number, I went to his home for a $5 guitar lesson that lasted 5 hours! With my saved up $50, he took me on tour...paid my way. The first tour began with a train ride to Chicago with him on a journey that never ended...I loved that old man. ‘Good God Almighty’ he shouted after the 36 hour trip, ‘That train stopped at every pig path along the way!’

You recorded for Kicking Mule and Blue Goose Records in the 60s Nick Perls heard me sing at The Gaslight Café, Hootenanny open mike, back in 1966, other participants included such aspiring folksingers as Phoebe Snow and Richie Havens!

I met Jo Ann Kelly there when Nick Perls (Yazoo & Blue Goose Records) brought her down to do a few songs after she recorded for CBS. She was amazing! Nick invited me down to his place to a ‘record party’, reminiscent of Terry Zwigoff’s film Ghost World with Steve Buscemi. I heard a lot of great old blues 78s that day and became friendly with Jo Ann who invited me to ring her up if I ever got to London.

Shortly after, I was asked to do a tune on the first Blue Goose LP (anthology)...

When Stefan Grossman came to town from the UK, he recorded all of us, said he would try to get Transatlantic to release it, or start a new label... (Kicking Mule).

Tell me about the UK tour with Arthur ‘Big Boy’ Crudup and Homesick James

This is a long story! Jo Ann had said if I was ever in the UK to ring her up. I did so in 1971.

One day at The Rev’s house, Mrs Davis asked me to answer some letters for her. One was from a young artist from the Jersey Channel Islands in the UK... That began a 41 year friendship with dear friend Robert Tilling who passed away last January.

After writing Mother Davis’ letter, I wrote on the back about my adventures and that I might someday get to the UK. We exchanged letters and Blues records and soon began to plan on how I might put a tour together. Robert had got Mr Dobell, the infamous Blues & Jazz Record shop proprietor who had put out a great Rev Gary Davis album out on his label, (the shop was at 77 Charing Cross Road in London) interested in possibly recording me as I had recorded for both Nick Perls & Stefan Grossman)

So, I sold my car and gave up my Greenwich Village pad and booked a flight over. When I called Jo Ann up, she was just leaving for a tour of Belgium with her manager Chris, brother Dave and his wife.. Chris explained that there was no room in the Mini Estate Wagon and gave me instructions of how to get to where they lived. When I arrived, he gave me a handful of shillings and showed me where to put them if I wanted heat or hot water, and a copy of Melody Maker and Sounds Magazine… instructing me to visit the marked venues and to ask to do a guest spot at every one. They drove off a few minutes later wishing me luck and saying that they would see me in a fortnight. Next day, I made my way to Dobell’s Record Store. After having a chat with him, Mr Dobell noticed Ron Watts in the store and introduced me as a Blue Goose recording star and mentioned that he was thinking of recording me! Ron had begun an agency, The National Blues Federation I think it was called. He asked me if I was doing anything on Tuesday...long story short; he said he would pay me £15 to open a show, at The 100 Club on Oxford St., for Homesick James who was just beginning his first tour in England. On the way back to Joanne’s flat, I did notice on the bus poster that a London City bus driver could earn up to £15 a week!

Two days in London, and I had a place to live and a gig...I was ecstatic with my good fortune. That was the beginning of an interesting 6 month stay in London with many adventures...including shows with Arthur Big Boy Crudup & Larry Johnson all of which will someday be a part of the book I am very slowly writing...

By the time Jo Ann got home I had done a few gigs, had a few reviews and I was on my way! Years later my wife and I were on a London bus headed to a gig and I saw the poster, earn up to £400 a week driving a City bus...I asked the wife

what I was getting for the upcoming show and she said £400...’Oh well’, I said, nothing really changes...she informed me I had 3 gigs that week...so I guess that is success!

Jazz Journal, Melody Maker and Sounds magazine helped spread the word with glowing, enthusiastic reviews and, with their encouragement, I knew I could have a career.

Your first album was Travellin’ Man…

Returning to the US in the spring of 1971 with a press kit full of rave British reviews, I got a deal with Adelphi. That album was the first given a 5 star review in Downbeat magazine! Adelphi has kept that album in print and it is now available on CD.

Tell me about your other recordings;

The Hillbilly Blues Cats was listed as one of ten essential guitar albums in ’92 alongside Clapton’s Unplugged and Neil Young’s Harvest Moon and a Lyle Lovett record. Lyle opened a show or two for me in Texas back in the old days!

You’re a raconteur to the extent you were invited to the National Story Telling Festival

Well, at first I talked just to fill up the time, I have never been known to have a huge repertoire and this talking developed into storytelling. Audiences from day one reacted favourably to my banter and encouraged me to keep it going. I never chose a song to do because I thought people would like to hear it. Most songs that I added to my show came to me from an experience with the writer or from some kind of experience that led me to it. I feel now that so many guys do songs just to do songs...I mean, like everyone has been doing Robert Johnson to death for the last 30 years. Though I admire his music, I never recorded or performed one...

Humour it seems has become a big part of my performance. I have nehver written down a routine or developed one. I just start talking and the memories flow out of me and it is, I guess, a pretty comical story. How a kid from NYC, ended up on the road for over 40 years, actually making a pretty good living, performing a style of music that never was and never will be popular with the mainstream in society. I sometimes say, ‘I learned to play the Blues from a blind preacher, actually knew 3 peg legged guys who were professional dancers, and was friends with an old lady who had diamonds in her teeth and sang in the Rabbit Foot Minstrel Show....’

So I got invited to the National Story Telling Festival a few years back, and not thinking that this would be an appropriate venue to appear at, surprisingly I was the hit of the festival, actually selling, (I could not believe) over 500 albums! I have since been back quite a few times. Homespun even filmed a show I did there a few years ago that was titled, Roy, The Rev. & The Devil’s Music. The show took place in a huge circus tent, with over a thousand people… on my birthday...I’ll never forget that!

You spend a lot of time on the road…

In 1976 I rented a Motor Home for the first time to do a major tour to celebrate the US Bicentennial...I found touring to be so much easier without sleeping on other people’s sofas after a gig, back in the old days, after a gig, we were all often given a place to stay. Often this included picking and grinning after you just did your show...now some folks can’t get enough and love this. I never did! Back in those times rarely was a motel included in the fee.

The motorhome worked out and I ended up buying it and giving up my Greenwich Village pad......Dave Van Ronk, after looking at the Motorhome brochure, said he gave it 6 months! He could not believe that my plan was to live on the

road...12 years later Dave passed out on my sofa, headed to another gig; said, ‘This wasn’t such a bad idea after all.’ I did live on the road full time for about 18 years, never regretting it. Many musicians dread ‘the road’. I have always found the road a wonderful place to spend a life…I spent all those winters in the warmer climates...turned down offers up North in the winter. Motorhomes have issues with freezing weather; I now spend my winters in Florida. My wife and I own a modest home and look forward to winter. I try not to work too much where I live, never wanting to be treated like ‘A Local Musician’...

The wife and I just completed a 10,000 mile tour which took us to the 4 corners of the US. Days off, as everyone knows, are many and for us a time to camp out and really see America. Nothing like hearing the Pacific Ocean crash against the shore as you doze off to sleep or to watch the sun set behind the Rocky Mountains in Sand Point Idaho 40 miles from the Canadian border! So many incredible stories to tell...

Turned out, everyone in Florida knows who I am in the business...and I do occasional shows. Local promoters know I ain’t cheap and I am always treated with dignity and respect...when I do work.

Last winter I was asked to organize and help promote The Greatest Acoustic Blues Show On Earth at The Palladium Theatre in St. Petersburg; less than a mile from my home. I had Paul Geremia, Rory Block and Jimmy Duck Holmes join me at that very successful show which surprisingly drew well over 400 people and just may become an annual event! I took the name from a show that I am involved in every year at Merlefest, a festival dedicated to the memory of Doc Watson’s son who passed away over 25 years ago.

Merlefest is a major Americana festival in NC and every year we have a stage dedicated to the music many of us love. I am the host and master of ceremonies... no Blues festival in the world has presented as many American acoustic Blues guys and gals as we have! Over the years participants have included, Robert Lockwood Jr, Paul Geremia, Dave Van Ronk, John Jackson, John Mooney, Chris Smithers, Ann Rabson, John Cephas & Phil Wiggins, Rory Block, Mary Flower, Jimmy Duck Holmes, Steve James, Ben Prestage, Alvin Youngblood Hart, Veronica Jackson, Dave ‘Snaker’ Ray, Spider John Koerner, Kelly Joe Phelps, Del Ray, John Hammond, Doug MacCleod, Corey Harris...just to name a few... We do meet lots of folks, many musicians, and we do have a great life that we couldn’t have imagined...I know that I am a very lucky man...

What are your plans for the future?

Ever since Jorma Kaukonen** recorded two of my songs a few years ago, I have been concentrating more on writing... though it is slow going in that department for me...

My dear, late friend Robert Tilling in the Jersey Channel Island always said, ‘Bash on’, and that’s what I’m doing! Robert became a dear friend of Rev and Mrs Davis as well. He eventually became involved with The Art Centre in Jersey and brought many Blues Musicians to Jersey, including Rev Davis, John Jackson, Woody Mann, Mary Flower, Dave Peabody, Dave Kelly, John Cephas & Phil Wiggins... Robert also compiled a beautiful collection of remembrances about Rev Gary Davis in a book he named Oh What A Beautiful City which was recently re-issued by Mel Bay publishing.

A story should be written about Robert Tilling and his contribution to the British Blues world…

** Black River Bluesman.........?? check this

by Graeme Scott

BM: With a new album Cross The Mountain seeing the light of day in September I caught up with Karl Demata at the rather un-Blues hour of ten in the morning and I put it to him that, not only was the hour not normal for Blues players but also that the album was not just strictly Blues either

KD: I listened to lots of the old stuff but there is so much good new music around that I thought people would not really want just another 12bar Blues album. Then again I don’t really force myself to go in one direction or the other. I just think what I like to do or what I would to listen to as a listener. I think my base is classic rock I would say but my influence, especially as a guitar player, is definitely the Blues.

And is that very much the case when you play live?

I don’t have a master plan of things to go in one direction. I just listen to the ideas I have on guitar and record and develop them from there. It took me a while to understand that and sometimes you just need to listen to yourself as if you were somebody else and think that “Alright this song wants to go that way” and let it go you know. Don’t think “Oh I am a Blues guitar player, I have to play 12 bar blues”. I can always do that live with any band so that’s no problem.

When you do go out to play live, is there enough space for evolution if you like, of the song?

Yes I mean that’s what I aim for as a band. The reason why I call them a band rather than Karl Demata is the fact that I aim at having a group composition that could sort of like move things around when they play live and perform things and develop things and maybe even jam up a little bit. I really don’t like to see bands that play their albums from start to finish pretty much as it was on CD. I much rather have a band where there’ll be some differences.

So do you see a close alliance between Blues interpretation and evolution and jazz interpretation and evolution?

Yes I do. It’s probably not on a sort of like a how can I say production way you know not really in the sense of how an album sounds like or a band sounds like but in the approach to music. I mean I’ve always been a big fan of what you call jam bands, for lack of a better word you know like the Allman brothers and stuff like that. I mean that’s where I find myself

really at home. You go to a concert and two hours have passed and you don’t know how but you’ve been just so much into the music. You recognise the song and then suddenly you find out that they’ve been on for half an hour and things just keep on getting better. Ideally I think that’s where I would like to go on a band basis yes.

What do you use on stage and how important is that for you?

Well it’s crucial and the technical aspect depends a lot on what I’m performing and with which band. I’m currently playing in three different bands: all three have records out; one is also very busy touring Europe. There is not one preferred approach to things; it all depends on what I’m about to perform with which band. I’ve always been more of a Humbucker man, and I’ve always been leaning towards Gibson rather than Fender. I think it shapes your ears if you know what I mean. What you used to listen to, and that can be said for records and CDs, and it also can be said of your guitar sound. It’s kind of like it shapes your tastes. So I always tend to gravitate towards that sound because that’s what I’m used to.

There is a range of styles on the album, and what I liked about the album was the fact that it varied in style. The thing is I have been wondering about this and I’ve been thinking about having a solo album out for a long time. So I’ve been kind of like piling up ideas, but not so much in terms of like songs itself but kind of like ideas saying “oh it would be nice to do this, it would be nice to do that” for a long time and there was a point actually during recording where I actually had to trim things down and say “You know what, there are some stuff that are even more spread out, there are some songs that didn’t make it to the final mix which were kind of like even more different if you like. I did want to give an impression that there’s lots going on and there are a lot of different aspects to that kind of music but at the same time I didn’t want to give the impression that I’m schizophrenic and that I just play everything that crossed my mind. So I try to balance things out and I think in that respect it worked out. Because there are driving rock Blues numbers but there are also ballad-y like songs, leaning toward the more subtle mid-tempo almost acoustic classic rock stuff. So there is quite a lot and potentially there is gonna be more in the future

But it’s also interesting that within the music industry people love to pigeonhole artists but really when we’re growing up we don’t just listen to the one type of music and for me, the freshness of this album was the fact that it kept you wondering well actually, what’s coming next?

I think there are two things to be said about this. One is the fact that yes you’re saying we tend to pigeonhole things but this is really laziness. It’s just a simple way of classifying things for us and saying “Oh right, I put this CD next to that one” and for me it’s like ‘easy’ on your brain to say “This is next to that, I can relate this to that”. But I think we should all challenge ourselves more and think “Alright, this one leaves me a little bit, I’m not sure where to put it in my record collection”. And this can only be a good thing. I mean personally when I buy a CD and I don’t know where to put it, because, yes I have a CD collection in categories as you are saying, and when there are CDs that hang around on my desk because I don’t know where to put them, those are the ones I like the most. Because they make me struggle a little bit more, make me think a little bit more, which is no bad thing, it’s a very rewarding feeling. And the other thing is what you are saying about, keeping things and categorise them, it’s something that comes from the past, from the fact that back in the days you eagerly sing the Blues and you usually hated everything else or listened to jazz and hated everything else. Yes, but this was all right thirty years ago. Now you go to a record store or you go online and you can pretty much buy everything anytime you want. That’s kind of a side effect of development of mass communication and CD and all that. Thirty years ago it was not possible to go to a record store and say “You know what, I have x amount of money, I really want to buy the best Blues albums I can get”. Now you can just go online and in five minutes you’re done. So you just have to adapt to that as well I think.

Karl, you self produced this album in the main. How did you find self production and what problems did it bring along with it for you?

Well I really liked the challenge. That’s why I like to face different aspects of the music construction in general. And I also like to play with different bands and open to collaboration and joint decision. I’ve always had the impression that I like to face something headfirst in a way. We don’t really grow as a musician and as a person in general so for me it was mainly above all a learning process. I really wanted to be able to be in that situation where I’m not just playing as a guitar player in a band which I do quite often with other bands but I’m at the forefront of things. Yes I’ve had a great learning experience. There is one problem of course which I think is what I’ve been struggling with until now is the fact that you are so personally involved in the material that it’s very hard to step back and listen to it in a detached way.

I’m wondering whether your own experiences working behind the scenes in the industry in the early days whether you were able to draw on some of those experiences yourself, negative and positive ones.

Yes. I think that really gave me a little bit of more awareness of how things work behind the scene and to a certain extent also gave me a bad example of things that I would like to avoid. So I wouldn’t want people to think that “Alright he’s the guy who’s going for that kind of market, who’s heading for that kind of niche” and all that. I’m just trying to convey something which is much more simple and much more down to earth; like that kind of music I’ve been playing for years. Now, basically I have the time to record a CD and next year record another one. So I’m trying to see how things work behind business and behind the scenes and think, “Well that’s exactly what I don’t wanna do, but maybe I can use some of the insight”.

So when you completed the album did you have a lot of searching to do before you decided happily to go with your Green Lizard record company?

Well yes that’s the good side of having some background in the music business. I did have a few conversations with record companies that are specialising in this kind of music and I thought to myself “Well I can probably get to a similar level just by myself” and yes you can do it and keep a little bit more control which is also kind of like artistic but not so much in the music sense because I mean, let’s face it, unless you’re a superstar record companies rarely will tell you what to play and what not to play. But I have control in the pace that I work and in the business decisions.

The album “Across The Mountain” is going to be released in September you said and presumably you’ll be doing some touring on the back of it, throughout the UK and possibly through Europe as well. Well I hope so. I’m working on it right now to be honest. There are a couple of things I have to be aware of and one is the fact that one of the other bands that I’m playing with, Crippled Black Phoenix are probably recording a new CD in October and then touring Europe again in November. So those two months are probably out of the window for me, which means I could probably try to do something before that and something after that. My intention is definitely yes try to do as much as possible but I would see some more action more towards the beginning of next year.

Karl, it’s been fascinating to talk to you. Good luck with the album. Thank you.

VARIOUS ARTISTS

The Blues You Can’t Refuse

Feelin’ Good Records FGR 018

DGPack. 2 CD set. Anniversary compilation from the first 20 CDs releases. 36 songs, more than 2 hours and half of great music by Sonny Rhodes, R.J.Mischo, Cassandra Mathews, Shawn Pittman, Vivian Vance Kelly, Gary Wiggins, Texas Slim, Brian Templeton, Gail Muldrow, Johnny Sansone, The Moeller Bros, and many more.

ANDY JUST Electric Roots

Feelin’ Good Records FGR 019

DGPack. “With one foot planted in the classic blues harp tradition and the other one dancing around freely on the cutting edge, progressive side of things, Andy Just has with "Electric Roots", put together a collection of songs that showcase sides of his harmonica prowess and musical artistry that I've never heard before, this is Andy Just, retro-style this time!” RickEstrin

TEXAS SLIM

Lucky Mojo

Feelin’ Good Records FGR 020

DGPack. “After the more than splendid free ranging skill and artistry that was undoubtedly displayed on Texas Slim’s previous stunning live album entitled “Cookin’ With Gas” (FGR 015), this new album that will yet again dazzle, impress and amaze all who hear this hard hitting no-nonsense deadly, earthy, blasting Texan guitarslinger while taking no prisoners!” Brian Harman

“Young Boy Blues” Talks with - Norman Darwen

Andy Poxon is only 16 and has been performing around the MD-VA-DC area since 2008. He performs regularly with the Andy Poxon Band and with Hot Rods and Old Gas, and has also performed with Dave Chappell, Daryl Davis, The Nighthawks, Mary Shaver, Greg Phillips, The Idle Americans, Scott Ramminger and the Crawstickers and many others. Andy is also in the South River High School Jazz Ensemble, and in 2009 was the guitarist for the Anne Arundel County All-County Jazz Band. Normen Darwen spoke to Andy about his take on the Blues.

BM: How does a young guy get into the Blues these days?

I don’t really know. It’s hard to remember exactly why, but one day, I think I was 12, I said to my mom, “Mom, I want a B.B. King CD.” The next time we were at a book store that had CDs (there seem to be so few stores that only sell CDs where I live) I told a worker that I wanted a B.B. King CD, but I didn’t know which one to get. He was actually a big BB fan and suggested a “Greatest Hits” CD or “Live At The Regal”. I only had enough money to buy one, and there were more songs on the greatest hits one so I went with that. If only I could do it all over... But I loved the “Greatest Hits” CD even though it was the wrong choice, and that was my first taste of the Blues. My parents knew how much I liked the CD, so for my birthday a few weeks later they bought me an Albert King CD and got tickets for my family to go hear BB King live with Joe Bonamassa opening. None of us had heard of Joe, and needless to say, we were all blown away by him, and it was a great show all around. After that I pretty much stopped listening to what I had been listening to (AC/DC, Megadeth, etc.) and immersed myself in Blues music. Since then I have really branched out from Blues and listen to all kinds of music, and now I know where it all comes from.

How do your friends feel about the music?

They don’t. I have a few friends my age in school because I have so little in common with them, but the friends I do have I don’t really bother with trying to get into the Blues because considering the music they like, it’s a lost cause. My girlfriend however, is great. She does musical theatre, but loves all kinds of music, especially 40s and 50s music, and she enjoys the blues. We’ve been together now for two and a half years and she still haven’t gotten tired of all of my music. Amazing.

Who would you list as influences and why?

They are constantly changing and I will no doubt have a different answer to this question if you ask me again in a few months, but I’ll try. When I first got into Blues, as I said, I heard BB King, Albert King, and Joe Bonamassa. I really enjoyed the Blues-Rock sound he has, and it was closer to what I had liked before. I tried to play in that style, but as I listened to more and more, what I liked the best became the older stuff. I know that Joe is a great guitar player, and helped me get into Blues, but my style now is completely different from his. I’m happy that I’ve never had one guitar player that I try to copy. I try to listen to as many different guitar players as possible and make my own style.

Some of my favourite Blues players (in no particular order) are 50’s BB King, early Buddy Guy, early Freddie and Albert King, Magic Sam, Otis Rush, Guitar Slim, early Johnny Guitar Watson, Jimmie Vaughan, Sean Costello (RIP), Nick Curran, Junior Watson, Pee Wee Crayton, T-Bone Walker, Ike Turner and Lowell Fulson.

Like I said, I listen to a lot of non Blues, so some of the non-Blues musicians who have influenced me are Hank Williams, Elvis Presley, Sam Cooke, almost any early Motown, Charlie Christian, Tiny Grimes, Chet Atkins, Les Paul, Jimmy Bryant, Hank Garland, Cliff Gallup, The Band, The Beatles, and many others whom I can’t think of.

I know I listed a lot of guitar players, but I also try to listen to other instruments, so I can learn their phrasing and riffs. It’s cool to be able to play common sax riffs or common piano riffs, because most guitar players are play only guitar riffs.

You have a strong voice - do you feel that is as important as, or more important than, your guitar playing? Well, thank you. I consider my voice to be one of my weaker spots, and I don’t enjoy singing nearly as much as I do playing guitar, so I hope it isn’t as important, but I guess to a lot of people it probably is. There are such varying opinions on what “good voices” sound like, so I’m sure that for every person that likes my voice there are just as many or more who can’t stand it. That’s just the way it is, I don’t like the voices of a lot of the people I listen to, but that doesn’t make me like the music any less. The voice, to me at least, is pretty much irrelevant. Unless you are Hank Williams, or Sam Cooke, or Frank Sinatra of course, and those people do (in my opinion) have great voices.

How do you go about writing your songs? Where does your inspiration come from?

Every song is different. As much as I’d like there to be a process, there just isn’t for me, and I envy those people who can sit down and say to themselves, “Self, I want to write a song,” and then do it. One of my songs “Stop,” the main line is “stop talking I don’t care what you have to say.” I came up with that song when I was supposed to be taking notes in math and I couldn’t stay awake because of the painfully boring teacher. Another song “Quitters Never Lose,” was advice to my brother to give up on a girl that he wanted who no longer wanted him. Most of them have little stories behind them like that.

Your band members are quite a bit older than you - is that important?

I think it is important in getting me gigs just because it gives me more credibility. It’s great being able to say to club owners and other people that I play with adults because it seems to make it seem like I am better than someone else my age who is playing with teenagers, even if that isn’t true. I’m incredibly lucky to have that band that I do and to constantly get to play with great musicians.

Who are some of the other people you have played with - any particular memories?

I’ve gotten to play with a lot of musicians and sit in with a lot of great musicians and it’s always fun. Recently I got to play with Bobby Parker and that was pretty cool, and I also played with Tom Principato. I’ve played with the Nighthawks a few times. I try to go hear live music as much as I can and sometimes I sit in, but a lot of the time I prefer just to watch, because there is so much to learn from watching great musicians and performers.

You also play jazz, country, rockabilly - do you see these as branches of the Blues tree or what?

I think that those styles of music are largely based on Blues, I think most music is. I play those other styles because I enjoy them just as much as Blues and I think that most audiences who like blues will like those other styles as well.

Can you give me the background to your album?

My album, “Red Roots”, is all original, and a mix of those styles. It isn’t traditional Blues all the way through, but it is all bluesy. There is some rockabilly, some country, and some Blues-Rock stuff on it. And about the title, don’t worry, I’m not a communist. We just named it that because it’s all roots music and everybody always wants to know if my hair is real, which it is.

And the cover photos - you must be a pretty strong character as I would guess your peers have something to say about your big hair!

Some people love it and tell me I shouldn’t ever cut it, and some people say they hate it and I should cut it all. In one review of my CD, the reviewer said, “we’ll hold thumbs that as Andy matures he’ll realize he can rely on the authenticity of his fingers and not on the gimmickry of his hair to wend his way in The Blues.” My hair is completely natural and it just grows like this. Sometimes I wish I looked normal but oh well, I can’t have everything.

Can you talk me through a fairly typical live set?

We like to start with something easy to warm-up, like a medium shuffle, or an instrumental. We do more covers than originals, so usually about a third of the set is originals in a three or four hour gig... When we are only playing an hour or 90 minutes, we try to do as many originals as possible. In most sets we try to vary all the feels and styles so it all doesn’t sound the same. The problem with a trio is that everything can sound the same, so we try hard to avoid that. We usually do a slow blues towards the end of the set that I can really build up, and the crowd always likes that. We often throw into our sets rockabilly and country, and people usually like that. Sometimes they don’t.

What can we expect from you in future?

Well, hopefully, I’ll be able to play some in Europe that would be a lot of fun. Right now, the band and I do all the booking, we don’t really have anyone to help us, and so it would be hard for us to put together a trip anywhere. We’re looking for someone to help us, but we’re not sure how to go about that. I guess I really don’t care what happens as long as I get to keep playing music, that’s the only thing you really can expect from me for sure in the future.

Finally, what would be your dream Blues line-up?

It may sound grim, but most of the people I want to hear and play with are dead or long past their prime. I was born 70 years too late!

Paromita Saha & Edward Killelea speak to Louisiana’s up and coming Blues “artist”

When you are in Louisiana, it’s hard not to notice how food, music, history and landscape are inextricably linked. It comes as no surprise, that this powerful combination is bound to have an impact on the region’s paint palette. In New Orleans, you will find the likes of Bobby “Blue,” Bland, Allen Toussaint and John Lee Hooker in bold strokes of electric blues, reds, and yellows dotted around the city courtesy of the area’s renowned artist Tammy Curtis Ellis.

“Down here, all the edges are blurred are between the arts, music and painting. There are so many great music artists are here. When you get down to listening to the music, your palette becomes so vibrant. I no longer blend my colors.” She tells us sitting in her old studio in New Orleans’ Metairie district, where are we surrounded by an array of multi-colored faces of the good and the great of the Blues from Bobby “Blue,” Bland to Pinetop Perkins.

Renowned for her unique portraits of Blues men, the former art teacher has a come a long way since she decided to retire and devote herself to a career as a full time artist. Her work can be found in galleries across the Deep South from Mississippi to North Carolina and as well as in the homes of wealthy patrons in California and New York. She has been selected to be the poster artist for the prestigious Blues Foundation awards in 2012, an accolade, which will no doubt bring her further recognition from the crème de crème of the Blues music world. The opportunity came after Ellis was persuaded to place an advert of her work in the renowned New Orleans publication, Offbeat magazine.” Out of the blue, Jay who is the director of the blues foundation in Memphis, called me and said ‘l love your ad, would you please do the poster work for 2012. I said yes. That’s how it came about.”

Ellis is no stranger to such commissions, and will no doubt rise to the challenge, having recently created the poster for this year’s French Quarter festival which has also put her in the spotlight in arts world. Originally from North Louisiana, Ellis moved to New Orleans ten years ago, and it was a chance encounter with New

Tammy & Mr Pete

Gallery Room

Orleans blues artist Little Freddie King that triggered off this new direction in her art. “I stumbled across him in Lafayette. I was showing some artwork and he was singing Little Red Rooster. I just fell in love with it and I fell in love with him. I got some shots of him, and painted him.” Ellis happened to be showing her finished painting her Jazz fest, where much to her surprise Little Freddie King caught sight of it.

“He saw the painting I did of him, and with his long fingers, he was saying ‘that’s fantastic.’

As can be expected in the music world, word got round and a chance encounter with promoter Chad Chasin who spotted her work at a local art fair led to an invitation to his Blues festival in Kansas known as Crossroad Blues. “He is now this millionaire who has bought this phenomenal old church with amazing acoustic sounds. He invited me to spend three days with them. I got to spent time with the musicians, cook gumbo and listen to their lies. I completed four paintings on site and they were of artists like Jimmy Lee Robinson, and Little Hatch who had passed away. I also go to know some of the guys like Pinetop Perkins, and Joe Rock. I also spent New Years with them too, where I felt like I was being embraced by them. They feel excited that somebody is focusing on them.”

It is the bond that she forms with her subjects that is the crux of all her portraits, which lends a unique quality to her work. For example, you can’t help but notice the nuanced facial expressions of her subjects, which Ellis says she captures from spending time with them.

“The more I get to know them, there’s a sense about them that comes through. For example, Pinetop loved his cigarettes, so every time he had a break, I’d sit with him, and have a cigarette with him. He had his baseball cap, and he had this t-shirt with a keyboard with matching keyboard socks. He’s sitting with his long lanky legs and I got a shot of him on his cigarette break with this lovely soft expression. Things like that are starting to come out in paintings with them being who they are.”

I ask her if some are harder than others to paint. “Sometimes it would click. Like with Bobby Bland, I did on site when I was at the Crossroads festival. I was able to nail him because he was right there. It all depended on how familiar I got with him.”

Color plays an integral part, in her portraits, in particular her use of vibrant reds, blues, pink, yellows and green, individually applied by spontaneous brush stroke techniques, inspired by Impressionist artist Paul Cezanne. To add, Ellis use of unconventional materials brings out that raw energy inherent in her subjects.

“I use materials I have salvaged from old homes in New Orleans and it fits who they are, it’s not polished and too refined.”

The lyrics of their songs play a big part in her work and often you will see them scribbled on with a paintbrush on different parts of the canvas.

“I would listen to their lyrics and they would crack me up. Some are very telling and some are very raw. To me a lot of who they are -is what they sing about.”

Faith plays a role in this part of the world and according to Ellis with her work the spirit is inherent in the creator as well as the subject.

“The more I let God guide me in this, it becomes richer. A lot of the scriptures are incorporated in it. You chat to these guys and no matter what they have done in the past they have a strong faith that comes through in the music. It’s a part of who they are.”

Since April, Tami’s studio is now based in the grandeur settings of a town mansion on Prytania Street that was previously owned by author Anne Rice and actor Nicholas Cage. It’s a move, which reflects her increase in profile in and outside of New Orleans. Her career continues in leaps and bounds where more recently an art print of her painting “Hope Floats,” was adopted by the United States Library of Congress as part of their documentation of the story of Katrina.

I ask her, if there is anyone outstanding that she hasn’t met yet, that she would love to paint.

“If I guess who I would like to meet and paint? I would just love to meet BB King. I’ve painted him several times.”

With next year’s Blues Foundation awards in Memphis, it looks like a chance encounter to paint the veteran Blues performer could very well be on the cards, if serendipity makes another appearance as it has done so far.

“Things put me in the right place and the right time to meet these guys. Otherwise, there’s no reason why this little white woman from Louisiana should be in the mix. If I get to talk to them and see their faces move than it makes the world of difference.”

To find out more about Tami Curtis Ellis’ work, you can go to http://www.tamicurtisellis.com/.

Bobby Bland

Irma Thomas

by Duncan Beattie.

Dago Ready For Business

Dago Red are an Italian sextet who cross borders playing heart-thumping, foot-stomping, thigh-slapping Blues and folk music which always enthuses their audience. The roots combo was formed in Guardiagrele, Chieti, in the east of central Italy in 1998 by Nicola Palanza, Marco Pellegrini and Giuseppe Mascitelli. Their name was taken a collection of short stories by John Fante, yet in addition to this Bacchus inspired meaning, the expression Dago Red also originates from the depreciatory way in which Americans referred to immigrants of Italian origin at the beginning of 20th Century. Their first official release was 2001’s “Folk’n Blues Memories And Other Tales” where the band established a trend for strong story telling. While their voices echo from the distant past, they resound in the streets and alleys of the here & now. Their debut received airplay on radio stations across the western world and since then the band line-up has expanded and so have their horizons. They have played a range of Blues festivals in Europe such as the Cognac Blues Passion and Blues Sur Seine and the Rootsway Festival in France, Italy and Holland. In recent years they have visited the UK on two separate occasions and have recorded for Harrogate based Straytown Records. The band has recently released their third release, simply entitled “Dago Red” and is anticipating another range of festival appearances. Their frontman and chief song writer Giuseppe Mascitelli took some time to discuss the band’s experiences to date and offer some insight into the Blues scene in Italy.

BM: Hi Giuseppe, for those that have not heard your music, how would you describe Dago Red’s music?

DR: Really it’s very simple music. We compose the music we play, we’ve always been inspired by Blues and folk music, we can say that our music sounds like blues and folk but we do not really know whether it is Blues or folk. It sounds strange... Blues and folk played by Italians and sung in English? But this is the sound we’ve grown up with. It’s as strange mix isn’t it?

How did the band form and did you always decide to play acoustic music?

We started playing together in 1998 and from the beginning we decided to play acoustic. We agreed that acoustic music is more direct and we felt we could have more control on the dynamics than with amplified music. Our instruments are most directly associated with the street tradition, intended as the main stage for popular music.

Dago Red used to have three members, but the current line-up has six. Can you detail who is in the band and what they play?

Yes we have grown to six, more or less. I say more or less as Domenico Grossi (the harmonica player) plays with us when

he is not based in the US. The rest of the band is: Nicola Palanza on guitar, Angelo Tracanna on double bass, Paola Ceroli on vocals, Fausto Troilo on percussion and background vocals and finally me, Giuseppe Mascitelli on vocals and guitar.

What are Dago Red’s main musical influences?

We’ve got different musical influences. The ones we have in common are: all the early Blues artists such as Robert Johnson, Leadbelly, Rev. Blind Lemon Jefferson, Rev. Blind Gary Davis, Sonny Terry & Brownie McGhee and Mississippi John Hurt. Then there’s the Pentangle and the respective solo careers of its members, Bob Dylan, Tom Waits, James Taylor, Woody Guthrie, John Martyn, Lonnie Donegan, Bessie Smith, J J Cale, Mark Knopfler, Fairport Convention, Donovan, Neil Young, AC DC, Led Zeppelin, Frank Zappa and many, many others, the list could be too much long.

Giuseppe, your voice has been liked to Chris Rea; do you see that as a compliment?

Once a man told me “Hey, your voice is liked Mark Knopfler’s voice”, another “Hey, your voice is liked Bruce Springsteen’s voice”. I’ve never known what to say. Then again another time I was told “Your voice is liked Tom Waits.” This time I couldn’t stop from joking and I answered” “Wow, I didn’t know that boy could sing so good!”

Well the answer is yes, I like Chris Rea, even if I believe to have my own way of singing. I’ve surely been influenced by a lot of artists but when I sing something I search my voice inside myself.

You’ve played some big festivals, notably in France, what are the highlights of Dago Red’s career to date?

Performing at the stage of Cognac Blues Passion was one of those, and another was the semi-final of the International Song Writing Competition. That’s when the Acoustic Music Records wanted a couple of our songs to be re-recorded by one of their artists. Yet the best highlights are each and every time we feel our songs reach the audience!

You’ve played in the UK on a few occasions. How did you find the experience?

Excellent, we very much enjoyed playing in the UK; the audience on every occasion was particularly well attended and gave us the opportunity to express ourselves. Then at the end they expressed themselves to us whether they liked the concert or not - and in each time they did.

The themes of your songs can sometimes be quite bleak, the alcoholic, the vagabond, the schizophrenic. What forms the inspiration for the songs you write?

We take inspiration from our everyday life: alcohol, mental diseases, unemployment and homelessness are everywhere, Italy included! We don’t think our songs to be so bleak, we are optimists. We play acoustic Blues and folk do we not? We write play and sing our songs always with a positive feeling. The stories we sing, I think, have a natural way out.

As well as playing your own songs, you play an interesting array of covers, including your Bo Diddley style take on My Babe. Which songs does the band enjoy playing most?

We enjoy playing our songs of course! Sometime happens that someone of us has a particular feeling for a song heard at home or in the car stereo and we enjoy to pull out what he/she feels the song, this is a game we like to do! During our concerts we play Blues and folk classics, work songs and ballads.

Can you tell us about the Blues scene in Italy? Some of the other acts I’ve heard of are Marco Pandolfi, Egidio Ingala and Family Style…

The Italian scene is vibrant and pulsating. There are excellent musicians, many festivals and associations involved with promoting the Blues. It’s a sort of network that has been working with enthusiasm for many years. A sore note is the effect of the economic crisis, these are particularly felt in the cultural sector and therefore there are always less resources for organising festivals, while clubs pay less and less....

So how popular is Blues music in Italy?

I think we can say that Blues is very popular in Italy also thanks to many festivals that have introduced the genre beyond the usual aficionado. One especially striking thing is that often you can see during a sound check in the afternoon that as soon as you add a little boogie children start dancing and grandparents tap their feet to the beat. It’s a sort of all-encompassing enthusiasm that confirms the authenticity of this genre of marvellous music that is beyond trends or latest fashions.

Our mutual friend James Carr, who runs the Blues Matters sponsored Stormy Sunday nights in Edinburgh, discovered quite a vibrant young Blues scene in Barcelona and was told the reason for that was it arrived later in the country compared to the UK. Is that also the case in Italy?

To be honest, we don’t know the Spanish scene very well. In Italy after years where the blues was followed only by a limited number if fans it has suddenly become very popular and seen almost as a novelty thanks to the festivals which

have spread. Maybe tomorrow, who knows, it might all go back to be an underground current, but we will always know where to meet and play our music.

What are Dago Red’s future plans?

In respect of our future plans, we hope to continue to do what we like: to write, play and record our music. We would also like to find a music agency to do more concerts and keep on touring around.

Finally, do you hope to return to the UK?

Yes. We do hope to return to UK. We’d be keen to play at some festivals and we are open to offers. If you’re interested in what you’ve read, please listen to our songs at www.myspace.com/dagoredblues. Thank you very much to Blues Matters for this interview.

Blues from the Boot

Dago Red are one of several Italian Blues based bands gaining a wider international attention. A leading figure over the last twenty years has been harmonica player Marco Pandolfi. Some readers may know him though his collaboration with Richard Ray Farrell on the 2006 album “Stuck On the Blues.” When Ferrell first heard Pandolfi in 1993, when the latter was 28, he was astounded by his natural ability to play blues harp, stating that he had never heard a European play the blues harmonica with such feeling and authority. Since then his profile has risen considerably; Pandolfi is the only Italian Blues musician to have participated twice at the International Blues Challenge in Memphis. The more recent appearance was with his band Marco Pandolfi & Jacknives, who have also appeared at Darlington Blues Festival. From Vicenza hail the more contemporary styled Four Fried Fish & Flyin’ Horns. The band is led by guitarist and singer Flamiano Mazzaron and organist Fabio Ranghiero. Their second album “Love Can Change Everything” balances Chicago style electric blues with a wider eclectic sound embracing country, funk and rock. Another prominent harmonica player is Egidio Ingala, who is also a smooth vocalist who started playing professionally as a member of the Dirty Hands. After several successful European tours he released his first solo album “Nite Life Boogie” on the German label Stumble Records in 1999, followed by “Drivin & Jivin” in 2002 for Kayman Records label. His albums including 2007 “Game’s Over” will appeal to fans of Chicago Blues and West Coast Swing. A real family band emerged from the small town of Arluno, near Milan, called Family Style. They were formed in 1994 by guitarist MARCO LIMIDO, together with younger brother Franco Limido on vocals and harmonica, cousin Davide Bianchi on bass and Stefania Avenali on drums. They have played in the UK on several occasions and their live set is documented in their fine 2005 album “Live In Nottingham,” which was recorded at the internationally famous blues venue, The Running Horse. Since then they have released their fourth album, “Paddy’s Blues” was recorded in one long session at “Paddy Cullen’s” near Milan. Despite this range of talented bands, Dago Red are one of a very select number of Italian artists who focus on acoustic blues which really does make them a class of their own.

Duncan Beattie

published by headpress

the Hell hound Sample

the debut novel by Charles Shaar Murray

James ‘Blue’ Moon, the greatest living bluesman, was ten years old when he saw Robert Johnson playing on a street corner. Now, more than seventy years later, he’s dying of cancer. His last wish is to reunite his estranged family – his soul-diva daughter Venetia Moon and his grandson, hip-hop mogul Calvin ‘Ice Blue’ Holland — for one final album. Enter his former protégé, hapless British blues-rock superstar Mick Hudson, who has unfinished business with all three of them, plus a posse of vengeful gangstaz and a mysterious figure with whom Blue struck a deal one dark, bloody night at a haunted crossroads back in his native Mississippi Delta. It’s a potent mix of secrets, nightmares and lies, spanning decades and continents. James ‘Blue’ Moon has one last chance to escape the hellhound on his trail… if the cancer doesn’t get him first.

You never Get out of these blues alive.

Award winning music writer CHARLES SHAAR MURRAY has been appearing regularly in print for four decades, and has long been recognised as one of the most admired stylists in British pop-cultural journalism. He is “the rock critic’s rock critic” (Q magazine), a “front-line cultural warrior” and “original gunslinger” (Independent on Sunday). The first two decades of his journalism, criticism and vulgar abuse have been collected in Shots From The Hip. He is the internationally acclaimed author of Crosstown Traffic: Jimi Hendrix And Post-war Pop and Boogie Man: The Adventures of John Lee Hooker in the American Twentieth Century.

This is his first novel. It’s a killer.

“ Rock novels often shy away from the music, but this one comes alive every time someone strums a chord or opens their mouth to sing... Fans of the music will enjoy Murray’s spirited homage.” The Independent

In conversation with Vicky Martin

Robert Randolph is known for his albums with the Family Band. He brings a refreshing mix of Gospel and Blues on his new album ‘We Walk This Road’,a highly contemporary sound with Robert’s rootsy lap-slide guitar to the fore. Randolph comes from a church background and came to the whole range of Blues / Roots / Rock quite late in life. His account of arriving in the musical mainstream is both fascinating and challenging.......

BM: Robert, you may well be a new name to those who mainly follow Blues, tell us how you would describe your music?

RR: Well it’s got some of the Blues there – I grew up in church so it’s got the gospel thing; the guitars – sort of Blind Willie Johnson, sort of Bo Diddley- meets all those kind of things. I toured with Eric Clapton and all those guys. That’s mainly been my background from playing in church but in the States we’re known as a mixture of it all – like a special soup – it’s got everything in, Rock, Blues (but) it’s got gospel. The real link to Blues is that we play with that energy, with a lot of soul and we let the music be uplifting and inspiring for people

You mention Blind Willie Johnson as major influence, he really did blend Blues with gospel, in fact he was a preacher wasn’t he?

Yeah he was, and for me, with this record ‘We Walk this Road’ it got me familiar with Blind Willie in the sense that some of those songs were ones that I was familiar with through re-recordings and through hearing them in church …and you play a lap-steel guitar?

Yeah, pedal steel, a lot of people are familiar with it through country music, or they might have seen, say, Ben Harper playing a lap steel or some other guys like Santo and Johnny [famous for 1960s hit ‘Sleepwalk’ also recorded by the Shadows around 1960 – Ed). In my church, which is ‘The House of God Church’ there’s a history from the 1920’s of guys playing it - they couldn’t afford organs and pianos in the poor South churches but could afford a little lap steel guitar that he would shine and carry and the chords and the voicings- we were taught to play behind the singers – to be precise and to play the same notes that the singers were singing…

So you had that call and response thing?

Yeah like a Blind Willie Johnson tune such as…(the name eludes me)

What tuning do you use on it?

It’s a mixture of E9 and E major 7th tuning - all that kind of stuff- it’s a bit whacky

You get quite a Rock ‘N Roll sound out of it… Yeah, I can pretty much do all sorts of things, over time, because it took a long time to come up with those tunings because you have four pedals and knee levers you have to use. Well, through the years I’ve been able to come up with a way to play – Country, Blues, Rock ‘N Roll, Gospel and a little Jazz…

Those things fuse together very nicely?

Well if you do it right, I guess!

That minor pentatonic running through lots of things Yeah…

The [Christian] gospel message is quite clearly running through the whole album though not actually preaching. Tell us how you think that would relate to the Gospel? The way Blues relates to the Gospel, is that what you’re sayin’?

Yes, the message in the album

The word ‘gospel’ means ‘good word’ anyway so the thing for me, especially coming out of the church and to have all these different influences for me to be able to write songs that give a good word – you know people may be depressedand whether things are right or wrong? It’s not up to us but to God above so for me, in terms of Blues and Gospel, the message has always been there in terms of energy, soulfulness, chord structures, it’s pretty much all the same…

How is it in America to be open about Christian faith? In England it’s kind of frowned upon in certain ways if

‘I tell people ‘man, if you wanna write some songs go to the Bibleyou got all these stories!’

you’re a Christian…how is it in the States? Can you be open with everybody?

Yeah, especially nowadays with so much going on – I mean, war and things like that. So many people are starting to turn to God and being more open about going to Church and being Christian whereas before, there was a lot of confused folk, a lot of lost and depressed people out there, don’t know which way is up and where they’re gonna end up. It’s great for me to be open and to be able to share some of that with some other people – if people are lost and they need some solid structure that they can build the rest of their life on. If I can be a help then that’s what I like to do.

T Bone Burnett produced the album – I’m a fan of his stuff – the Robert Plant / Alison Kraus album and Emmylou Harris & Spyboy were great – he produces a very distinctive range of sounds. I wonder if you might describe how he structures sound.

T Bone is really a big sound guru, he’s all about using the old school instruments and the old school way of recording but with new technology we can get more out of stuff. In old school you know the sounds of drums were better than today’s drums – so for instance, the guy who played drums; Jim Keltner, he records it this way. The guy doesn’t play too loud and it comes out real crisp…in terms of picking songs and singing he has a real quality about him that helps everybody sort of hone in and just allows you to be yourself because you know when you listen to it, it’s being recorded so well so you don’t have to fight too hard for it.

It’s all got a lovely sound about it, not that ‘over-clean’ sound that you get so often, he seems to capture the ambience of the room.

Yeah he gets that ambience, it’s all about the mixing- it’s a weird thing when you’re in the studio anyway – you can feel sort of isolated but T Bone helps you, it’s recorded well so when you hear it you feel comfortable no matter what you’re doing –singing or playing guitar – it’s always the hardest thing.

It’s much easier playing live than recording isn’t it?

Yeah, that’s right but when you hear the tone of my guitars on here; it’s so creamy and so good, it wouldn’t happen without him and his folks. It’s interesting what you said about T Bone bringing you a library of African / American stuff. It was cool for me, enabled me to listen to a whole lotta stuff that I’d never really got into; Blind Willie, Sister Rosetta Tharpe, and I started to get into Elmore James – a lot of stuff that I hadn’t really heard – because, growing up with church in the background, the guys who played pedal steel before me, those were like my Blind Willie Johnson and Elmore so I grew up only wantin’ to play like them. When I started to play clubs in New York, Jersey and Austin – all those places in the States –then people started to give me recordings like Hendrix, and that was (only) ten-years ago so all this stuff is new to me!

That must be really stimulating to come to discover – a whole fantastic body of music. Yeah it was really cool and that’s why, when I met Eric Clapton I was just like “Hey man how’s it goin’?” It wasn’t like this thing of “Oh wow!” cos I didn’t know his history – it’s not like I’d grown up wanting to meet him!

I met him once in Charing Cross Road, he recognized my face ‘cos I’d been at loads of gigs – he said “hi!” I recall asking him; “I hear you’re leaving John Mayall?” and asked who was replacing him so he said “Oh, a guy called Peter Green!” He was really friendly, how did you find him? He was really cool, one of those guys who’s done it all and he’s quite reserved these days but real nice to hang with and talk to, he’s just a real cool guy. I learned a lot from him-in terms of life – which mistakes not to make, ’cos we all make mistakes, eh?’

How did the people in church relate to you taking the music out into the world?

I had two little old ladies lecture me about that – it’s alright ‘cos they’re just over there in their small little box, they think the way they think anyway so…you ain’t gonna change that

I guess there’s always been some conflict between Blues and the church; Ray Charles comes to mind, he was severely criticised when he started blending gospel and Blues music. Now looking at the album and some of the people playing on it; I notice Ben Harper – I love Ben Harper’s stuff and that track ‘If I Had My Way’ is a cracker…

Well, like, we had to give Blind Willie Johnson a credit on the album, though technically it’s not the same song, we just used that loop that you hear at the beginning and we jammed to that for about forty minutes. Ben came in and said “wait a second” ‘cos I’d called him and said; “Hey man, I don’t know what to do with this song” – and he came in and said “Oh let me go man…I know exactly what this song is about”…so he goes into the booth and starts singing those choruses ‘If I had my way, I’d tear the building down…’ all those things…so that gave us the same Biblical line that we were doin’, but we could give people a real story…it turned out great!

It’s really good, the slide guitar on that is exceptional. Looking at the album you have very short segues –

samples of traditional gospel based music segueing into a new song – where did that concept come from?

That was between T Bone and Lenny Waronker, Warner’s producer – all those segues are what we based the songs on – so what we did was, we got the song ‘Dry Bones’ and we just looped that while everybody jammed…and at the time everybody’s playin’ all sorts a’shit – this ‘n that…

I bet there are some good out-takes?

Yeah, well that’s basically what it is, out-takes, once we’d got it we’d listen and take something sayin’ “Hey we got a song man” so we’d write the song and then record it to this pattern

I noticed a Bob Dylan song ‘Shot Of Love’ from around the time when he went through that conversion thing- that was the fourth album [Shot Of Love] in that series – an under-rated album that…

Of course – a lot people didn’t really like it ‘cos he was going in that direction, so they missed a lot of things there. But were kind of fortunate to have that track, we had it to listen to and I called him and said “Hey man, I’m gonna record this song” and he said “Just make it your own, that’s what Hendrix did anyway”. So that’s what we did, just made it our own sort of thing.

So you asked him permission to record it?

Yeah, we had to, but T Bone knows him…and Jim Keltner who actually played the drums on the [original] track - he played on the original version and played on our version – so he played it over thirty years ago and again with us

That song and album is chock-full of Biblical references and Dylan’ stuff, even now it’s full of underlying Biblical references

Of course – well that [the Bible] is where you get story lines from – I tell people ‘man, if you wanna write some songs go to the Bible’ - you got all these stories, how to treat people, how not to.

It’s an interesting thing about the Bible that the people portrayed there are exactly as we are…

Yeah, well what’s so weird and people don’t realise, that’s why I really like Black Sabbath because it’s got all those other stories; same Biblical stories but he’s got all these interesting songs. It ain’t the shit I’ll sing but it’s great!

The people that Jesus befriended; prostitutes, drunks etc, where would he go now if he came back? Probably to the roughest parts of our cities, looking through the album one song that struck us very strongly was ‘I Still Belong To Jesus’. It’s a powerful song and I wonder if you could tell us the background to it? Well, we were in the studio one day and this guy Peter Case called and said ‘Hey man I got this song and I’d like you to help me finish it and we can record it an do a version for you’ He played it and we talked and played it and it just sort of relates to my story – like you were sayin’ – coming out of the Church. How did they take it? I think a lot of people have that same story that we all forget – everybody seems to forget we are children of God – we’re all strivin’ to be this perfect person – so I can talk to the preacher man. In the song it says ‘preacher man points his finger at me’ and I can say “Hey man, it ain’t that serious”…

I related to that song – I remembered that somewhere in the New Testament it says that even if we are unfaithful He [God] remains faithful

Yeah of course

The story of the prodigal son – however far we drift…

Yeah, he’s still got a hand on you to let you know that ‘Hey, I’m here for you when you’re ready to come back…and…you know…live righteous’ (laughs)

What about the song ‘I’m Not Listening’ what’s that one about?

It’s funny you know but we had the music and we were looking for lyrics – and at the time we were watching a Presidential debate- and what it was about is all these politicians; when they want to get into office they’ve all got these fantastic speeches (on) what they’re gonna do and what they’re not gonna do and you know we’ve heard all that shit and everybody’s tired of it –we want the real deal – in America we’re tired of being lied to and I’m sure that in England you’re tired of being lied to so that song is written for anybody who wants to say “OK, enough is enough, we want the truth.” It’s saying; “so if you don’t wanna tell the truth, if you wanna half tell the truth…if you wanna keep on doin’ what you wanna do – then you can keep on talkin’ but I’m not listenin’”

Robert then talked about gang culture in US cities, Gangsta Rap and more. To hear his insightful and trenchant observations go to: www.bluesmatters.com

Steve Salter runs the website www.killerblues.net that is mainly a vehicle for his volunteer charity. Billy Hutchinson has been talking to the man, who has been instrumental in placing gravestones for such Blues greats as Big Maceo Merriweather, Walter Vinson, Luther Tucker, Washboard Sam, Henry Barbee, J. T. Brown and Little Johnny Jones. Steve has also made contributions towards headstones placed in honour of the McCoy Bros. Otis Spann, Willie Brown and Gatemouth Brown.

Where did your love of Blues start, and how did it blossom?

I started in the early 60s, listening to the radio and found myself exposed to all types of music. Groups like the Rolling Stones, the Animals, and Them really got my attention. Later, in the late sixties, I started to really study about music history in general. I found that many of the tunes that really moved me had old, black bluesmen as the composers. I felt I had to get to the source and began to research the blues in earnest. With very little money in my budget for records, I made my purchases only after learning all I could about the artist and their body of work, and reading what the critics had to say. My Blues collection started with ‘Big City Blues’ by Howlin’ Wolf on United Records, which I found in a crummy little record shop in the bad part of South Bend Indiana. I felt lucky getting out of there with my life let alone a rare gem. All the while, I was also trying to build my collection of Doo Wop, which deeply moves me and has its roots in the Blues. I was learning all I could about Soul, Jazz and Country. In the past, as now, I continue to buy reference and history books on all types of music, trying to learn all I can.

You have been a blues record collector. What do you especially like to listen to, and do you collect 78’s?

I like all kinds of Blues but I especially prefer Chicago Blues. I have a few 78’s but I don’t really collect them. I am especially proud of the Muddy Waters on Chess ‘Hoochie Coochie Man’ that I own and actually purchased in Clarksdale Mississippi. My standard response to people that question my musical preferences is this, “there only two kinds of music, “the kind I like and the kind I don’t like, my favourite being the kind I’m in the mood for”. Generally I like mellow Jazz on Sunday mornings and late at night, Chicago Blues in the evenings and country blues as it gets later in the night, during the day I usually listen to country or rock n’ roll. And, by the way, Chuck Berry is the one and only true King of rock n” roll!

With the likes of Skip Henderson and various Blues societies are already fundraising for Blues musicians’ headstones so what made you want to do it?

I just felt compelled to strike out on my own. There are so many that need headstones

It started with a letter to Blues Revue magazine asking for help in getting a proper marker for the great Otis Spann. Fans from all over the world sent in contributions to a fund established by the magazine, and a headstone was subsequently provided. I thought how cool that was and it really brought home to me the idea that one person can make a difference. It seemed the interest just was not there for doing the same thing for the lesser known artists, so I decided to see what I could do on my own. Sometimes an individual can get things done quicker and more efficiently than committees and organizations. However, I am always happy to help and cooperate with any individuals or organizations to get headstones for blues artists when I hear about their cause and I have contributed to numerous efforts, some who still have not received a marker

How often have you come across situations in which the exact location of Blues artists’ grave plots, have documentation within individual graveyards?

My experience has been that in the South, rural black cemeteries have few records, if any available. In the North however, the documentation is very good. The challenge is finding what cemetery the artist is interred. Often the death of an old Blues man had not been reported in the news, and if there was, there is seldom information on their burial. Many times, I’ve walked the entire cemetery (especially in the South where there is no office) looking for individuals and not finding them either because they were not buried there or had no marker.

In your experience how many of the gravesites you have found never had markers or perhaps had long perished wooden crosses?

I’ve never come across any wooden crosses although I have seen many simple metal markers holding a typed card with the name of the individual buried there. The funeral parlour usually places these, to assist mourners on burial day. The aforementioned are not viewed as permanent markers.

Stuart

Steve Salter talks to Billy Hutchinson about his quest for Blues grave markers.

I noticed your markers are all flat on the ground. Is that for easier graveyard maintenance?

The reason for that style is mainly the cost, and it definitely is easier to maintain in that format.

Tell us how you go about fundraising, and how interested are people in contributing?

For the past three years, I have put on a Blues Festival in my hometown and I sell my ‘Buried in the Blues’ Calendar as well as my ‘Blues in Me’ poster to raise money for headstones. I get a lot of interest in my endeavours and the occasional small contribution, for which I am most grateful. I would not have been able to place five headstones without help and support of many “Friends of the Blues”.

I see you run/ran a Blues merchandising stall at Blues festivals. Yes, in the beginning, that is how I generated income for my blues road trips searching for headstones. It was a great way to meet and talk with the people who would be most interested in what I’m trying to do. Now days there isn’t must interest in CD’s and festival fees were taking away from the money I would rather use to purchase headstones

Viewing your website, I see you are a regular pilgrim on the Blues highway. Can you share some of the experiences you have had? Wow! So many! One that particularly stands out was meeting Robert Johnson’s son and grandsons in Crystal Springs, MS. It was, by chance… on Robert Johnson’s birthday! The time I met with Johnny Shines’ daughter and granddaughter and they took me to visit is grave was a very special moment for me. Going to the Blue Front Cafe in Bentonia, Mississippi and meeting Jimmy Duck Holmes and having him set me up with a local to take to me the grave of Jack Owens all the while we discussed Blues history was just fantastic. More often than not, the trips down South are whirlwinds of days on the road searching for cemeteries, sometimes tucked away in fields of knee high weeds, on secondary roads out in the middle of nowhere. There have been many instances of help and kindness from strangers who weren’t blues fans, and never heard of the individual I was seeking to find that make my journeys so special. I always leave feeling burned out and wishing I had more time to pursue just one more missing Blues man’s grave to confirm he has a marker or to be able to place him on the “needs one“ list. I feel that if we don’t know at least where they are buried they are lost to us twice and I can’t accept that

I see Vincent Hayes the musician has been involved with your fundraising, tell us a little about that?

I first met Vincent while he was living down the street from me with some mutual friends. We were introduced through those friends, and it wasn’t long before we discovered a mutual passion for the blues-myself as a fan, and Vincent as a musician. A couple of years later he joined me as my assistant with the mobile version of Killer Blues, helping me with CD sales at blues venues in Michigan as well as the annual Bean Blossom Fest in Indiana. He was paying his dues then, playing mostly coffee shops, street corners and an occasional acoustic performance at a Blues festival here and there. Helping with Killer Blues, he met many of the artists who sold their merchandize at my table. Vince already was well into the traditional… the better-known stuff, but I helped turn him on to guys like Willie King, William Clarke, and all of the British Blues cats. Vince had a thing for Peter Green, who has become one of his biggest influences. Vince accompanied my wife and me to Chicago Blues Festival many times too, and I brought him along on a couple of my Mississippi Delta trips in early 2000. We used to hit the ‘Handy Awards’ on Thursday, and I’d have my course plotted out for headstone and juke joint treks for Friday and Saturday afternoons. At night, we’d hit Beale Street, and sometimes he’d bring his guitar and amp down to play in front of the Rum Boogie. He even has walked through a few cemeteries with me, searching for headstones. Over the years, Vincent has become very adept at self-promoting, and has grown his career to international recognition with his band The Vincent Hayes Project. He does all of his own behind the scenes work-ads, website, etc, so I when I started the headstone project I asked him to help me with the website and for some help with promoting the Killer Blues mission and name. I also asked him to be an official board member, as I value his input on the sides of the business where he is more connected. His band has played three times now at my shows at the Howmet Playhouse too, and we just did an ass kicking coming home show featuring his band and Chicago slide player Keith Scott. The Killer logo is also included inside the Vincent Hayes Project’s debut CD, Reclamation, which as you know was a 2011 BMA nomination for ‘Best New Artist Debut.’ He believes in and shares my vision, and understands the importance of honouring the artists who have passed

on, so in essence we are extensions of each other’s dreams, and a great support network for each other’s goals within the music. We are hoping that between Killer Blues, The Vincent Hayes Project’s music and Vincent’s independent label, North 61 Records, that we can not only let the blues world know that there is some good stuff happening in the blues in Michigan, but also that we can bring it out into the world. We do our part to give back to the larger Blues community. It’s our goal to both preserve the legacies of these deceased originators of the music, and to provide exciting new sounds that pay respect to the music’s foundations.

As we conduct this interview you told me you are working on a book, what can you let us in on?

The book is the evolution of the Buried in the Blues calendar, which started as a list of dates I had been collecting for years from album liner notes books and news articles. I decided to put them into a calendar as a daily reminder of the contributions made by the famous and not so famous in the blues world. It was also a way to raise funds to purchase headstones for blues men lying in unmarked graves. In 1997, on a road trip to New Orleans, I began seeking out gravesites of blues men and photographing their headstones. It was then that I noticed, with shock and sorrow, that many artists had nothing to mark their life. No physical reminder of the contribution they had made to the rich history of the Blues. After my return from the South, I formulated a plan to see to it that no Blues artist would lie in an unmarked grave. A letter to Blues Revue was the catalyst for a campaign to raise funds to place a proper marker on Otis Spann’s grave. The success with that inspired me to continue in the same direction but there didn’t seem to be any further interest from others in doing another one. That’s when I came up with the calendar idea that would list the birth and death dates of the blues artists I wanted to honour. It also gave me a way to share my photos of headstones and to get the word out about blues men either lying in unmarked graves or their unknown gravesites. The sale of the calendar helped to raise money for the headstones I wanted to purchase. After three years of publishing my calendar I began to have issues with the limiting sales opportunity, i.e. calendars are usually only purchased from October thru Jan. With that in mind I decided to change it to a book in which I could add more information and would be able to sell year round. The plan is to not only include the artists birth and death dates, but also the location of where the birth/death occurred as well as the instrument the artist played and where he was buried, if known. I am working on the final edit at present, and hope to have it published soon.

Billy Hutchinson

We have counted the votes in from the BM ‘team’ for the Poll many of you have asked us to do, and here ladies and gents are the results:

UK

Best Studio Album:

1. King King – Take My Hand

2. Ian Siegel – The Skinny

3. Todd Sharpville – Porchlight

4.Tied - Roadhouse – Dark Angel and Aynsley Lister – The Tower Sessions

In with a shout – Ben Waters-Boogie with Stu, The Spikedrivers-Front Porch Swing, Joanne Shaw TaylorWhite Sugar, Sean Taylor-Walk With Me, Hokie Joint-The Way It Goes Sometimes.

Best Live Album:

1. Aynsley Lister – The Tower Sessions

2. Tied - The Spikedrivers – Front Porch Swing and King Pleasure & The Biscuit Boys - Life At Last

In with a shout – Matt Schofield-Live From The Archive, Eddie Martin-Live At The Wharf.

Best Solo Artist:

1. Ian Siegel

2. Marcus Bonfanti

3. Sean Taylor

4. Matt Schofield

5. Eddie Martin

In with a shout – Geoff Achison, Davy Knowles, Chantel McGregor, Larry Miller, Joanne Shaw Taylor, Errol Linton, Gary Fletcher, Stompin’ Dave.

Best Band:

1.King King

2. Hokie Joint

3.Tied - Nine Below Zero and Black Country Communion

4. Matt Schofield Band

5. The Barcodes

In with a shout – Band of Joy, Sean Webster Band, Norman Beaker Band, Roadhouse, Billy Jenkins Blues Collective, 24 Pesos, The Stumble, The Producers. UK Record Label:

1.Nugene Records

2. Ace Records

3. Proper Records

4. JSP Records

5. Tied –Manhaton, Note Records, BGO, Document, Armadillo.

Best Vocalist:

1.Ian Siegel

2. Paul Cox

3. Connie Lush

4. Tied –Jo Jo Burgess, Marcus Bonfanti, Bruce Johnson, In with a shout – Chris Farlowe, Kyla Brox, Sandi Thom, Sean Webster, Harry Skinner, Joanne Shaw Taylor.

Best Drummer:

1.Sam Kelly

2. Dino Coccia

3. Wayne Proctor

4. Brendan O’Neill

5. Maurice McElroy

In with a shout – Jason Bonham, Pick Withers, Joe Banks, Boyd Tonner, Rob Townsend, Mike Hellier, Darby Todd, Simon Dring.

Best Guitarist:

1.Matt Schofield

2.Dennis Greaves

3.Tied - Alan Nimmo and Ian Siegel

4.Gary Moore

5.Larry Miller

In with a shout – Todd Sharpville, Sean Webster, Jeff Beck, Davy Knowles, JoAnne Shaw Taylor, Oli Brown, Norman Beaker, Bernie Marsden, Otis Grand.

Best Bass:

1.Andy Graham

2.Tied - Ian Jennings and Gerry McAvoy

4.Tied – Ron Sayer And Andy Graham

5.Fergie Fulton

In with a shout – Pino Palladino, Jack Bruce, Norman RoyWatt, Roger Inniss.

Best Keyboards:

1.Johnny Henderson

2.Ben Waters

3.Bob Hall

4.John Cleary

5.Tied – Bob Haddrell and Dale Storr

In with a shout – Paddy Milner, Steve Winwood, James Godwin, Dan Healy, Paul Jobson, Jason Rebello.

Best Harmonica:

1.Paul Lamb

2.Tied – Giles King and John O’leary

4.Paul Jones

5.Alan Glen

In with a shout – Giles Robson, Errol Linton, Peter Narojczyk, Will Wilde, Wes Weston.

Best Newcomer:

1.Ben Poole

2.Alex Mckown

3.Sean Taylor

4.Chantel Mcgrgeor

5.Lucy Zirins

In with a shout – Al Price, Diamond Joe, Aaron Keylock, BabaJack, Giles Robson, Simon McBride, Cherry Lee Mewiss, Grey Goose Blues Band, Jim Jones Review, Giles Robson.

Lifetime Achievement Vote:

1.Paul Jones

2.Peter Green

3.John Mayall

4.Norman Beaker

5.Tied - Nicky Moore, Robert Plant, Gary Boner, Bill Wyman, Georgie Fame, Kim Simmonds, Otis Grand

In with a shout – Jack Bruce, Bob Hall, Paul Lamb, Maggie Bell.

Losses of the Year: Gary Moore and Kevin Thorpe.

Best Blues Radio Show:

Paul Jones Blues Show – BBC Radio 2

The Blues is Back – Saint FM (Tim Aves)

The Blues Show –Bishop FM (Gary Grainger) Driving South – Phoic FM

Digital Blues – Gateway FM (Ashwyn Smyth)

INTERNATIONAL VOTES:

Best Studio Album:

1.Tied - Joe Bonamassa – Dust Bowl and Buddy

Guy – Living Proof

2.Big Shanty – Collection

3.JJ Grey & Mofro - Georgia Warhorse

4.Trampled Under Foot - Wrongside Of The Blues

5. Tied – Jimmie Vaughan - Blues, Ballads &Favourites, Ben Prestage - Real Music, North Mississippi AllstarsKey To The Kingdom, W T Feaster Band - Wish You Well, Jimmy Thackery And The Drivers - Feel The Heat.

Best Live Album:

1.Robert Cray – Cookin’ In Mobile

2.Jenny Bohman - Live At Mosebacke

3.Eric Bibb - Troubadour Live

4.Nina Van Horn - India Tour

5.Tied - Delta Wires - Live At 105 Degrees, Blue LunchSaxaphone Shootout 2, Derek Trucks - Roadsongs, Joe Louis Walker & Guests - Live On The Legendary R&B Cruise, Junior Wells - Live In Boston.

Best Solo Artist:

1.Eric Bibb

2.Joe Bonamassa

3.Derek Trucks

4.Elliott Murphy

5.Tied – Big Shanty, Earl Thomas, Anreas Roots, Jimmy Duck Holmes, Eryja Lyytinen, Ben Prestage.

In with a shout – Sue Foley, Otis Taylor, Jimmy Bowskill, Tad Robinson, Seasick Steve, Samantha Fish.

Best Band:

1.Tedeschi Trucks Band

2.Black Country Communion and Derek Trucks Band

3.Trampled Under Foot

4.JJ Grey & Mofro

5.Foghat

In with a shout - Too Slim & The Taildraggers, Hell’s Kitchen, Savoy Brown, Los Fabulocos, W T Feaster Band, Tommy Castro Band, North Mississippi Allstars, Mannish Boys, Tinariwen.

Best International Record Label:

1.Alligator

2.Dixie Frog

3.Ruf Records

4.Tied – Stony Plain, Proper Records, Mascot-Provogue, In With A Shout –Blind Pig, Delta Groove, Rounder, Delmark, Eagle Records.

Best Vocalist:

1.Janiva Magness

2.Tied - Big Daddy Wilson And Beth Hart

4.Tied – Robert Cray And Oliver Mally

5.Danielle Schnelbelen

In With A Shout – Earl Thomas, Charles Walker, Nico Bacton, Tas Cru, Dana Fuchs, Kim Wilson, Susan Tedeschi.

Best Drummer:

1.Tied - Steve Jordan, Jason Bonham, Butch Trucks

In With A Shout – Kevin Hayes, Kenny Smith, Bogie Bowles, Nikolaj Bjerre, Big John Maher, Kenny Aronoff. Best Guitarist:

1.Joe Bonamassa

2.Derek Trucks

3.Tied - Buddy Guy And Robben Ford

4.Tommy Emmanuel

5.Warren Haynes, Kim Simmonds, Bjorn Berge

In with a shout – Walter Trout, Jon Mayer, Rory Ellis, Joe Louis Walker, Monte Montgomery, Ben Prestage, Samantha Fish, Vidar Busk, Andrew Junior Boy Jones.

Best Bass:

1.Glenn Hughes

2.Carmine Rojas

3.Tied - Tommy Shannon And Gordon Sheridan

In with a shout – Jerry Jemmott, Richard Cousins, Bob Stroger, Tony Stevens, Pino Palladino.

Best Keyboards:

1.Lucky Peterson

2.Mike Finnigan

3.Tied - Honey Piazza And Jim Pugh

4.Tied - Mitch Woods And Derek Sherinian

5.Jon Cleary

In with a shout - Ray Manzarek, Gene Taylor, Bernie Worrel.

Best Harmonica:

1.Charlie Musselwhite

2. Kim Wilson

3.Jean Jacques Milteau

4.Tied - Rod Piazza And Alan Glen

5.Tied - Mark Hummel, John Nemeth, Harmonica Hinds, Wesley Van Werkhoven

In with a shout - Bob Corritore, Jason Ricci, J

Best Newcomer:

1.Trampled Under Foot

2.Jimmy Bowskill

3.Tied - Samantha Fish And Sean Taylor

5. Ndidi Onokwulu, Cassie Taylor, In with a shout – Monkeyjunk, Mama Rosin, Stefan Schill.

Lifetime Achievement:

1.Buddy Guy

2.Tied - B.B.King And Robert Cray

3.Bonnie Raitt

4.Tied - Dave Kelly, Otis Taylor, Kim Simmonds

5.Jimmie Vaughan And Gregg Allman

Losses of the Year:

Pinetop Perkins...........and (Little) Jenny Bohman, Norton Buffalo, Robin Rogers, Eddie Kirkland, Captain Beefheart, Jim Dickinson, Jeff Healey, Big Jack Johnson, Calvin Russell, Little Smokey Smothers.......and too many more.

Best Blues Books:

Between Midnight & Day The Last Unpublished Blues

Archive Dick Waterman, The History Of Texas Music, Composing Himself - Jack Bruce , Barrelhouse BluesPaul Oliver , Life - Keith Richards, Hell Of A Woman -Nina Van Horn, Hound Dog The Leiber & Stoller Autobiography, Preachin’ The Blues: The Life And Times Of Son HouseDaniel Beaumont, Moanin’ At Midnight: The Life & Times Of Howlin’ Wolf - James Segrest & Mark Hoffman.

Best Blues DVDs:

An Evening At Trasimo Lake - Ana Popovic Band, John Hammond: In Search Of Robert Johnson, Crossroads Guitar Festival 2010, Eric Clapton Crossroads Guitar Festival, Albert King/Stevie Ray Vaughan In Session, Ghost Blues - The Story Of Rory Gallagher, Cookin In Mobile – Robert Cray, Paul Butterfield Band - RockpalastBlues Rock Legends Vol.2.

MORE...

David Sinclair Trio Take Me There Critical Discs

Features contributions from Paul Jones, Robin Trower, Andy White & Richard J. Parfitt. Ten top new songs by the man who’s seen and reported it all

JJ Grey & Morfo Brighter Days

Alligator

Live CD/DVD from Alligator’s best-selling artist. The DVD is shot in HD with 5.1 surround and contains three tracks not featured on the CD, along with exclusive interviews and studio footage

Eric Bibb

Blues, Ballads & Work Songs

Opus 3

“An album I have been working on for most of my life. Its release coincides with my 60th birthday and it celebrates the music that first inspired me” Eric Bibb

For more information, news, competitions

proper Blues

Louisiana Red Memphis Mojo

Ruf Records

Recorded in Memphis, TN. after Red was awarded for his achievements as “acoustic artist of the year” at the Blues Music awards in May 2010

Hans Theessink

Jedermann RemixedThe Soundtrack

Blue Groove

Hans was commissioned to produce the soundtrack for the film Jedermann Remixed. Besides several Theessink originals there are songs by many legendary songwriters

Ana Popovic

Unconditional

Delta Groove

Widely regarded as one of world’s very best female guitar players, Ana’s sixth album, Unconditional was recorded at the famous Piety Street recording studios in New Orleans

and much more visit www.propergandaonline.co.uk

Interviewed by Clive Rawlings

thanks to Linda, Rose and Barbara)

The last few years has seen hen reaching a whole new generation of fans largely as a result of their incessant touring and also due to their songs appearing on such popular home video games as Guitar Hero 3, movies such as Dazed and Confused, Wildhogs, Bottleshock and Halloween 2. Their latest project, the Blues CD called ‘Last Train Home’ is the culmination of a dream shared by Roger Earl and Lonesome Dave. The band members took the time to answer questions put to them for Blues Matters by Clive Rawlngs.

BM: What attracted you to the Blues?

RE: There were certain records that just stood out and grabbed me. Like Muddy Waters, ‘LIVE at Newport’. That record is as vibrant today as it was back then. Howlin Wolf’s Smoke Stack Lightning pulled at anyone who heard it. Also of course, Jimmy Reed and John Lee Hooker. Attracted is not a strong enough word for how this kid from S.W. London really felt about American Music. I was bowled over, knocked out and hooked, and can’t let go. I would sit in my Dad’s converted tool shed and play along to these records until Mum would pull the plug…”You have school tomorrow you noisy little sod”. I loved my Mum and Dad.

BB: I, like many guitarists of my age, was completely blown away by the British Invasion guitarists. In particular those coming through, John Mayall’s Bluesbreakers. Eric Clapton, Peter Green, Mick Taylor. I loved the Jeff Beck albums with Rod Stewart. From the US side Johnny Winter and later Duane Allman were an influence. As I began studying their playing and reading about their influences I became aware of and interested in the seminal Blues players, Otis Rush, all the King’s, BB, Albert, Freddie, Muddy Waters..It’s a long list. I was attracted to the style because as a young player I understood the I-IV-V progressions of most songs and was able to play along with the records. Then I began to jam with some friends and we could actually play some of the tunes with feeling. It felt natural to me and I began to slowly improve from studying the styles of my favourite players.

CH: The cool way it is expressed, and especially when I was a teen and aspiring Rock singer and guitar player in the late 60s the British influence was overwhelming, from every angle.

Roger – any stories you can tell us about the days with Savoy Brown? Must have been a real buzz!

RE: Yeah, coming to the US for the first time ’67-68 felt like coming home for me. One of our first dates was in Boston (The Tea Party) we were opening up for Buddy Guy, WOW he was on fire that night. A local band called the J.Geils Band was on the bill. What a great ****in’ band they were. After that we did a number of shows with them. Tighter than a duck’s ass and that’s water tight. We would hang around a Club in Manhattan called UNGANO’S. Saw Bobby Blue Bland and other greats, Steve Paul’s Scene was another cool club.

Is there anything from that era that you played on that you are really proud of a stand-out track or two?

RE: Mike Vernon was the producer and Roy Baker the engineer. We were recording little Miltons “If I don’t love you Baby (Grits ain’t Groceries)”. It was the first time I had played live in the studio with this monster horn section, trumpets, trombones’, saxophone etc. Must have been fifteen or more and I’m in the middle with all these chart reading older jazzers and I’m maybe 21 and my second time or so in the studio. It went really well and afterwards a number of them came over to me to tell me how much they liked my playing. Got to play hard loud and tight and get it right. Mike Vernon and Roy Baker got great drum sounds (they used the room). Actually there were a lot of songs we played with Kim, Chris and Dave that I was very proud to be on. Chris Youlden was a great Blues singer and songwriter. And thank you to Kim for giving me my first break. I grabbed it with head, hands and feet.

BB: I am very proud of all the work I did for King Snake Records over the years. As a session guitarist and engineer there I worked on 75+ releases. I am very happy to have been a part of furthering the careers of great young bluesman like Kenny Neal and Lucky Peterson, I worked on several of their first releases. As for a specific track ‘That Woman is Poison’ by Rufus Thomas was a fun track.

CH: I didn’t begin recording until ’78 and in a hard Rock format, but my heart was still in the Blues influenced late 60s Blues/Rock influence.

Who inspired you to play?

RE: Freddy Below, Francis Clay & Earl Palmer. They drove the music for me. But it was always the music that inspired me. I wanted to be in a band, man.

BB: I remember being huddled in front of the TV for all the rock and roll band performances on ‘The Ed Sullivan Show’ Beatles, Stones, Doors etc. I think that Christmas half the guys on my block got guitars as presents. Mine was a beautiful Harmony Rocket I. I was hooked from then on.

All Foghat photo by Arnie Goodman

CH: Late 50s rockers like Elvis, Buddy Holly and all the early rockers…then in ‘67 when I discovered Hendrix, Page, Clapton, Beck, etc. it was what I really wanted to do.

So your biggest influence is….?

RE: Chuck Berry, Chess recordings. That stuff just reached out to me. I would sit in my Dad’s Tool shed and play along with Chuck. I would sit there with speakers either side of my head. I was playing with Chuck.. YEAH.

BB: If I had to pick one I’d have to say Eric Clapton. I studied every lick on the Mayall and Cream albums. He had the most direct influence on my style.

CH: Probably Jimmy Page, his interpretations of the Blues and creating Led Zeppelin. Really was huge for me. There were many other favourites in the late ‘60s Rock genre not to mention the real American Blues creators like Robert Johnson, Willie Dixon, Muddy Waters, etc.

Any interests outside music?

RE: I’m very interested in Linda! I love to fish. I grow my own vegetables, tomatoes, herbs, etc. I love to cook and eat and I’m good at both. Oh yeah wine, we have our own brand of wine… Foghat Cellars from Central Coast in California. Our partner and winemaker, Steve Rasmussen is brilliant and so are the wines. I try to get out there for harvest to help pick grapes and punch down the wine. Great fun and the farmers and pickers are beautiful folks. I’m such a lucky bastard. Oh golf, Charlie has got me whacking the little white ball around. Thanks Charlie.

BB: Computers have always been a hobby for me. My first one was before the 286 chips came out. They have become so powerful now and so integrated into audio recording that it has become much more than a hobby these days. My recording engineering work at King Snake was all done very old school, 2 inch tape, Analog console and tube mics which worked wonderfully for capturing traditional Blues. I often think of what the late Bob Greenlee (studio owner and producer) would have made of the DAW revolution.

CH: I enjoy family, sports, and enjoying life with everyone around me.

Is there anything in music that you’d like to try that you haven’t done yet?

RE: The next record we start in January 2012. Charlie has already written some songs. I’ve got some ideas and Bryan’s just a genius. So I’m looking forward to doing that.

BB: I think an instrumental guitar album à la Jeff Beck is something I hope to do some day. The way Jeff plays with such personality, feeling and sheer virtuosity well.. he is an inspiration to all guitarists.

CH: Maybe get into jazz, as I truly enjoy listening to and watching players that have totally mastered the instruments. Love Miles Davis, post Bebop, ‘70s jazz fusion and all the repercussions that have influenced rock since the ‘70s.

What do you think is the general public’s perception of the Blues?

RE: I think everybody has different thoughts and opinions’ on that. I guess you would have to ask them. I know what I like.

BB: I think the success of stars like BB King, Buddy Guy, Stevie Ray Vaughan and others have given even the casual music listener a fairly good idea of what Blues music is. Like any music it can’t be appreciated unless you are exposed to it. That is the challenge for all blues artists, to get their music heard. Once a music listener’s interest in Blues is piqued I think there has been no better time than now to explore the genre with all the internet music sites and satellite and internet Blues stations. I’ll sit with iTunes and just bop from link to link it’s great for the listener and the artists.

CH: I think the perception is changing as the Blues ages and media expands its presence as a truly American iconic originality, such as Country and Western. It is accepted more now.

Can you expand on why, at one stage, there were two Foghat bands touring?

RE: Yeah, Dave left and moved back to England in 1985. I carried on playing; Dave came back around 1989-1990 and started playing as Lonesome Dave’s Foghat. We all got back together in ’92, I think. Dave and I always got on real well with each other. I mean I loved playing with him. But he didn’t always let you know what he was thinking or doing. But it worked out in the end. Also Dave gave us Bryan. Thanks Dave.

BB: Sure. Foghat was probably one of the hardest touring bands of the 70s and in the early 80’s Lonesome Dave decided to take a break and returned to England. Roger stayed in the states and continued to play and tour under a variety of

band names, the Knee Tremblers being my favourite. In the mid eighties Dave relocated to Orlando where we met and he decided to get back into playing and asked me to tour with him. Promoters always trying to get the best attendance at their shows would work the name FOGHAT into the advertising and so for a few years there was Roger Earl’s Foghat and Lonesome Dave’s Foghat. At the behest of the great producer Rick Ruben all the original members of Foghat reunited in 1992 and toured and recorded until Dave’s death in 2000. I at that time joined Molly Hatchet and toured and recorded with them until Dave asked me to rejoin Foghat in 1999 upon Rod Price’s retirement.

Bryan - can you tell us how you got from Wild Cherry and “Play That Funky Music” to becoming an integral member of Foghat?

BB: Ha-ha, that’s a long story! I’ll give you the short version. Growing up in Pittsburgh PA, an excellent music town especially through the ‘70’s, I played in a variety of local bands playing rock, blues and funk dance music. The city was teaming with great musicians and venues and most bands while being excellent cover bands were also writing and performing original music. Wild Cherry was an A list club band and primarily a rock band, we toured the tri state area of PA, WVA and OH. The early ‘70’s saw a musical shift to dance funk, disco and soul music with releases by The Commodores, Ohio Players, Earth Wind and Fire etc. In order to survive in the club scene we altered our playlist to include some of the hits of the day and began writing in that style. ‘Play That Funky Music’ is quite autobiographical, rock band turning to funk music, and we recorded it for the local market never thinking it would take off nationally. Thanks to the hard work of our small label ‘Sweet City Records’ out of Cleveland we broke in several radio markets across the country and the song hit #1 I toured and recorded 3 albums with them and slowly felt the need to return to the Blues rock genre where guitar playing was more a focus. I played in some excellent original music bands for the next few years but we never were able to land a recording deal. I decided to relocate to Florida to check out the scene. Once there I had the good fortune to meet Bob Greenlee owner of King Snake Studios and began to work with him. For 15 years we put out 5-10 Blues releases a year and it was a pleasure to record and release records for the independent market. We were creative and independent not waiting for a major label to ok budgets and releases and I was working in a genre I loved. I had at this time a band named ‘Blue House’ and we played quite an eclectic song list focusing on Excello style southeastern Blues, Lazy Lester, Lightning Slim, great stuff. Lonesome Dave Peverett, a Blues collector and historian as well as front man for Foghat, came to a show, jammed with us and we became fast friends. When he decided to tour again he asked me to come along.

I DJ at a local Blues club; when I play ‘California Blues’/ ‘I Just Want To Make Love To You’ it blows people away. Which Foghat song do you most enjoy playing live & why?

RE: I don’t know that I have a favourite song live. I enjoy all the songs we play. ‘I Just Want to Make Love to You’ has taken on a life of its own.

BB: It’s funny; ‘California Blues’ started out as a 20 sec intro to the song and turned into a 20 minute jamming extravaganza. We wanted to play a few verses in the original Muddy style but it’s taken on a life of its own now. My current favourite is ‘Terraplane Blues’ by Robert Johnson. We do a heavy rock Blues version which I love playing.

CH: ‘Slow Ride ‘is my choice because the people really enjoy it. It’s amazing how it makes everyone get up and dance. Fantastic stuff. Thanks.

Charlie - any interesting anecdotes from your time with Ted Nugent/Humble Pie?

CH: It was a tremendous learning experience and loved every minute of it. It was awesome being there to witness the frenzy and perform the music that is SO Timeless. Just glad to be a part of it all.

What are the future plans for the band?

RE: ROLL TILL WE’RE OLD AND ROCK TILL WE DROP. We are reviewing video footage from the past five years, or so and putting together a DVD from those (Official Bootleg Volume II) and as I said. We will start recording in January 2012 for a new Album (CD).

BB: In the words of Lonesome Dave “we’re gonna roll ‘til we’re old and rock ‘til we drop!” We just released ‘Last Train Home’ and are working on a DVD. Every winter we get together at Boogie Motel South our rehearsal/recording space in Florida and write and record. I think we will keep releasing new recordings every year or two. We like to play.

CH: We will keep on recording, performing and maintaining the tradition, which is SO important. We are very fortunate to be able to do this especially on a high level, and everyone is on board and ready to bring it.

And finally, what is your favourite biscuit?

RE: Jalapeño and Cheddar Cheese with shallots. Linda makes them great (my recipe though!) and English Biscuits… McVities Digestives.

BB: While you can’t go wrong with Southern biscuits and sausage gravy..I got hooked on chocolate HIT bisquits while touring in Europe.

CH: I like lumpy biscuits! haha

Part 2 (Post War) - by Michael Messer

To most Blues and Rock slide guitar fans, the post-war period (1945 onwards) is the most important as it not only documents the development of Blues slide guitar, but it includes the dawn of electric Blues and more importantly the most influential style of this music, the Chicago Blues. The history of post-war Blues slide guitar also takes us to Britain in the 1960s which I will talk about, but as the third part of my article is about the history of Blues slide guitar in Britain, I will only mention the British artists whose influences went worldwide.

As in my first article about pre-war Blues slide guitar where I cited Blind Willie Johnson and Charley Patton as the root of almost everything that was to follow, in this article I will approach it in the same way and that brings me to the two most important and influential post-war American Blues slide guitarists, Muddy Waters and Elmore James. These two musicians created a sound and played slide guitar in a way that although it had its roots in rural Mississippi Blues, was totally new, and via two British bands - the Rolling Stones and Fleetwood Mac, who exported that sound back to America and out to the rest of the world, Chicago Blues slide guitar is the root of all things post-war Blues slide guitar related.

Exactly where and When Muddy Waters first plugged a guitar into an amplifier is not really known, but what is known is that in 1948 he cut two songs for the Aristocrat label that were essentially the first electric Blues slide guitar recordings; ‘I Can’t Be Satisfied’ and ‘I Feel Like Going Home’. Both songs were reworks of acoustic solo Delta Blues material that Muddy had recorded a few years earlier for Alan Lomax. With a Gretsch archtop guitar fitted with a DeArmond pickup in ‘Spanish’ (open G tuning), accompanied by Ernest ‘Big’ Crawford on double bass and with the Chess brothers in the control room, Muddy Waters recorded his guitar in a way that at the time was unique with its slightly overdriven edgy tone that Muddy had developed while playing in the clubs in Chicago as a way to cut through the noise of a crowded barroom. ‘I Can’t Be Satisfied’ was released as the ‘A’ side and within hours of it going on the shelves in the stores it became a hit record in Chicago. Muddy was essentially playing a reworking of his song ‘I Be’s Troubled’, but in those intervening years from when he recorded it for Lomax, the structure had simplified into a straight twelve bar Blues and the licks played through a slightly overdriven amplifier had so much power and cut that it changed the way electric guitars would be recorded forever. The ‘B’ side of that record, ‘I Feel Like Going Home’ is also a rework of Muddy’s earlier acoustic work in Spanish tuning, but once again with the overdriven electric sound it gave the guitar so much more power. The sound of this track with Muddy’s stinging guitar solo became a trademark sound and was the first of many recordings that he made

in this style for the Chess brothers in the late 40s early 50s; ‘Mean Red Spider ’, ‘Streamline Woman’, ‘Little Geneva’, ‘Rollin’ and Tumblin’, ‘Walking Blues’, ‘Louisiana Blues’, and ‘Honey Bee’ are some the great electric slide guitar Blues that Muddy Waters recorded in this period. Muddy Waters continued playing electric slide guitar all through his life and there is no doubt whatsoever that through his lifetime he made some of the greatest Blues records of all time, but I believe it is these early recordings of him playing electric slide that are so important and definitive. Muddy Waters influenced everyone in Chicago and his influence on the whole world as a Blues slide guitar player is just enormous. The Rolling Stones were serious Muddy Waters disciples and it is through their music and especially Brian Jones’ slide guitar playing, that the new Rock audience were turned on to the music and slide guitar of Muddy Waters.

Elmore James was born in Mississippi in 1918 and only lived for forty five years. He died in Chicago in 1963 and is possibly the most influential of all post-war Blues slide guitarists. Elmore was influenced by the pre-war players; Robert Johnson, Tampa Red, Kokomo Arnold, and I believe....although it has never been documented, by Casey Bill Weldon and Muddy Waters. Although famed as being a Chicago Blues artist, Elmore actually cut many of his records for labels based elsewhere. An important part of Elmore’s story begins with him working in an electrical store in Canton Mississippi and using electrical parts from the store to enhance his sound, such as fitting DeArmond pickups to an acoustic guitar and according to Louisiana Red, using a hollowed out glass amplifier valve (tube) as a slide. Elmore James, backed by a full band that in many ways reminds me of soul bands, made a string of incredible Blues slide guitar records that arguably more than anyone else’s work defines the sound and mood of electric Blues slide guitar. His signature song ‘Dust My Broom’ is without question the most famous slide guitar riff of all and probably one of the most famous guitar riffs from any genre of all time. Tuned in ‘Vasterpol’ (open D tuning) and with amp turned up loud to get overdrive, Elmore played this and most of his slide repertoire up around the 12th fret where he mastered the art of picking out Blues scale melodies all from a few frets around the 12th. The melodies were not new, but the idea of picking the whole melody from around the 12th fret in Vasterpol tuning, rather than using the whole length of the strings to find melodies as Kokomo Arnold and Tampa Red did in that tuning, Elmore’s simplified and most effective approach was not only infectious to listen to, but it was also quite easy (unlike Muddy Waters and earlier slide players) to imitate. Elmore’s slide guitar sound on such recordings as ‘Dust My Broom’, ‘It Hurts Me Too’, ‘The Sky Is Crying’, ‘I’m Worried’, ‘Done Somebody Wrong’, ‘Fine Little Mama’, ‘Shake Your Moneymaker’, ‘Something Inside Me’ and many others are among the most important recordings in the history of slide guitar as they influenced among others, Duane Allman (Allman Brothers Band) and Jeremy Spencer (Fleetwood Mac), who in turn took Elmore’s sound and introduced it to a new audience. Although Duane’s sound and approach was influenced by Elmore James, it was on the first Fleetwood Mac album that Jeremy Spencer with his incredible covers of Elmore’s songs and his superb imitations of Elmore’s guitar style that really took Elmore James’ music to the new Rock audience. I will talk more about Jeremy Spencer is part three of this series of articles, but his importance in the history of Blues slide guitar and turning the world on to Elmore James cannot be under-estimated.

The post-war period of Blues slide guitar is actually more difficult to write about than the pre-war, because apart from the introduction of electric slide, there has been less innovation in this period than the earlier one. There have of course been many incredible Blues slide guitar players and this point I will name some of them; Robert Nighthawk, Earl Hooker, Louisiana Red, Hound Dog Taylor, Rory Gallagher, Bonnie Raitt, Eric Clapton, Roy Rogers, Derek Trucks, Al Wilson, Mississippi Fred McDowell, Johnny Winter, Lowell George, Bob Brozman, John Hammond, Jack White and Ry Cooder. I could single out any one of those musicians and enthuse about their playing, but for this article about important influential ‘Blues’ slide players I have to talk about Ry Cooder, who in the 1960s played with Taj Mahal and Captain Beefheart, did sessions for the Rolling Stones and later in the 70s with Little Feat playing slide guitar on their classic ‘Willin’. Cooder has played slide guitar on many great recordings, but it is his contribution to Blues slide guitar that I am focusing on and with that in mind, the most influential and possibly most important piece of slide guitar that Ry Cooder has recorded is his soundtrack to the ‘Paris Texas’ movie. Based on Blind Willie Johnson’s ‘Dark Was The Night, Cold Was The Ground’, the ‘Paris Texas’ theme recorded in 1984 and played in Vasterpol (open D tuning) is pure acoustic Blues Spiritual slide guitar and its influence on the world of Blues slide guitar cannot be under-estimated. I remember that in the mid 80s there wasn’t a slide guitarist on the planet that didn’t have a version of this piece in their repertoire. It also inspired countless guitarists to pick up a slide and try to play in that style. The Ry Cooder ‘Paris Texas’ soundtrack is one of ‘the’ moments in post-war Blues slide guitar.

This article is limited in the fact that I cannot write about everyone, so another name that I will single out from that list is Bob Brozman.

Although not a mainstream artist or by any means a pure Blues player, his influence at grass-roots level on acoustic Blues slide guitar playing throughout the world is enormous. I remember when Bob first started to get known in the late 1980s that almost every acoustic Blues slide player was affected and influenced from seeing him perform live. What he was playing was not new, but it was the first time for so many slide players and acoustic Blues musicians that they had seen anyone close up playing in that way with such mastery, control and technical wizardry. Bob does play slide in Vasterpol (open D tuning), but most of his slide playing is in Spanish (open G tuning) and it is his covers of classic Blues by artists such as Robert Johnson and Charley Patton that impressed and influenced so many slide and acoustic Blues musicians. There is no doubt in my mind that in the history of acoustic Blues slide playing and how much he influenced slide players, that there is a ‘before and after seeing Bob Brozman moment’ that cannot be overlooked.

Although primarily known as an electric guitar gunslinger and for his wonderful production work with Muddy Waters, I believe that via his occasional and incredible acoustic Blues recordings, Johnny Winter has also been a major influence on post-war acoustic Blues slide guitar, far more so than he and many Blues historians realize. Along with Son House, Johnny Winter was certainly one the key figures who turned me and many others on to playing acoustic Blues slide on a National guitar.

Johnny Winter’s liquid style, weaving his way through songs such as ‘Broke Down Engine’, ‘TV Mama’ and ‘Bladie Mae’, are just about as good as it can get, and not only did Johnny, a mainstream artist, turn thousands of people on to acoustic Blues slide guitar, but he also turned as many people on to playing acoustic Blues slide on National guitars. However, it goes one step further than that, because as well as his own solo recordings, he also recorded two acoustic songs where he plays slide guitar with Muddy Waters on two of Muddy’s most famous songs, ‘I Can’t Be Satisfied‘ and ‘I Feel Like Going Home’. Johnny’s slide guitar playing in Spanish tuning on these two cuts is extraordinarily good and in my opinion these are two of the greatest acoustic Blues recordings ever. Johnny’s playing on these two cuts is superb and although the playing is based on Muddy’s originals, they are in no way copies or regurgitated versions of Muddy’s guitar playing. Johnny brings new life to this well trodden path and he does it so well. I have no doubts that Johnny Winter is one of the major figures in the history of post-war acoustic Blues slide guitar.

I will now focus on one of the older acoustic Blues musicians who is so important for his post-war contributions to the world of Blues slide guitar, Son House. I am not going to talk about Son House’s life and his classic pre-war recordings as that is not the subject of this article. I am just going to focus on his 1965 sessions recorded by John Hammond Senior, which for so many people have got to be the most important post-war acoustic Blues recordings. Playing a 1930s National guitar in Spanish and Vasterpol tunings and singing with an intensity that is rarely heard on studio recordings, in 1965 Son House redefined the art of playing Delta Blues and in the 46 years since its release, via these recordings Son House has turned tens of thousands of musicians on to the idea of playing Blues on National guitars. Possibly the most amazing part of the whole story of the rediscovery of Son House is that after so many years of not playing music, he was unsure if he would be able to sing again and he was even more concerned that he could no longer play the guitar, or remember how he played his repertoire of songs. This is where the guitarist best known for being a member of Canned Heat made his most important contribution to the history of post-war Blues and Blues slide guitar, because it was Al Wilson who re-taught Son House how to play Son House!

The most famous and influential slide guitar recording from these sessions has got to be ‘Death Letter’. Played in Spanish tuning in a style so old and primitive with a copper slide scratching out the notes and Son’s preacher-like intense vocals about losing a loved one and battling between good and evil, that the listener is not only transported back to Mississippi in the early part of the twentieth century, but is also touch and moved in a way that very few recordings can do. This intensity and power is so infectious that it has caused numerous musicians all over the world, including myself, to pick up a National guitar and play Mississippi Delta Blues.

This brings me to end of this article and leads me into the next and last chapter in my little potted history of Blues slide guitar for Blues Matters, which because of where we are and who we are, is going to be ‘The History of Blues Slide

Son House

Releases with a Blues vision

BERT JANSCH CONUNDRUM

The Guitar Artistry Series; The Concert 1980

I don’t know if this has ever been released previously, but it is a new release under a new banner title from the famous Stefan Grossmans guitar workshops, so it comes with a good pedigree. Although Bert Jansch is not exactly known as a Blues player, he has inspired so many people over the years that I was looking forward to this release. The concert was filmed in Athens Ohio, and has an audience made up largely of very folky types with beards and thick glasses, a lot of whom are sitting on the floor. Conundrum consisted of Bert Jansch on acoustic guitar and vocals with Martin Jenkins on violin and what appears to be a bouzouki with a supercharger! ( It has 2 Gibson humbucking pickups fitted) and Nigel Portman Smith on bass. Now I have rarely seen or heard anything from Bert Jansch, but his legend and reputation preceded him, and I was quite keen to sit back for a guitar treat. In that I was disappointed, because it is quite a disjointed, rather informal rambling concert, with both Bert and Martin smoking on stage, a sight that you wouldn’t see today! Of the playing, I have to say that I was much more impressed with Martin Jenkins on violin and the rocket fuelled 8 stringer, as bert didn’t actually do much of the standard that I was expecting. As it is a Stefan Grossman DVD, I was half expecting some close up shots of finger positions etc., but no. The extra features include Bert & Martin playing in a small venue in Stockholm, and then there is a documentary recorded with a German interviewer,and it is once again quite a scrappy piece of work. There is undoubtedly some fine playing on here, but it wasn’t what I was expecting, and as it was recorded 21 years ago, I would expect that most of the material is already out there in some form. No sorry, but this one is definitely just for the fans.

Dave Stone

this to offer blues fans? Well Davis music was drenched in the blues – he wrote one of the greatest jazz blues ever – the 6/8 ‘All Blues’ which was on his album ‘Kind of Blue’ which has become the biggest selling jazz album ever. There are great blues dotted around his canon – ‘No Blues’ on ‘Live at Carnegie Hall 1961’; and a classic blues the title track of his 1983 album ‘Star People’ and those are just for starters. As for blues rock, well try his album ‘Jack Johnson’ and listen to John McLaughlin’s guitar that really does push the envelope. But on this collection we don’t get Blues as such – what we do get is large slices of Miles Davis later period funk – it s got the blues in it but it’s not blues – the bass lines are so simple yet so funky – the percussion is amazing. So why should blues fans buy it? Well its damn good music to listen to – if you’re a guitar wannabe just try improvising along to some of this – if you let go of preconceptions you’ll get a lot from doing that. Musicians and young blues rockers in particular will find a fertile source of ideas here – watch where the bass notes are placed –listen to the cross rhythms of the percussion-note the economy of the solos-and note how much of the music is so far apart yet so tight – everybody in the band playing and listening. Yet most of all it is just a really good close-up on a master musician. It contains two special gems – a late career performance of Davis’ classic work ‘Sketches of Spain’ and a fascinating interview with Miles’ friend Carlos Santana - highly recommended and great value for money.

Vicky Martin JOHN FAHEY

MILES DAVIS

Live at Montreux – The Best of Miles Davis Live from the Montreux Jazz Festival

Eagle Vision

This 120 minute DVD features highlight’s of Miles’ appearances from 1973 to 1991. Miles Davis was arguably the most consistently innovative jazz musician ever – from his involvement with Charlie Parker in the Be-bop era in the late 40’s and early fifties through the birth of hard bop and cool jazz in the fifties and early sixties, the coming of jazz rock, fusion and jazz funk – he was at the fore-front of it all. He once said ‘I never look back if I do I’ll die’ and he never did look back he innovated from start to finish. What has

The

Guitar Artistry Series; On The Sunny side of the Ocean

The second of the latest releases in this new series, and I have to say that I had never heard of John Fahey, but I was quite intrigued by the comprehensive sleeve notes. The cover photo shows a grey haired, balding bearded man ( Rather like me) peering out from between two acoustic guitars, so I was surprised when the opening numbers show a clean shaven, dark haired young man playing some fantastic finger style acoustic guitar. The presentation on this DVD is different to the Bert Jansch one, as it consists of the present day John, sitting in a concrete block walled room, talking to the camera in between a series of films of him playing at different stages of hair loss and beard growth. That is not to detract from the awesome skill of this man. Normally, I would listen and watch a few bars and then speed up until something else was on, but I have to say that I was so fascinated by the playing, that I sat and watched it in its entirety twice through!

John plays his own unique finger style versions of anything

THE DUKEROBILLARD BAND

TheDuke Robillard Band returns with a collection of the high energy uptown and lowdown blues that Dukeis so fond of, some of which he learned when he was a teenager! A dynamic album that brings out Duke’s ‘wildest’ guitar playing and singing yet. These ‘direct to 2 inch tape’ tracks have agreat feeling of urgency.

To be released on sep. 12th

that he likes from Folk, through Country and Blues to Classical, and he mixes them all up! I don’t think that I have ever seen or heard anything quite like it before. As if that weren’t enough, he was responsible for tracking down Skip James and bringing him out of retirement, as well as playing and recording with Bukka White. If that wasn’t enough, he has written a technical treatise on the works of Charlie Patton and was instrumental in the formation of Canned Heat! The camerawork is such that you can pick up a lot of information from the fingering close ups, and there is at the end of the main part, a TV interview with some guy called Christian Roebling, but John says that he is in a mild trance state, and certainly seems to be somewhere other than the studio, and the whole thing finishes off with a guitar lesson where John spends some time demonstrating how to play a nice blues piece that he calls Some Summer Day. There is also a PDF Tab file, but as usual, I couldn’t find it! This is not a true tuition DVD, but for anybody interested in finger style guitar, you will have to go a long way to find a better exponent than this. Absolutely awesome!

Dave Stone

David Gogo is one of Canada’s hardest working blues-rock guitarists. His brand new Soul-Bender album features great Gogo originals and a few covers that run the gamut of his influences (Procol Harum, Elmore James, The Doors, Michael Jackson), all infused with a Gogo twist!

To be released on sep. 12th

DFGCD8708

DFGCD8711

BOOK REVIEWS

BLUES READING MATTERS!

From Timbuktu to the Mississippi Delta

Pascal Bakar Thiam Cognella Press

This is a comprehensively deep study of the migration of musical rhythms and styles across the oceans from Africa to the Deep South. For social anthropologists, it is a fascinating chronicle of evolution, development and polarization. For those who like their Blues more simple, unchallenged and unexplained, it perhaps may be a little too weighty. Bu that does not decry it in any way – it has plenty of muchrespected academic support. The book really took off for me when it studies the ear after the music had mutated and remodeled to serve the black slave community; at this stage Dr Thiam steps on more familiar territory and my own enjoyment of the book benefited accordingly. Evaluating the start of “minstrelsy” and “blacking up”, the author suggests that the “cultural threat to European hegemony in the United States begins within the African American community, thus the need for a concerted and co-ordindated effort to debase the progenitors and their contributions.” Therein in a nutshell is the story of the suppression evident within the Blues which has been covered elsewhere in these pages. That part is clear, but I confess to occasional bafflement concerning the use, appropriateness and quality of the many illustrations within this book. Some, including photographs and facsimile documents relating to early years of the US slavery trade are truly absorbing and distressing. Some others are bewildering. I humbly suggest that the enjoyment of those who are comfortable with the thesaurus –demanding academic style will not have their enjoyment enhanced by a photograph of “Young Americans dancing at the Disco” a Malian looking “out of his window” and one or two others that seem somewhat gratuitous. This is not the main problem, however. One hope and assumes that our preview copy is a prototype and not representative of what may be available to buy, since some of the photographs and maps in particular are very poor in quality; several are so blurred they are unintelligible and surely it must be possible to produce better reproductions of the famous and familiar photo of a smiling, cross-legged Robert Johnson. This is a real shame – a weighty and academic piece of

work been reduced by some production issues. If you like the sound of this, and the read is generally worth it despite its scholarly nature, I hope your copy has more clarity and focus than ours did. Don’t judge a book by looking at its photographs.

Richard Thomas

GOOD TIME CHARLEYS: Tough Tales from Rhythm & Blues

Roy Bainton

www.lulu.com

Roy Bainton’s chronicle of misdeed, mishap and doubledealing is both meticulously researched and presented in a way that reflects a clear frustration at the injustice of it all. It is, at times, an uncomfortable read since it covers ground that others may have shied away from – at times I felt rather ashamed of being white, other times I almost felt ashamed of being human. These are stories of how once in a while white rips off white and how occasionally black fleeces black - Bainton qualifies this early on by conceding that avarice is not exclusively a white man’s trait. Most regularly though, it is white that roughhouses black out of what is due and deserved ; this will be no surprise to anyone with any interest in how the music we love developed and evolved from the plantations to pop charts. Legendary bluesman W.C Handy was apparently on the wrong end of a simple scam by notable publisher Theron Bennett and his accomplice, convincing him that his composition ‘Mr Crump’ was “a turkey”, giving him $50 for the copyright while their printing presses were seemingly overheating to keep up with demand. Such dodgy dealing was commonplace; behind every honest talent who wanted to entertain there was a Machiavellian, hand-wringing schemer looking to line his own pockets. The author puts it more succinctly than I, suggesting that “for the black musician, Jim Crow was still beavering away in the backroom, ready to rip him off”. But it wasn’t just the hims that got the rough deals – the hers didn’t fare any better - legend Ruth Brown was once dragged from a toilet in Alabama, mid- ablution, because it was for “white ladies only”. Some media empires still thriving today will hopefully be a little shamefaced at some of the revelations in here ; there are a number of featured lowlifes who one would hardly wish to encounter in a dark alley, across a desk, or indeed anywhere at all. Most heartbreaking is the tale of Arthur Crudup, author of some of Elvis Presley’s greatest hits, including ‘That’s Alright, Mama’. The good-natured, boyishly naive victim of a shyster called Lester Melrose, he toiled for peanuts while Melrose muscled in on writing credits and enjoyed a high rolling lifestyle, leaving Crudup with the prospect of having to sue Melrose’s widow to get any of his dues, despite the opposing legal team virtually admitting culpability. “Naked I came into this world, and naked I shall leave” was Crudup’s dignified conclusion. His family have since been paid some of the millions he was owed, but it hardly seems suitable recompense. I am in awe of the detail and narrative; the only discordant note I can sound is one echoed by the author himself in his acknowledgments – when publishers show little interest in your work you can go it alone, but high costs and

The formidable impersonator of Skip James inthe Wim Wenders film Soul of a Man is back with a Delta-oriented album that mixes blues with gospel hymns, folk songs and country music. Acolorful, deeply personal set written, produced and executed by Keith himself…!

Tobe released on sep. 26th

THEDELTA SAINTS

bureaucratic copyright laws can hamper progress – this deserves a more lavish production and the final product is not quite equivalent to the standard of what’s inside. If you have a social conscience about the Blues, or you care about social justice per se, you must read this book. Highly recommended.

Richard Thomas

LIL’ CHOO CHOO JOHNSON, BLUESMAN

Bryan Krull Dogear Publishing

SWAMP BLUE S N ASHVILLE FROM

The Delta Saints have spent the last few years cultivating a serious buzz and a strong fan base around Nashville and throughout the American southeast. With their special brand of Blues, Swamp music, revisited Southern Rock and Funk, they epitomize a new generation of artists bearing the torch of glorious bands such as The Allman Brothers or The Black Crowes.

To be released on sep. 12th

The curate’s egg was good in parts and so is this. It’s a thoroughly enjoyable read, but with reservations. Fiction on its own – terrific. Fact by itself – super. But is mixing them like blending brown sauce and caramel? Which is the sweet and which is the savoury? Which bits are real and which bits aren’t? This book places a fictitious guitarist, Lil’ Choo Choo Johnson, in the lives and times of the big hitters of Blues history, like a musical Forrest Gump. It took me a while to work out a way of enjoying it, and I suggest that if you do the same, reading this will be time well spent. Take it as a story, and separately take it as loose guide to Blues history, taking the two narratives simultaneously. Try to distil the brown sauce and enjoy it, and do the same with the caramel. Realise that Lil’ Choo Choo isn’t real, and that his virtuosity on the guitar wasn’t the real inspiration behind Robert Johnson’s star quality, and not some deal with the devil. Son House, Howlin’ Wolf, Charley Patton all existed, and all existed a bit like this, but artistic licence roves unrestrained. All the major milestones are noted, with Lil’ Choo Choo’s story interwoven with real events – the death of Robert Johnson, the early days of Dockery’s Plantation, the War, the exodus to Chicago, Chess Records, the rebirth of blues and the start of European interest. Some early passages, like the early part of Lil’ Choo Choo’s life are truly moving, especially the early part where his father, realising the boy has a musical gift, gives him a guitar and entrusts him to his ne’er-do-well but equally talented uncle, all the interests of realising his dreams. He is cared for by a series of characters before Son House and Howling Wolf become in loco parentis, part tutors, part parents, and possibly blueprints of lifestyles to be avoided. It’s all there, and told simply with no frills, with plenty of detail for the track listing anoraks, and enough pathos for those who enjoy a good cradle-to-grave yarn. Please look past my lukewarm comments about the concept; there is plenty to like. It’s a conformable length and you won’t need to take a week off to savour it. Despite all my grumping, I read it in one sitting, long into the night because I couldn’t bear to put it down. You can sell the moonshine and taste the sawdust. Novel, interesting, evocative and strangely addictive. Be careful not to oversleep like I did.

Richard Thomas

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Speaks to Vicky Martin

Mick Simpson is an unsung hero of the music world. Within the industry he is widely acclaimed however in the outside world not a lot is known about his work. In the early 1980’s Mick worked as a session guitarist and was spotted by Elkie Brooks who asked him to tour in her band Vinegar Joe. Radio One’s Tommy Vance spoke to Mick backstage after a gig and as a result he played some of Mick’s original instrumental tracks on his Friday Night Rock Show.In the 1990’s he worked with John Parr of ‘St. Elmo’s Fire’ fame, featuring on his album ‘Man With A Vision’. A number of tracks from his album have featured on smash hit films such as ‘Running Man’ with Arnold Schwarzenegger and ‘Three Men And A Baby’ with Tom Selleck. Mick then toured with ex Rolling Stone Bill Wyman’s ‘Rhythm Kings’ and in 2004 his original track ‘Fathers Son’ won the International Song Writers Award sponsored by ‘The Brit Awards’. The track received TV and Radio coverage along with Mick’s track ‘Looking Through My Eyes’ which was released to raise money and awareness of Autism which is a cause close to his heart. In June 2005 Mick guested at the 80th birthday of blues legend BB King at his blues bar in New York. He has also played alongside Gary Moore and Snowy White. After a well earned rest Mick is back working with his band concentrating on his original tracks from the forthcoming album ‘Hard Road’ as well as the best loved Blues/Rock greats.

Your album ‘Hard Road’ was released earlier this year, after a long-time in the biz, how did the album come about? Well, after many years of doing session work, and as a sideman / guitarist, it’s been a progression over the last couple of years to establish myself as an artist in my own right.

The songs – are they relatively recent or have some been with you a long-time?

The majority of songs on ‘Hard Road’ were written for the album with the exception of ‘A Fathers Son’, ‘Looking Through My Eyes’, ‘Badlands’, and ‘Someday’, they’ve been around for a while. As far as the new songs go I was backtracking through the old blues collection for inspiration. I listened to stuff from people like Lonnie Johnson, Blind Lemon Jefferson, Lead Belly, Blind Blake, Son House and of course Robert Johnson, this led me to write ‘Can’t You Hear the Wind Howl’, a track inspired and dedicated to Johnson, which was aired on the Paul Jones BBC radio show earlier this year. The show was dedicated to Robert Johnson, as it would have been his 100th Birthday, and for my song to be played alongside other artists like Clapton paying homage to Johnson was a real honour. A big thank you to Paul and Radio 2, the track reached number 31 in the iTunes Blues Singles Chart on the back of this airplay.

I note your web-site is ‘The Mick Simpson Band’ but the album appears to be just you and Andy the drums sound as if programmed – is that correct – how did the bass parts come about?

The drum tracks were programmed, however many of them use live drum loops to give it a realistic feel. Andy graced his talents on the bass.

Did you make the album with a view to forming the band (in full) after it?

The band was already formed, although the line-up does change from time to time due to other commitments of the band members, as they are full time pro musicians. It was always our intention for this album to be a studio based project with me and Andy covering all the instrumentation and production, the idea was to take the songs out on the road with the band at a later date.

The regular line-up is Ian West on Drums, Emillio Montouri on Bass and Ben Trott on Rhythm Guitar.

What are your current activities in music?

Both myself and Andy write music for film TV and media, we’ve had tracks feature in the movie soundtrack for ‘The Number One Girl’ starring Vinnie Jones, the US TV series ‘Medium’ and a Canadian News show called ‘Tele-Journal’. We’ve also written stuff for Nintendo and Playstation games Other than that I still do the odd bit of session work from time to time and I’m a guitar demonstrator for Tokai Guitars in the UK, performing at trade shows and exhibitions.

So, referring to your publicity - what’s it like to be an ‘unsung hero of the music world’ and are you looking to change that view of you?

I’ve had recognition and encouragement from other artists such as BB King, Gary Moore, Snowy White, and Buddy Whittington, maybe that view has changed.

How would you describe the album (stylistically?)

Well, I didn’t want to do the typical Blues album, there’s also Rock influences in there as well, I just wanted to make the album interesting. I think that there’s something for everybody, even the songs that have a more commercial edge have different shades of the Blues within them.

The publicity mentions – the song ‘Looking Through My Eyes’ as being released to raise awareness of autism –can you tell us any more about that?

My son Connor is autistic, although his condition is at the lower end of the spectrum, it’s still life changing for him. The song came about when the autistic group that he used to attend ran in to difficulty over funding, so we released the track to help generate funds. The song is about how people perceive him through his eyes.

How much of you is in the songs?

As a songwriter you always draw on life’s experiences, so I suppose there is a lot of me in the songs.

We’d like to hear about your musical influences / stylistic / your guitars and set-up, etc.

At a very young age I was lured into the Blues like some magnetic force, I’d only ever heard this sound in my head, what later defined itself as The Blues. I had no lessons or guidance from anyone. I guess my first real face that I identified with the guitar was Hank Marvin, listening to all the Shadows stuff and pretending to play the guitar along with it whilst it blurted out of the speakers on an old 8 track player in my Dad’s car. It wasn’t really until I heard the Jimi Hendrix album ‘Are You Experienced’ and the track ‘Red House’ that I had found my direction, the sound that I’d had in my head had been answered. My main influences have been Gary Moore, Eric Clapton, Buddy Guy, Jeff Beck, Peter Green, Stevie Ray Vaughan, Albert Collins and BB King. With regard to my style of playing people have compared me to Gary Moore, which I suppose is true, as he’s been such a big influence; however I’d describe my style as been closer to John McLaughlin and Al Di Meola with that fast alternate picking technique. As far as the gear goes I’m currently using a Marshall DSL 2000 100 watt head along with a Marshall 1959 Hand wired 100 watt head, going through two Marshall vintage cabs, via an A/B box, for guitars I’m mostly using a selection of Fender Custom Shop Strats and a Custom Shop 51 Relic Nocaster, along with that it’s Gibson Historic Les Paul 58’s and 59 standards, for acoustics I use a selection of Martins a OM28 V, a 1953 00028 Brazilian, and a 00028 EC Brazilian model along with a Taylor 414 CE LTD, and an early National Duolian resonator for slide, but I’ve got a whole bunch of other guitars and amps. I use very little pedals, there’s an old Ibanez Tube Screamer, a T Rex Mollor overdrive, a Dunlop Jimi Hendrix Wah pedal, and a couple of Line 6 pedals for delays and chorus.

How much gigging do you do? Do you prefer live or studio work?

At present were arranging forthcoming dates which will be available on the website to promote the album, so we’ll be out quite a lot. I love to play live there’s no feeling like it, and to get feedback from the audience makes it all worthwhile. The studio’s a great environment to take an idea and craft it into a song. I love the creative process but need the drug of playing live.

What about your favourite songs and artists

I’ve recently been looking back to the roots of the Blues, even before Son House and Robert Johnson, looking for more obscure artists to tap into. I’ve always held true to the style of the Blues as that’s what I do best, as for a favourite song that’s a tough call, there’s so many great songs out there

The album moves a long way from Blues –especially the ‘India’ track’.

What’s the story behind that?

Again I wanted to keep things interesting drawing on lots of different styles and influences. ‘Walking Back

To India’ started life as a music bed track for film and TV placement, which we later re-worked for the album, it’s a fusion of Asian beats and Blues guitar licks, it was nice to end the album with something a little bit quirky and offbeat.

Tell us about BB King’s 80th – did he invite you and how did it come about...and did you actually meet him?

I had a romantic notion of going to America and try to fall into the Blues circuit over there, as we seem to adopt American guitar players in this country, try

reversing rolls. I ended up in New York and jammed at various clubs down in Greenwich Village, I called in at BB King’s one night and there was an open mic night, so I got up and jammed with the house band. At the end of my spot I was approached by a guy who introduced himself as Topha Christianson. He said that he’d really loved my playing and my version of Jimi Hendrix ‘Red House’, which I’d covered. We talked at length about music and invited me over to guest at the club at BB’s 80th birthday celebration in June 2005. I only got to meet BB briefly, who said ‘you were hot tonight young man, you play with real passion’, that was an unforgettable night, a real lovely man and very humble about his achievements.

Tell us more about playing with Gary Moore and Snowy White.

I first met Gary back in 1979 at Pete Back’s Custom Guitar workshop, which at that time was based in Rotherham, South Yorkshire. I’d called into Pete’s workshop that day along with a friend who had commissioned Pete to build him a guitar. It was there I first encountered Gary, sat perched on an amp, playing a custom built Firebird that Pete had made for him. I sat and watched in awe as Gary played these incredible runs up and down the neck, his playing made such an impression on me. I met up again with Gary in November 2007 whilst he was on tour with the ‘Bad For You Baby’ album. I presented him with a Gibson Les Paul 59 Historic, as he’d sold his Peter Green 59 Les Paul back in 2006. This led to a jam session at his sound check and he later invited me to get up and do a few numbers with him at a small venue in Brighton. Regarding Snowy White, I supported him on a mini UK tour back in the early 90’s with his band Snowy White’s Blues Agency; we kept in touch for a while and met up again at the odd occasional gig. A really nice guy who’s given me lots of help and encouragement along the way.

Your personal career highlights?

In 2004 the instrumental track ‘A Fathers Son’ won Best Instrumental category in the UK Song Writing Contest, sponsored by the Brit Trust, also receiving airplay on Tommy Vance’s Friday Night Rock Show on Radio 1 really helped kick things off with the session work back in the late eighties, but I suppose the biggest thrill is to meet and get to play alongside your hero’s. Guys that you grew up listening to from being a kid, and then to receive praise from them, I guess that’s got to be top of the list.

Ambitions / plans?

It’s been a lifetime’s work learning my craft as a songwriter and as a guitarist, my music’s finally getting out there to a wider audience, and people are starting to sit up and take notice. I’ve had great reviews of ‘Hard Road’ especially from guitar fans and I’m gaining the recognition as a guitar player. I have to say it’s a good feeling and very validating, it would certainly be nice to make it onto the world stage, that’s my main goal, why settle for anything less. Maybe play at one of Eric Clapton’s Crossroads festivals, or maybe collaborate with him, that would be cool. Let’s see what the future holds, oh yeah and maybe make a few quid along the way.

What are your interests outside of music?

Well, my life’s pretty much wrapped up in what I do, whether it’s playing, writing, producing or gigging, there’s really little time to commit to anything else.

Where can we catch you live?

The diary’s slowly starting to fill up and you can check the website for up and coming dates, up to now I’ve been trying to book gigs myself, which can be difficult and time consuming, to be honest I could really do with getting a promoter on board, so if there’s anyone out there who’s interested please get in touch. We’re pencilled in to do Butlins Blues Festival at Skegness in January of next year which I’m looking forward to and will be an important gig for me. I’m hoping to get a few more festival bookings in for next year.

Paromita Saha speaks to the Soul Queen of New Orleans (with additional questions from Billy Hutchinson

They caught up with Irma Thomas @ London Barbican 24th July 2010

Elegant, engaging and effortless are the words that come to my mind, when I first meet Irma Thomas - the aptly titled Soul Queen of New Orleans. She has just arrived in, and we are sitting in her dressing room at the London Barbican theatre, an hour before she is due to go on stage for her one of her first performances in twenty years on UK soil.

“I love what I do, I don’t need that false sense of security,” she laughs. “I am a mum, grandmother, a great grandmother and a wife. I love what I do!

It’s been fun. I don’t call it being lucky, I call it being blessed.”

I can’t help but feel in awe of the longevity of the seventy year old singer’s career, especially in comparison to Amy Winehouse whose death casts a shadow over the weekend. Thomas takes a rather pragmatic view on the twenty seven year-old singer’s tragic demise.

“I found out yesterday when we went for sound check. When you think about her lifestyle, you wouldn’t be surprised. Her biggest hit was “I don’t want to go to rehab.” Well, when you don’t want to go to rehab, what is the end of result that? You make your choice. I have been in this industry for fifty one years and I have seen it all honey. I’ve seen it all.”

After five decades working in a rather precarious and mercurial industry, the Grammy award-winning singer does not sport the archetypal weathered look possessed by some of her contemporaries. If anything, she comes across as being somewhat untainted, with her flawless complexion, sparkling eyes and an infectious laugh, which she bursts into at the end of her answers. Yet, behind the immaculate and jolly appearance, you can sense the toughness and the pragmatic wisdom in her demeanor, which have no doubt evolved as result of not only working in the music industry but also dealing with the responsibility of single handedly raising a family.

“I was singing with my job to take care of my family, very much like people who punch a clock and do an eight hour job. Mine just happened to be singing at the weekends, that I how I raised the kids. So when my kids were asked, ‘where’s your mummy?’ They would say she’s at work. They weren’t born entertainment brats, because it wasn’t a big deal what I did. It wasn’t a big deal to me. I’ve got to earn my living, and that’s how I treated it.”

Born in New Orleans, by the time she was nineteen, Thomas had already been married twice with four children. As a young teenager, she was already displaying a remarkable talent, which led her to audition for the r & b label, Specialty Records.

“I am the only one in the family that was a performer,” she laughs again. “Music was always there. You go to the church on Sunday and there was gospel. At home, there was the radio and my dad was playing records, the old 78’s of the various Blues artists at the time. I was born in 1941, so I was a pre-baby boomer. So my father had a lot of early BB King, Lightin Hopkins, and Guitar Silm. One the radio, we would hear Sister Rosetta Tharpe, Mahalia Jackson and The Five Blind Boys. I had a lot of that growing up in New Orleans.”

In her late teens, Thomas worked as a cocktail waitress at a club in New Orleans, where she found her lucky break that led to her first ever hit. “When I lost job as a waitress, the New Orleans r&b singer Tom Ridgeley brought me to an audition, and there was a lady who was pitching some songs for the great Johnny Adams. One of the songs she had was ‘You Can Have My Husband.’ She didn’t have it for Johnny; she had it for a female singer. When the company, said they wanted me as an artist, she taught me the song that day, and a few days later, I recorded it. Mac Rebennack (Dr John) was one of the session musicians on it.”

The success of this minor hit led to her to Minit Records (later acquired by Imperial Records) and the songwriting talents of legendary New Orleans producer Allen Toussaint. Throughout the sixties as Toussaint’s muse, she had a string of successful releases including “Ruler of My Heart,” “Wish Someone Would Care” and “Time Is on My Side,” which was later covered by The Rolling Stones. Towards the end of sixties, the New Orleans singer did a brief spell recording with Chess Records but with little success. At this point, fellow R&B singers Aretha Franklin and Gladys Knight were already riding on the wave of international fame. She relocated to California, where she recorded for various small labels and focused on raising her four children. Towards the end of the seventies she returned to New Orleans under the guidance of her new

husband/manager Emile Jackson. The pair opened up a venue called the Lion’s Den where she would often headline and Irma Thomas set about the task of reestablishing her career. As can be expected, it wasn’t long before her talents were spotted at the New Orleans Jazz and Heritage festival that led her to a long-term collaboration with renowned Rounder Records producer Scott Billington as well as recording contract with the label. Over the years, the duo have produced a series of albums, from “My Heart’s In Memphis,” which celebrated the work of prolific song-writer Dan Penn to “Simply Grand” which teamed Thomas up with some of New Orleans’ greatest piano players such as Dr John and Henry Butler as well as commercially successful artists, like Norah Jones. Most of these projects have put her on the path to Grammy success especially in 2007, when she won the Best Contemporary Blues album for “After the Rain,” which focused on Hurricane Katrina.

“I personally never expected to get a Grammy for it. Let’s get real,” she laughs. “I had been nominated so many times, so I thought, hey, what’s with another nomination. I was in state of shock when I won.”

The album took off on a prophetic note, as work started just before the hurricane hit. “We had chosen the songs prior to the session and Katrina. The storm came and then came the flood, which delayed everything. We did get into the studio. The flood affected everyone who was part of the session, so that was our way of therapy. We let it all hang out in that recording.”

Her club and her home were both damaged by the storm. Five years later, Thomas and her husband are now back in their renovated original home but have no plans to return to the nightclub business. As for the Crescent City, the singer believes her beloved hometown is still on the pulse musically. “New Orleans is different with the population. The music is still there. A lot of those who helped to create it haven’t come back or passed away. That feeling – that special type of beat is still there. Those who have moved here have learnt it and that’s not going to go away.”

As well as winning a Grammy, Thomas has been recipient of various musical accolades from the Louisiana Hall of Fame to W.C. Handy awards for Soul and Blues vocalist of the year on two occasions. I ask the Soul Queen of New Orleans about how she feels about being categorized as a blues singer. “I have been doing Blues my whole career,” she exclaims. “When I started out, they were calling it rhythm and blues, but the difference was, whereas John Lee Hooker and those guys did guitar. I did horns. The tempo was little swifter. It has the blues tinge and it’s the story telling, that was the way I grew up hearing it. You find the song that tells the story. You relate to it and you express it in your music.”

It is this quality that she brings to the music that has no doubt made her a timeless performer as I see tonight. Against the backdrop of her band playing an r &b fused “Superstitious,” Thomas graces the stage escorted by her husband and manager Emile Jackson. Elegant in a sparkling floor length white gown, Thomas elicits a standing ovation from the packed house, as she launches into her first song, a vibrant rendition of “Love Don’t Change.”

The Soul Queen of New Orleans is effortless and pristine in her vocal delivery, showing that, after so many years, the art of performing is something that is second nature to her. Her set is filled with classics from throughout her career from “Time Is on My Side,” “Shelter the Rain,” to “Take a Look.”

In between songs, she is engaging the crowd with humorous anecdotes about her age, not being able to remember everything she has recorded and refusing to mix her gospel with her rhythm and Blues. Not one to shy away from a good challenge, Thomas invites the audience to request their favorite songs from her fifty-year repertoire of songs, which takes the form of a big book sitting on a stand by her side. A gentleman behind me is persistent in his cries for “While the City Sleeps,’ which Thomas humbly confesses to not remembering the melody in its entirety nor is it one that she has rehearsed with her band. Nonetheless, the New Orleans high priestess consults her big book and chooses to sing the song accappella demonstrating her vocal prowess. Throughout her performance, Thomas is like the summer breeze, swaying from side to side as she cruises through her material, yet always conscientious about punctuating meaning into what she sings. The night draws to a close on a performance of the Tina Turner hit, “Simply the Best,” which Thomas dedicates to the audience tonight. Probably not the best choice in song, but no doubt one that sums up the feelings of the audience as they leave the venue after a truly memorable night. As I leave, I recollect her fatalistic words from earlier on in the evening, “I do believe these steps were order for me, my life was taken in this direction, not by me, but because it wasn’t my choice. It wasn’t something that I was trying to get into; I enjoyed singing and look where that’s gotten me.”

FESTIVALFEVER

EVENTS THAT HAVE HELPED SHOWCASE THE BLUES

The 18th Annual Ritzville Blues, Brews & BBQ Festival

One of the more popular events in Easter Washington is the Ritzville Blues, Brews and BBQs Festival. Featuring 20 bands, and lots of sun, this year’s show, on July 9th, was truly special.

Ritzville, Wa is nestled between the rolling hills of the Palouse-approximately 60 miles West of Spokane on Interstate 90. In 1881 the Northern Pacific Railroad arrived and its presence is still felt every hour as train whistles echo through the canyons of historic downtown buildings-lending a timeless feeling to the day.

The annual blues fest is a labor of love for Stephen McFadden-festival boss and owner of the local newspaper, The Ritzville Journal. Dozens of local volunteers, coordinated through the Chamber of Commerce, make this festival a smooth operation.

It seems that every local resident in this small town is involved in The Show either as volunteer, spectator, or working in a supporting business. Typical of Blues festivals, but especially so here, the atmosphere is incredibly friendly. It’s also generally very hot on the downtown streets in July. This year, however, the temp is at a pleasant 80 degrees and a slight breeze is much welcomed. The sidewalk misters never even had to be turned on. There was intense heat, to be sure, but it came from the two outdoor and two indoor stages.

The Main Stage lineup was, in my opinion, the finest in the history of this shindig & included: 2010 Blues Music Award winner (Blues Soul Male Artist) Curtis Salgado-the headliner. 2011 BMA nominee (Best Band) Rick Estrin & The Nightcats; 2011 BMA nominee (Contemporary Blues Male Artist of the Year) John Nemeth; and, 2011 Grammy winner (Best Zydeco/ Cajun Album) Chubby Carrier & The Bayou Swamp Band. Others featured on this out doors stage were: Portland, Oregon’s Ty Curtis Band and Portland’s Cascade Blues Association winner-Kevin Selfe & the Tornadoes featuring BMA nominee (Instrumental-Drums) Jimi Bott holding down the backbeat. Inland Empire Blues Society multiple award winners Big Mumbo & Laffin’ Bones, both from Spokane, opened the show here.

Stage #2 was equally entertaining, if not quite as well known. Junkyard Jane (a regional favorite from Tacoma, Wa); Walla Walla, Wa’s hot shot band-Coyote Kings (featuring vocalist Michelle “Much” Morgan); and Spokane’s Hoodoo Udu rocked the beer garden around the stage.

The fantastic Sammy Eubanks closed the show at this end of the street with as hot a set as he had to open the weekend. The evening before featured a free ‘Dancin in the Grass’ show at the fairgrounds.

Any time concert goers wanted to get out of the sun they could always duck into The Pastime Tavern or Consuela’s Mexican Grill where you can hear more great Blues, grab a cold one and some real decent food. My favorite indoor bands this year included the (Susan Tedeschi-like) Stacy Jones and her band (Seattle, Wa) and Charlie Butts & the Filtertips (Spokane, Wa). Also impressive were Spokane’s Fat Tones and Cary Fly & the Fatback Kings and Kalispel, Montana’s Kenny James Miller Band. Spokane was also represented by the Doghouse Boys and Roberson, Beese & Flores-two terrific traditional Blues bands. Back outside a dozen vendors tempted with a variety of food items such as shrimp tacos, BBQ chicken and brisket, Tai food and the ever-present kettle corn. The local Senior Center made a little money with excellent ice cream and homemade pie and even the liquor store was open for those do-it-yourselfers. Also on hand were booths featuring hats, homemade

Rick, Bigdaddy & Kid

Kid Anderson

Curtis Salgado

jewelry and even a mobile tattoo artist. The Inland Empire Blues Society and the Washington Blues Society both had booths setup-which made it very convenient for me to renew my dues. Inland Empire Blues Society Board Member Ted Todd was once again the expert emcee for the main stage events. The two-wheeled tribe was also well represented as motorcycles of all vintages and models lined the East end of Main Street. Many of these bikes sported custom paint and or design.

Attending Ritzville should be on your list if you plan on venturing out to the Great Northwest. Remember that this festival is always the second Saturday of July. It’s also important to book motel rooms as early as possible because rooms go fast and this is one popular show. I recommend the Best Western Bronco Inn and the Cedars Inn-both right at the I-90 exit. Less expensive motels can be found closer to downtown and the railroad tracks. After Friday and Saturday night we were far too worn out to notice. If you prefer to camp there are a couple choices. Many tent dwellers and RV jockeys turned out at the Fairgrounds, a mere 3 minutes from downtown. The free shuttle service between there and the festival ran several times each hour. The bus driver is guaranteed to have a smile on their face and I’m told the bus was a party of itself. This is Ritzville after all.

For more information check out the website (www.ritzvilleblues.com) and, what the heck, tell them Biggdaddy sent ya!! I’ll be glad to share a cold one with ya!

(Biggdaddy Ray Hansen is deejay and producer of the popular Blues Therapy Radio Show in Walla Walla, Wa. Blues Therapy is a weekly show broadcast every Sunday evening from 7-9pm (PST) on FM radio 90.5 and also online at www.kwcw.net. This show is also rebroadcast four times a week on KCOR at www.kconlineradio.com. Blues Therapy Radio is a 6 time finalist for Best Bleus Radio Show (Inland Empire Awards). Find out more at http://www.facebook.com/ Bluestherapyradio )

by Biggdaddy Ray –Blues Therapy Radio Show

The First Annual Hebden Bridge Blues Festival, West

Yorkshire 27th – 30th May 2011

Yorkshire-folk, not known for talking their county down, had every reason to, in the blues-field, until 2011. Their Northern neighbours Lancashire (with Burnley and Colne Festivals) and Cumbria (with Carlisle and Maryport) justifiably flaunted their pre-eminence; but not anymore! Notwithstanding the still-born, overambitious, Yorkshire Blues Festival, two frisky twins have arrived, namely, from East to West, the Scarborough and the Hebden Bridge Festivals. Both look lean, keen and destined to thrive.

It was to Hebden Bridge we travelled on a cloudy Spring Bank weekend to seek out blues in a well-established cultural micro-climate. It was in this dour Pennine valley village that Sylvia Plath became even less-enchanted with life with Ted Hughes and no wonder, in what was to become a1960s infra-structure-free hippie-haven. It’s much more affluent now though since the ‘baby-boomers’ have invested in more vegan-restaurants and aromatherapy stores than HaightAshbury could ever boast.

In Hebden Bridge Trades Club, though, the town has a well-established, eclectic, and certainly ‘non-twee’, live-music venue and it was there that Paddy Maguire, Jason Elliot and their street team conceived this event. Jon Amor headlined an opening night concert there on Friday and P-A-U-L closed proceedings in the same venue on Monday but most of the music was to be found on Saturday and Sunday.

Unlike many festivals there were no fewer than three pay-to-enter venues supplemented by an embryonic festival-fringe. The comparatively small capacity of the venues probably dictated this outcome but if you wanted to see, on Sunday, all three of Marcus Bonfanti, Chantelle McGregor and 24pesos the cost was higher than seeing Steve Cropper, James Hunter, Mavis Staples and

Sherman Robertson on the same day at the upcoming Colne Festival. However, the HBBF organisers were relentlessly ‘chipper’ all weekend and open to suggestions to make the 2012 festival, which they’re already planning, even better. The Marquee Stage, in the local park, accommodated afternoon and early evening sessions. The music here was provided, in the main, by local bands from West Yorkshire and East Lancashire which gave a real community-feel to the proceedings although ‘blues’ was represented only patchily in their repertoires. However, as the shadows lengthened the big hitters came in to bat. On Saturday it was Sam Hare, suffering badly with a sore throat, who raised the bar. Sam is a fine singer/songwriter in the blues/country/ ‘Americana’ vein and with his subtle guitar and Joe Glossop’s sensitive keyboard he performed songs from his recent ‘Down to the Sea’ CD (including the Ian Siegal-covered ‘Stealing from the Queen –“..but this is how it should go!”). Following Sam was Larry Miller, who epitomises the rock-end of the blues spectrum. His Les Paul-through-Marshall-stack-riffing and tireless movement soon had the dwindling crowd clustered

James Hunter

Revelator

Photo by Christine Moore

around the stage for high-octave outings for songs from his recent ‘Unfinished Business CD. On Sunday the Scots-quartet Gerry Jablonski and the Electric Blues Band (featuring fine harmonica from Peter Narojczyk) preceded 24pesos. 24pesos are the ‘must-see’ band-of-the-moment and are anything but a retrorock-blues outfit. In addition to clever song-writing and complex arrangements this four-piece have an outstanding front-man in Julian Burdock with Moz Gamble’s keyboard adding

subtle variations to the mix. Outstanding songs were ‘Maxwell St. and their CD title-track ‘Busted Broken and Blue’.

The compact, atmospheric, Trades Club was the hub of the festival and hosted music from 8.30 until very, very late once Midnight Jam sessions got under way. Power trio Tony Dowler’s Hell Hounds headlined on Saturday with Paddy Milner and Marcus Bonfanti taking on the role on Sunday. They first played together in Paddy’s big band backing Earl Thomas but have since worked regularly as a duo or, as in this case, featuring a quartet. They are both charismatic performers whether taking on blues classics together (‘Rollin’ and Tumblin’, and ‘I Live the Life I Love’) or showcasing their own material –Paddy from his forthcoming ‘The Curious Case of Paddy Milner’ CD and Marcus from his very successful ‘What Good Am I to You?’. ‘Give Me Your Cash’ and harp-driven ‘God Only Knows’ drew particular

The Hebden Bridge Picture House provided the most formal setting of the event with discrete concerts on two nights. Saturday saw Krissy Matthews and Bex Marshall provide support for nominal festival headliner Lance Lopez. This was the first UK visit for Louisiana-born but Texas-based, Lance. When an artist proudly wears the tag of ‘bad-ass-guitarist’ and hails from Texas you have a shrewd idea what to expect. When he couples that with on-stage-shades, Stetson and snakeskin boots declaring his heroes as SRV and Hendrix then you’re certain! The audience wasn’t surprised or disappointed by his loud-guitar-played-fast-roadhouseofferings. Stand-out numbers were ‘My Good Thang’ and CD title-track ‘Salvation From Sundown’. Lance enjoyed his reception and is hoping for a swift return. Sunday saw an innovative ‘Women of the Blues’ line-up featuring Jenna Hooson, Clare Free and, local-hero, Chantel McGregor. Chantel is mooted as a Northern Joanne Shaw Taylor and has built-up an impressive following over her short career. The release of her first CD ‘Like No Other’ coincided with HBBF and shows her broadening her appeal from the down-home blues of Sonny Boy II’s ‘Help Me’ to crossover material like her own ‘Fabulous’. She has a nice line in winsome middle-distance gazes, tossed curls and floaty fabrics but don’t be fooled! Chantelle was a genuine musical child-prodigy and a first-class honours music degree graduate. She can write, sing and play the guitar very well –the only question is for which audiences she will be doing it in twelve months time when the second HHBF starts.

The ‘Women of the Blues’ night was just one of many, welcome, innovations on this inaugural outing at Hebden Bridge and whilst it wasn’t Chicago they certainly turned their Market St into Maxwell St for one weekend.

Martin Knott

PaddyMcGuire

photos on this page by Christine Moore

LanceLopez

Lsrry Miller

Cherry Lee Mewis

FESTIVAL FEVER

ABERTILLEY BLUES FESTIVAL, Friday 22nd – Saturday 23rd July 2010

Friday evening, the seventh Abertillery Blues Festival, got underway in the majestic setting of Abertillery Park, deep in the valleys of South Wales under the shadow of the Arael Mountain. The now familiar tradition of a big top circus tent and comparing supplied by Bob and Norm from GTFM, famous for their Monday night blues show. The festival showcased a selection of local bands, including The Hideaway Trio who started the 2011 show off and then Saturday afternoon, Bluesy Susie, who bought talent and style with her great voice that, is both smooth and raunchy delivering old favourites and self-penned straight-edge traditional Blues. Pat Grover and the Hawks delivered a great set with slide guitar strong vocals this was blues that took you on the hobo train ride. Luke Doherty Band this new line-up with vocals provided by Paul Morgan provides the perfect backdrop to allow Luke Doherty to concentrate on his guitar skills producing a brilliant sound that excites the crowds. Now he needs to develop a set that includes more than covers delivered in his inimitable high speed Blues style.

Around this strong local backbone, great bands from England and beyond delivered a fantastic weekend. Giles Robson and the Dirty Aces, a combination of great musicians and songs produced a dirty sound that whilst evocative of the past was contemporary and relevant, as they showcased their latest CD ‘Crooked Heart of Mine’. The highlights of the set included, ‘The Mighty Incinerator’, ‘Solidor’ with Giles providing an emotive harp solo and giving the band a break as they left the stage and Ian Jennings swapped his double bass for electric bass with fuzz pedal providing a different but strong bass line for ‘Ain’t Dead Yet’. This band definitely is one that gets your foot tapping and dancing along to the strong blues tempo. The encore was ‘House of the Rising Sun’ re-arranged with the distinctive Dirty Aces signature and it worked. Never

The Bride with their effervescent stage presence delivered a selection of Rock Ballads. With their larger than life sound ‘The Living Tree’ and ‘April Rain’, they brought rock to the valleys pleasing the crowds and got the festival a buzzing and a talking. Friday closed with The Hamsters, making a welcome return as part of their farewell progress across the country went through an eclectic mix delivering a selection of their extensive back catalogue including a self penned track which was a mix of song titles and band names with the riff indicative of Tom Principato’s guitar style. As ever superb Hendrix covers, some traditional Blues and rock & roll overall a great festival set. Eugene Hideaway Bridges brought a touch of Texas sun and magic. ‘Never Alone’, delivered as a capella was haunting and spellbinding captivating the audience. Very much a crowd pleaser, he uses clever changes of tempo between straightforward blues and more soulful numbers. Whilst delivering a mixed-up set from his extensive back catalogue.

This was followed by the surprise of the weekend, unfortunately Jo Jo Burgess, lead singer for Hokie Joint, could not appear for personal reasons and the

Eugene HIdeaway Bridges

Giles Robson

Hokie Joint with Ian Siegal

Luke Doherty

whole festival sent their best wishes and respected his decision especially when they heard for one night only Ian Siegel would be guest singer for the band! With no set list and no rehearsal the guys strode and strutted onto the stage. This was jamming at the highest level and gave credence to the expression living on the edge... Fortune favours the brave and with Ian knowing two of Hokie’s tracks demonstrating the skilful song-writing of this dynamic, modern and exciting British Blues band. Thus, ‘Back Where We Are Going’ and ‘The Way It Goes Sometimes’ were given the Siegal touch and delivered with panache with Hokie band members, Giles King, Harp, Stephen Percy Cutmore (Drums); Fergie Fulton (Bass) and Joel Fisk (Lead Guitar) parading their musicianship and own special style that make Hokie Joint such an exciting live band. The rendition of ‘Revelator’ from Ian Siegal’s Meat and Potatoes album included a break to include ‘Backdoor’ Man before seamlessly picking up the Revelator theme. The whole audience, whether Hokie, Siegal fans or seeing the artists for the first time were blown away by a demonstration of blues at its best; a delightful mix of covers and originals this was jamming, performing and musicality at the highest level.

To close the festival Mike Sanchez built on the energy that Hokie and Ian had instilled into the festival crowd. Mike was as ever enthusiastic, energetic and not only got the feet a tapping, but suddenly the chairs were folded away and the dancing began. There is no argument that this flamboyant front-man pounding the piano keys, licking up and down the scales resembling a whirling dervish of the piano, making this performance highly charged and delivered at break neck speed, and bringing the festival to a rousing finale. This festival brought music and sunshine to the valleys, and the numbers increasing this year reflecting perhaps the change in date so no longer is there a clash with Upton! Yes, having a Red and Blue Circus style big top is an unique selling point and other years has kept festival goers dry but it would make photography less of a challenge if a white marquee was used. It was good to see more people camping this the second year that a camp-site has been made available that is conveniently close.

As with all festivals it is the hard work of the organisers, stewards and bar staff that make the weekend a success and there is no doubt that Abertillery is lucky to have a great team making this event happen every year. So for another year the music falls silent and the hard work starts to make next year’s another positive event, feedback has been that this was one of the best yet... looking forward to 2012 already.

Liz Aiken

Photos from Abertillery on this page from Liz Aiken

Never The Bride

Mike Sanchez

Slim of The Hamsters

MARYPORT BLUES FESTIVAL 29/07/11-31/07/11

A year ago, the future of the Maryport Blues Festival looked uncertain after a committee split. With the economic downturn they could little afford the expensive headliners and crossover artists, so chose to go back to basics. The ‘austerity package’ the committee put together was in my opinion one of their best line-ups in many years, offering quality UK debutants, rarities, plus the pick of the best British blues. The openers were the battle of the band’s winner, Balmoral Road from nearby Whitehaven. ‘Feeling Good’ was an apt opener and showcased Emma Dockeray’s strong vocals. They knew this was their big test, yet while a little nervous they rose to the occasion with a section of promising songs albeit more indie than blues. The melodic ‘Summertime’ was perhaps the pick of their set, with some tasteful guitar from Oliver Burns. Bassist Calvin Thornborrow gave an assured presence, while I liked Tom Salmon’s drum pattern on ‘Crazy.’

Henrik Freischlader appeared 15 minutes early to maximise his timeslot beginning with the dynamic ‘The Blues’. The hard funk of ‘Longer Days’ came next before he recreated Peter Green’s medloci classic ‘I Loved Another Woman.’ Freischalder was assured, technically brilliant, a very strong vocalist with great material, although ‘Bad Dreams’ was a little lengthy for a first appearance before his September tour. The powerful ‘Breakout’ found favour in the filling marquee before a sublime take of ‘The Messiah Will Come Again’ in tribute to Gary Moore, displaying also a Jan Akkerman influence. Daunting for many to follow, but Joanne Shaw Taylor measured up to the task, commencing with ‘Going Home’. Taylor and her band, featuring Virgil and Gabriel McMahon tend to play on the edge and while always exciting; the more memorable tracks were those from her debut. A great version of ‘Manic Depression’ preceded a magical moment when Freischlader was invited back to the stage to trade licks on ‘Going Down’.

Joe Louis Walker’s band, fronted initially by Todd Sharpville played a spirited run through Sharpville’s ‘Can’t Stand the Crook’. Walker came on to a big applause to play Duke Robillard’s ‘Tell Me Why,’ the slide guitar and prominent piano producing a more laid back style to the preceding acts. ‘It’s A Shame’ followed before a slow blues where Walker’s emotion drenched vocals took to the fore. Sharpville shared vocals on ‘I’m Tied’ before taking the lead for ‘Need Your Love So Bad’ yet their set came to an end much too quickly. Over at the Captain Nelson I saw Gerry Jablonki’s band perform one of their typically electrifying sets. Despite the late hour they sustained the attention of most and could follow previous trail acts to the main stage.

The earliest act on Saturday was former Sinnerboy frontman, Barry Barnes. He’s well versed in the acoustic blues elements to the late Irishman’s music and sandwiched ‘Daughter of The Everglades’ between classics by his influences Son House and Blind Boy Fuller to cover a broad musical scope. A new introduction was a family stage, which was sun soaked as Cherry Lee Mewis enthusiastically led her band through ‘Rolling and Tumbling’ before ‘Southbound Train’ gained some good audience participation. Next year it would benefit from a soundman out front.

The Revolutionaires provided a typically flamboyant mainstage opening, with their mix of upbeat rock n roll with Little Richard style piano boogie, Chuck Berry and the latter day ‘House Is A Rocking.’ A great start was followed by The Hitman Blues Band. Frontman Russell Anderson was keen to tell the stories behind the songs which did interrupt the band’s flow, but their horn section was a notable feature through a collection of originals and ‘Death Letter Blues’. On the family stage Ben Poole was entertaining with some rocked up soul classics such as The Temptations’ ‘I’m Losing You’ before a slide boogie took on him a wander across the busy rugby pitch. Diverting I caught Rhythm Zoo. Fronted by versatile singer Andrea Jones, they provided worthy interpretations of Shemekia Copeland’s ‘Wild Woman’ before a brace of Reba Russell classics. The saxophone and flute of John Sanderson contributed to a refreshing performance. Mainstage, Sandi Thom performed ‘Belly Of The Blues’ accapella before the strong chorused ‘Heart of Stone’. While Thom is a fine bandleader, who also aired ‘Help Me’, her guitarist’s tasty leads and strong vocals notably enhanced her set.

A late replacement for Hokie Joint, Simon McBride initially had a smallish crowd as many were watching the ever improving Virgil & The Accelerators on the family stage. Yet McBride too has great guitar riffs in abundance, notably on ‘Take My Hand’ and ‘Hell Water’s Rising’; while ‘The River’ offered a greater dynamics. The tight band performance culminated in a flashy ‘Power of Soul’, yet lacked the onstage improvisation that regular touring would provide.

Dana Fuchs

Joe Louis Walker

Indeed Philip Sayce indicated what McBride lacked. Once the volume settled after the opening numbers came ‘Slip Away’, a song that demonstrated Sayce’s expansive playing style. Every inch the rock star, Sayce’s show was based on energy and power, dominating stage centre; behind his rhythm section rolled like a juggernaut. There were reflective moments; a melodic version of ‘Changes’, the beautiful instrumental ‘Alchemy’ and ‘Fields of Gold’, the latter his finest vocal.

A 13 year UK absence swelled the crowd for Jonny Lang whose 7 piece band, including sister Jesse on backing vocals, opened with the rocky ‘Don’t Stop.’ Lang channelled his energy into his singing, appearing emotionally distraught on ‘A Quitter Never Wins’. The impassionate delivery continued on ‘Turn Around’ before ‘Livin’ For The City’. Lang may appear boy next door, yet the collection of fellow performers watching attested for his influence on the younger generation; particularly his early repertoire like ‘Lie To Me.’ He gained agreement for an extra 15 minutes to climax with a jazzy jam. While the marquee wasn’t full, reflecting the economic mood, the demand for trail wristbands temporarily exceeded supply. Many appeared at Paddy Maguire’s jam which included Cherry Lee Mewis, the Hoosons, Clare Free and Gerry Jablonski.

Early Sunday I viewed The Mustangs from a cramped space position beside the door. While unfamiliar with their material, I enjoyed their funky contemporary groove and would certainly be keen to see them again. The larger family stage would have appeared appropriate for such popular trail acts that day rather than the lesser-known local acts. The Wildcards who are styled largely on 1950s R&B and jump blues were main stage. They took a foray into 1930s Duke Ellington on ‘Chocolate Shake’, less classifiable was ‘Welcome To The Snake Pit,’ before Peggy Lee got the Wildcard treatment. Some might have questioned why Ian Siegal was on so early, yet he brought a good crowd in. Despite an early morning flight he was in typically inspired form, leading his band through a collection of old songs and new. Giles King from Hokie Joint joined the band for the moody ‘Hound Dog In the Manger’ before a run through ‘Revelator’ allowed Siegal produce his renowned Howlin’ Wolf vocal imitation. He fired a few verbal shots, and credited Maryport for a professional main stage setup. While he received the biggest crowd of the Sunday who’d hoped for an encore, it was a shame some dispersed, missing a couple of great acts.

The first was sibling trio Trampled Under Foot from Kansas. Surprisingly Nick Schnebelen appeared with his guitar behind the drum kit, performing a Muddy Waters song on both instruments. Then his sister Danielle and brother Kris appeared to exhibit songs from their excellent new album “Wrong Side Of The Blues”. Bassist Danielle sang the Aretha Franklin reminiscent ‘Get It Straight’ with unusual chord changes before her stunning vocal range became evident on the impassioned ‘Heart On The Line’. Nick provided an equal focal point, fronting the Waters’ styled ‘The Fool’ but elsewhere his guitar phrasing recalled Albert King and Paul Kossoff. Then Danielle led a sublime version of ‘I’d Rather Go Blind’. Trampled Under Foot showed they fully warranted their IBC award. They would have gained the attention of promoters as could equally be said for fellow UK debutant Dana Fuchs. From the opener ‘Lonely For A Lifetime’ she demonstrated a remarkable stage presence, charisma and strong vocals. A poignant moment was the dedication of ‘Song Bird’ to her late brother who passed away from illness earlier this year. Previewing a couple of tracks from her forthcoming album “First Time,” her inclusive manner won many new fans. Booked only seven weeks prior she revealed her Blues Matters interview (issue 60) had been the deciding factor in her selection.

Some scepticism surrounded former Dr Hook frontman Dennis Locorriere appearance at a Blues festival, which appeared mutual when appearing with his acoustic guitar he stated he felt like a block of cheese at a cholesterol convention. ‘Unchain My Heart’ preceded ‘Freaker’s Ball’ and he even produced the appropriately self-penned ‘Yesterday’s Blues’. He was a crowd pleaser and won me over although I’d have perhaps preferred a bluesier main stage acoustic act. The Mike Sanchez Band fittingly performed one of their regular crowd pleasers to end the festival on a high. In summary while the guitar heavy bands could have been more evenly spread over the weekend, different facets of 21st century blues were well represented; and the enforced changes were unforeseen at planning. The bold line-up provided some impressive debuts by a collection of artists pleased to perform there. They contributed to a positive atmosphere, so while it was not the busiest Maryport Blues Festival, it was one of the best; and bodes well for future events.

Henrik Freischlader

Jonny Lang

BLUES ON THE FARM - June 2011

Blues On The Farm is the popular annual festival, held just a few miles down the road from Chichester in West Sussex. This was its 20th year. The fact that it’s still going strong and picking up awards after all that time is a testimony to the undoubted hard work and dedication of Julian and Kathy Moores and for that they should be congratulated. They have built a wonderful mid summer festival which normally enjoys long cloudless days and baking sunshine. For the first two days this year it was cool and wet, weather more akin to the far North of England. Fortunately the rains backed off just as it started to look like a mini Glastonbury might be developing. It dampened spirits slightly but didn’t prevent the majority enjoying the event just the same.

Thursday was dropped from the schedule this year so the event started in earnest on the Friday afternoon – a horrible grey wet afternoon. Anyone who tried this festival for the first time this year should consider themselves dreadfully unlucky: it’s normally lovely and sunny with the long hot summer days all adding to an idyllic atmosphere. Sadly rain changes everything!

Will Wilde started the ball rolling with his brand new band. blood gained a reputation as an up and coming harmonica player in his sisters’ band; here he proved he has a decent voice too and not least the presence to front a band in his own right. He has recruited the considerable talent of guitarist Stuart Dixon who excelled on several numbers, not least Lurrie Bells’ version of the Buddy Guy classic ‘A Man And The Blues’. They were joined on a couple of numbers by Bernice MacDonald on backing vocals and her contribution lifted the whole show considerably. It wouldn’t have harmed to have involved her a bit more.

Ian Parker has been everyone’s favourite for a number of years since he first came to UK blues prominence with Parkers Alibi. At the moment he’s going out solo with just an acoustic guitar and stripping everything back to the bone. Ian and his songs are usually very intense but he is what he is and that’s no bad thing. His solo show is full of skill and emotion. Ironically one of the highlights of Ian’s set was the only time he nodded in the direction of modern electronics when, using some fancy gizmo, he built up a song by laying layer upon layer of loops and using it for his own backing. Very effective but it did raise a nice little discussion point. Is that as near as we should get to backing tracks in live performance? Ian used the technology very cleverly; it didn’t feel as if it was cheating, not like it does when you see major mainstream big name performers shamelessly hoodwinking the masses with backing tracks. Thankfully it doesn’t happen in the blues world, these guys (Ian very definitely included) have learnt their trade, they CAN play!!

The Brass Knuckle Blues Band changed the mood with a polished and accomplished set. Albert Kings’ ‘You’re Gonna Need Me’ worked well with the rousing horn section. The band were very good but just lacked something indefinable to take them to a level they always looked capable of attaining.

During the band changeover word spread from back stage that some of the bands had been delayed in traffic due to an accident. A long, long delay thus ensued before Never The Bride hit the stage running, almost literally. They were 30 minutes into a storming set, which included the superb, self penned, classic rock song, ‘Living Tree’, when they announced that that was all they had time for. A great shame, the band was going for it and going down really well with the audience who had waited patiently for almost two hours to see them. We could only assume that the correct decisions were being made back stage with regard to the rescheduling and a 30 min set from NTB was the best we could have hoped for. Hmmm?

King King were scheduled to appear next but it was obvious that the stage was set up for Gary Brooker and his all star band which included Andy Fairweather- Lowe, Dave Bronze and Frank Mead among others.

Indeed it was they who appeared next as the celebrated Mr Brooker led out his all star band. When Andy F-L led into Duane Eddy’s Theme from Peter Gunn you just knew it was going to be pretty special. It was! It really felt like being in the company of legends. They stormed through a set of classics, all played with such accomplished ease. Those guys wouldn’t have been out of place in Eric Clapton’s band at the Royal Albert Hall! A truly wonderful performance ended the timeless classics A Whiter Shade of Pale and Wide Eyed and Legless. Such a shame it wasn’t the Saturday night as they were by far the weekends best.

King King had the unenviable task of following Gary Brooker but Alan (Nimmo)

Gary Brooker

Connie Lush

FESTIVAL FEVER

blood never shirk a challenge like that. By the time they took the stage it was worryingly close to the midnight curfew time. I wasn’t the only one who thought the curfew would be relaxed slightly, just long enough to give the KK guys, who’d apparently been back stage for well over four hours, at least a 45 min set. It wasn’t to be! Alan and the guys did their best to lift a disappointed crowd, many of who’d waited to see them in particular, despite having to announce that they had to finish after little over 30mins on stage.

Due to all the obvious problems Friday was a little disappointing, but the day was saved by the magnificent set delivered by the legendary Gary Brooker and Friends.

The weather for the Saturday was no better than the previous day. The rain was persistent and it was then that it got messy under foot. As the site started to fill word spread that a handful of lowlife scumbags had raided and looted a number of tents on the festival camp site during the night.

The Saturday music started with the recent Brunswick Battle of the Bands winners, 24 Pesos, currently one of the hottest outfits on the blues circuit. They are a slick outfit and showed why they are gaining so many plaudits. Never afraid to be a bit different from the rest they played a strong selection of songs off their two excellent albums. From a punters point of view (perhaps it’s just me??) one of the most irritating festival quirks is an order change. The first of the day followed 24 Pesos and unfortunately it wasn’t the last of the weekend. Rodney Brannigan was moved up the order and appeared before Debbie Giles Midnight Train. Anyone who expected to see Rodney later and missed him missed a real treat. What he does on an acoustic guitar is absolutely amazing. Even for us non guitarists it’s easy to appreciate just how good he is, just by watching his left hand adroitness. As if being super talented isn’t enough Rodney has real charisma and easily engages his audience whilst mesmerising them with his guitar skills.

Midnight Train with Debbie Giles and Ooh Bop Sha Bam kept the afternoon moving nicely, the latter lightening the mood with a lively performance which had most of the tent moving and a good number of jivers jiving. Dom Pipkin was in outstanding form on piano.

As on the previous night, word filtered through about problems with bands not having arrived on time. Another order change followed with Connie Lush and Blues Shouter having to go on early. Perhaps it should be mentioned here that Connie and the band, being based in the North West of England, travel hundreds of miles to arrive at gigs and always arrive in good time in order to prepare thoroughly for their performance. It must be extremely irritating to be pressed to rush on early just because they’ve been professional enough to take the trouble to arrive early. Word has it that some bands deliberately arrive at festivals late when they don’t particularly like the slot they’ve been given – can that really be true? In this case a band allegedly broke down en route from London (London is not THAT far away Chichester) and in the end didn’t arrive at all. One could be forgiven for thinking that professional outfits would set out early enough and have contingency plans in place for any such eventuality. Enough on that!

Despite all, Connie, the ultimate professional went on stage and turned the heat up by several notches. What a performer! Connie is a national treasure! She charmed the crowd with her cheeky humour and sang superbly. She can rock it with the best of them, pay tribute to Janis Joplin and just as easily deliver a beautiful smooth Nina Simone like ballad. Some grumblers say she hasn’t changed her act in years but come on guys, The Stones, Gary Brooker……?? What’s good for one! When did you ever see or hear a below par performance from the girl?

With a band failing to turn up a scratch band was hastily assembled. They pulled out a fantastic,

Ben Prestage

Alan Nimmo

FESTIVAL FEVER

improvised set and deserve a special mention. Take a bow Debbie Giles, Sam Kelly, Pete Emery, Steve Oakman (Midnight Train), Jackson Sloan, Dom Pipkin, Pete Prichard, Albie Green and John Willmot.

No disrespect to the scratch band intended but, whilst reviewing the festival, it should be mentioned that Blues On The Farm has a beer festival running alongside with another large tent housing numerous real ales to sample. It was at this point that this reviewer had a pleasant liaison with Betty Stoggs. It was nice meeting you Betty, hope to meet again sometime.

Walter Trout I saw many years ago when he first started touring over here – he was a sensation then, saw him three or four times in fact. He headlined on the Saturday night and the nicest thing I can say is that he just didn’t do it for me this time round. There was plenty who seemed to be really enjoying him but I left early for the comfort of my tent and some sleep, as it seemed did a number of others.

Sunday was scheduled to start with Hat Fitz and Cara Robinson. Instead Mississippi born Ben Prestage was first on as he apparently had another gig to go to. I for one particularly wanted to catch Ben as I’d heard he blew everyone away at the Carlisle festival last year. Luckily I was there early and caught him but I’d have been extremely annoyed had I missed him due to an unannounced rescheduling. Some from the camp site weren’t as lucky and they definitely weren’t happy…….So anyone arriving a little late after Sunday lunch missed one of the stars of the weekend. Ben plays a range of guitars ranging from a quirky ‘Diddley Bow’ cigar box with two brush shanks to a standard Fender Strat whilst accompanying himself on harmonica and drums; and that’s a full three piece drum kit complete with hi-hats and cymbal, all played with heel and toes of both feet (er..the harmonica wasn’t played with his feet). It may sound gimmicky but it’s doesn’t come across like that. He has such style and humour that he carries it off brilliantly.

The only consolation for late arrivals on Sunday afternoon was that they got to see Hat Fitz and Cara Robinson when they probably would have missed them had Ben not gone first. Australian Hat and Ireland born Cara are an unlikely pairing to look at but looks are deceptive. Playing pre-war Hill Country and Delta blues mixed with Aussie and Celtic folk they were very very good.

The traditional theme was carried on by Curst Sons with their take on traditional American blues. It was refreshing to hear and see these guys and easy to imagine being transported back in time to enjoy music in the raw before rock and roll came along.

The Cajun Dawgs delivered some old school Cajun/Zydeco Louisiana swamp music. They reminded me of CJ Chenier when I saw him a few years ago in that the first song he did was really good, infectious, catchy and interesting. The second song was also really good, infectious, catchy and interesting but very similar to the first, as was the next…and the next. You get the drift? That may be a touch facetious but it’s nothing against the band, they do it very well, it just seems that one Cajun song often sounds rather similar to another.

For a number of years The Revolutionaires have been wowing RnB (proper RnB that is) fans all over the UK and into Europe. It’s only recently that they’ve crossed over into the blues circuit. Now it seems that no festival is complete without them and no wonder, they are a class act with their 40’s and 50’s style jumpin’ hot rhythm and blues. They had their audience rocking right from the off, just as they always do. If there was an award for best front man of the weekend Ed Stephenson would’ve taken some beating. He was definitely the most energetic. There can’t be a more entertaining outfit on the blues or RnB circuits but they are more than just entertaining, they are polished and water tight with Ed leading the way in style on guitar, piano and harmonica.

On The Farm by Christine Moore

Ed Stephenson

Rodney Brannigan

Todd Sharpville, seemingly fresh out of exile, appeared as the penultimate act with a terrific band which featured the superb John McKenzie on bass. Todd isn’t short on confidence and may have made a few enemies along the way but anyone seeing him for the first time, without prejudice, would surely have to have been quietly impressed. Todd can certainly play guitar and does so without being too flashy or gimmicky, he reminded of a younger Bruce Springsteen in the way he worked the stage and connected with his audience. He breezed his way through an extended set which had a rocky slant but he clearly showed he has his roots firmly in the blues. A class act.

The extended set from Todd meant Marcus Bonfanti started and finished much later than scheduled. A shame for those who might have arranged transport or perhaps to be elsewhere, with the scheduled curfew time in mind.

A late start didn’t deter Marcus, in fact he’s such a cool cat, and nothing seems to faze him! Bonfanti has enjoyed a rapid rise up the festival pecking order in the UK since he took advantage of a short unannounced solo slot at the Carlisle festival in 2009. With his superb rhythm section of Alex Reeves on drums and Scott Weiber on bass he showed why the rise has been so spectacular. There are not many better guitarists about and his deep, rich unique voice sounds as if he gargles with gravel. The set was superb and climaxed when joined on stage by Todd Sharpville. Their take on Muddy’s ‘What Happened To The Mill’ was absolutely stunning. The two of them trading licks and so obviously enjoying it was one of the highlights of the weekend.

Blues On The Farm 2011 was an excellent, friendly festival let down only by the weather, the frequent re-scheduling and unwelcome camp site visitors. The weather couldn’t be avoided and it must’ve been impossible for organisers to do anything about bands arriving late or not at all but some changes just appeared (sorry) unnecessary. There may have been good reason but to the ordinary observer that’s the way it seemed.

Highlights: Gary Brooker’s No Stiletto Shoes, Todd Sharpville, Marcus Bonfanti, Ben Prestage, The Revolutionaires, Connie Lush, Hat Fitz & Cara, Rodney Brannigan, 24 Pesos and Never The Bride.

Lowlights: The bad weather we can put up with. The thieving, low life dregs of society who infiltrated the camp site and helped themselves to other people’s belongings; we can’t.

Footnote:

If you’re a festival camper beware, this thing has spread from the likes of Glastonbury and Download (where it’s commonplace). Gangs are obviously targeting festival sites and hitting them usually on first nights. The same thing happened at Cambridge Rock and Blues in 2009!

Marcus Bonfanti & Todd Sharpville

G.O.M.

FRI 27 – MON 30 JANUARY BUTLINS SKEGNESS

The BLUES MATTERS! stage is awaiting confirmation to publish the artists

performing for you.

For the 9th successive year we have a list of exciting names for this years stage, which we will reveal in the next issue.

OF FRIENDS

This great value music break includes 3 nights accommodation, big name live acts including acoustic sets, a wide range of restaurants and bars, plus all the fun of a Big Weekend break, all in our undercover Skyline Pavilion –great whatever the weather!

BLUES MATTERS READERS

? WHO ARE

THEY ?

IS

Unsigned acts on their own Blues mission

TOM ATTAH - Blues that Breathe

He’s on a mission – in fact, you could say Tom Attah is a young Blues missionary; travelling, gigging and spreading the word about his music, and about his personal vision of blues in the modern world:

“My take on the Blues is all about the here-and-now – about human contact… about dance energy… about performer and audience getting together and having a good time tonight... I’m not a preservationist who curates classic Blues songs and is ever watchful about keeping traditional arrangements intact…. I love showing audiences that there is a real here-and-now joy and excitement in these songs of tenderness and great strength, and that the Blues isn’t dead archaic music - it’s a living, and growing music that absolutely rocks!

“For the Blues to thrive and be relevant you have to breathe modern life into them. That’s my mission.”

Born in the deep South of England, UK-based bluesman Tom Attah travelled North to study music in the Steel City of Sheffield at the end of the 20th century and has been based in Yorkshire for over a decade, travelling around the UK and Europe singing and playing his original, acoustic Blues.

Tom’s live shows are filled with energy, humour and stories that illustrate the origins of the blues and meanings of the songs and music. The exciting last 12 months have featured performances throughout the UK and Europe at venues and festivals alongside GrammyAward winner David ‘Honeyboy’ Edwards, Robin Trower, Toots & The Maytals, Connie Lush & Blues Shouter, Wizz Jones and the King King - culminating in an appearance at the 2011 Glastonbury Festival on the Bourbon Street Jazz & Blues Stage.

Tom has also played several BBC regional radio sessions, has made multiple independent radio appearances and has been featured on Jazz FM. 2011 remains busy with multiple gig dates and festival appearances for Tom’s acoustic and electric bands booked; catch him at The Great British Rhythm & Blues Festival at Colne where he’ll be headlining on the Acoustic Stage and British Stage over the course of the weekend. Driving, rocking, heavy, delicate and relevant, Tom proves that powerful acoustic and electric Blues music in the spirit of Son House is alive and well in the 21st century, with lyrics that resonate and a performance style that recalls the emotional rawness of Robert Johnson, the barrel-chested roar of Muddy Waters and the gospel-tinged sophistication of Robert Cray. Tom’s latest EP ‘The Living Bluesman,’ demonstrates his commitment to the traditional and modern, and has received glowing reviews. The EP is available at performances and via the internet. Keep an eye on Tom’s progress, check his gig dates or get in contact via his website (www.tomattah.com) and at his MySpace and Facebook pages.

THE DAVID RAPHAEL BAND

For those of you who haven’t heard of The David Raphael Band yet, you have a real treat in store. The band have been gigging extensively across the UK and receiving rave reviews along the way. To quote Otis Mack of Tubby’s in Cheltenham, “You would be hard pressed to find a slicker R&B band in the UK”.

Scott Duncan said “The David Raphael Band gave us a demonstration of tight playing, exuberant showmanship, instrumental dexterity, some expressive singing and an obvious, infectious enjoyment in what they are doing.”

The band is led by the Harpmeister himself, David Raphael – formerly with Dr.JJ’s Blues Band and still a regular guest with Papa George, Robin Bibi and Bad Influence. Alongside him is Nick Hyde, another Dr.JJ’s alumni on guitar and vocals.

Nick has graced festival stages all over Europe with Angela Brown and The Mighty 45’s. During this time he shared the bill with the likes of Johnny Winter, Duke Robillard, the late Gary Moore and Jeff Healey.

The powerhouse that drives the music forward consists of probably the hottest bass and drums on the UK circuit. Bernie Fox, on drums, has previously toured and recorded with Jimmy Witherspoon, Sherman Robertson and Eric Bibb. He has worked with legendary Blues producer Mike Vernon on numerous projects.

Steve Browning on bass can also provide a significant CV of UK and European recording and tour dates with The Pretty Things, David Gilmour, Ronnie Spector and The Sharpees (who also feature Brendan O’Neill of Nine Below Zero and Rory Gallagher fame). Most recently he headlined the Garden Stage at this year’s Isle of Wight Festival with US legends “It’s A

Beautiful Day” as part of their European tour.

The band are currently working on a new recording of original material in preparation for UK and European tour dates, next Spring However, in the meantime, the diary is filling-up in the run-in to Christmas and as reviews of the band’s successes reach new audiences and Promoters, 2012 is certainly starting to look exciting!

To get a taste of the band, just check out their web-site at www.thedavidraphaelband.co.uk or find them on MySpace or Facebook. There you’ll find video and audio clips of the guys in action.

EIILIDH McKELLAR

I don’t know why I wanted to play the guitar or what got me interested. Maybe it was my primary 3 teacher, who would bring his guitar into school every day. No one in my family is musical, so it was unknown territory for my parents. Finally when I was 9 years old, when my hands were large enough, I had my first guitar lesson. Straight away I loved the Blues; I first heard it from my dad’s Rolling Stones collection and from my guitar teacher at the time. Later a BBC documentary on the Blues, introduced me to the likes of Robert Johnson, B.B. King, Howlin’ Wolf, Muddy Waters, Jimi Hendrix and Eric Clapton.

I’m 17 years old now, a year ago I wanted to be a session musician, as I never thought I could be able to be an artist or fill out a venue. Since I started uploading videos to YouTube, which to date have altogether achieved over 80,000 views, I have gained confidence. Since I began playing and jamming on the Edinburgh Blues scene I have realized that it’s something I could do for a living. To date I have played with some of Edinburgh’s finest musicians. I have jammed with Oli Brown and James Burton, and gained support from one of my influences, Joe Bonamassa, as well as Tomo Fujita, Paul Gilbert, Orianthi and the legendary rock photographer Robert Knight.

The same piece of advice people have been giving me over the past few months has been that I need to start singing, so this is one of my main focuses at the moment. I had never tried singing before, so as well as trying to develop a voice it’s also about developing confidence. I’m heading off to Leeds College of Music this September. My dream is to front my own band and tour the world, but for this to become a reality I need to gig as much as possible, write, sing and play my guitar. I don’t know what the future may hold, I don’t know if I will complete all 3 years of my course at Leeds, but it’s an amazing opportunity to meet and play with other musicians and hopefully make me a better player. I feel that I have developed my own style of playing. I’m mainly a Blues player, but I love jazz, funk and fusion, melt it and mix it into one big soup and hey presto!

Joe Bonamassa posted about Eilidh on his forum: “Dad called me today and said that there is a girl that plays better than me. Bless him, he was right. I remember meeting her a few years ago but she has been hard at work. (She’s) just killer” http://www.youtube.com/user/eilidhmckellar

ABSOLUTION

A new and hard-hitting Blues Rock power trio based in the depths of East Anglia. Absolution formed by accident in May 2010 to fulfil a support slot to Dr Feelgood in their home town. It was only after the reception they received that they decided to make it official and form the band, despite only naming it an hour before they hit the stage!

Absolution then went straight into writing the songs that would form the core of their debut album; ‘Issues’. A 12-track and fully original album, Issues brings Blues Rock right up to date, full of great riffs, fantastic songs and solid musicianship. The album has been recorded and mixed by Jon Clayton (Charlotte Hatherley, Rob Ellis, Jim Bob) and mastered by Jerry Stevenson (The Hamsters, Dr Feelgood, Chris Rea, Procul Harum.) Between them, they helped create the massive 3D sound that you hear!

The three musicians come from different backgrounds but still manage to form a sound that is rooted in the blues. Doug brings an obvious Jazz and Country style while Ben straight down the Rock road. 24 year old guitarist Joe however, is clearly schooled on blues. He has been compared to, among others, Joe Bonamassa, Eric Clapton and Billy Gibbons, while his vocals have been compared to Paul Rogers and Jeff Healey. Absolution have also recently secured repeat bookings at London’s prestigious Embassy Club, where on seeing them perform, top industry professionals took copies of an early demo around the globe and played it to musicians of the calibre of Slash and John Paul-Jones among others. This was in order to, quote: “...show them what British blues-rock is all about!”

An Absolution live show is just that. A show! Every note is performed with the commitment and passion the audience deserves to see and hear. Not only do they bring their own songs to life, the set is full of great, fresh interpretations of blues and blues-rock classics! Expect to hear anything from Howling Wolf to ZZ Top via Jimi Hendrix and Elmore James! Now with an album under their belts, along with extensive gigging locally in support of it, Absolution are planning on using 2012 as the year they are able to push on and bring their unrivalled approach to the blues to a town and venue near you! With plans for festival appearances and their own headline dates underway, Absolution are hoping to be the new name to look for if you want to experience the new evolution in blues!

If you like ZZ Top, Cream, Bonamassa etc or just good music, you’ll love Absolution! www.absolutionband.co.uk

Joe Fawcett – Guitar & Vocals, Ben Gardner – Bass Guitar Doug Lang – Drums & Percussion.

Some People Did Very Well Out of R & B and Rock’n’Roll

But Not The People Who Invented it … A Book Exclusive!

Roy Bainton, the successful author of Talk To Me Baby, The Story of The Blues Band, has been a Blues Matters writer from the very beginning. Good Time Charleys: Tough Tales from R&B uncovers the rip-offs, racism and struggle behind the music we love. The Mafia, dodgy producers, slavery, the Ku Klux Klan all figure in the long, hard story of the Blues.

All Books Signed by the author

PAPERBACK 232 pages photos, a Blues Glossary and a compendium of blues quotat ions.

GOOD TIME CHARLEYS is Exclusive to BM readers at £11.50 post paid.

Also available: TALK TO ME BABY £10. Post paid.

SPECIAL OFFER: Buy both books for £18. Post paid. Order today from jenny@bluesmatters.com 01656 743406 Mon-Tues only 10am – 4pm

….

First came Jazz, the Blues, then Rhythm and Blues, then Rock‟n‟Roll. Yet for African Americans, their brilliant creativity came with a steep price. From the age of slavery through to the 21st Century, Good Time Charleys outlines the defiant rise of American black music against a backdrop of privation, outright racism and the rapacious demands and outrageous behaviour of record producers. With the Mafia controlling juke boxes, Mississippi in the control of white supremacists, the Ku-Klux Klan deciding on where artists could play, eat, drink or travel, and with greedy record executives purloining compositions whilst living high on many black artist‟s creative output, the triumph of rhythm and blues is a remarkable story.

When what was once called „race music‟ stormed into the pop charts of white America in the mid-50s, it made millions for the anodyne, white cover artists who hi-jacked rock‟n‟roll. Yet without her royalties, the woman who built Atlantic Records, Ruth Brown, ended up as a bus driver, whilst Arthur Crudup, the composer of three of Elvis‟s greatest hits, dug potatoes before dying in poverty and Roy Brown, composer of Good Rockin’ Tonight, was forced to sell encyclopaedias, as LaVern Baker, her legs amputated, had to carry on performing in a wheelchair to pay her medical bills.

“Rhythm & Blues to me meant „rip off and bullshit!‟”

- BO DIDDLEY

RUFF KUTT BLUES BAND Mill Block Blues Independant

Since the untimely death of Sam Myers, Anson Funderburgh has for the last seven years, apart from a few guest appearances here and there; put his and The Rockets careers on hold, so it has had to be something rather special for him to go back into the studio to record a new album and without a shadow of a doubt it is a rather special cause, that being The HART Blues Foundation charity that cares for and assists blues musicians in dire financial need.

The original idea for this album came from the retired American Football coach and ex Excels bassist James Goode. The story behind the album revolves around keeping alive the spirit and memories of the workers and community that lived in and around one of the poorer areas of Texas, that being, where The McKinney Cotton Mill was situated during the Fifties and Sixties. Most of the material for the thirteen numbers that make up the album was gained whilst James lived in the area and for a summer in which he worked in the mill. In passing James mentioned his long term project to his old friend Anson and together they decided to make it a reality, James wrote all the lyrics for the album and keyboard player “Gentleman” John Street provided the arrangements while Anson takes up the producers chair and supplies sparkling and fizzing lead guitar on ten of the numbers on the album. Also providing excellent support throughout are; Michael Schaefer and Andrew “Jr.Boy” Jones on vocals and guitar, Dempsey Crenshaw and Brian “Hash Brown” Calway Harmonica, Ron Jones; saxophone, Steven Richardson and Wes Starr on drums and Christian Dozzler; accordion.

The atmosphere of the album is one of a relaxed and warmly mellow feeling. Each number that spills from the speakers seems to be encased in a rich chocolately cocoon of sound; right from the start with ‘Cut like a Knife,’ that tumbles along with a slow grooving shuffle, aided by pleasant, rolling and urging horns, accentuating the toe-tapping guitar and piano combination. The numbers enjoyably vary from the Louisiana/Cajun influenced accordion led heartfelt pleader ‘Now You See Me,’ to the ‘spot-on’ Funky riffing horns on ‘She’s Gone.’ Elsewhere the driving, toe-tapping, gospel soul lifter ‘Oh Lord,’ sits happily alongside the rockin’ guitar and organ driven instrumental ‘T he Fowler Street Shuffle.’ The title number ‘Mill Block Blues,’ has tight, gritty and tenacious guitar work matched with equally uncompromising horns. The skill and professionalism that has made this Texas sound so laidback, accessible, enjoyable and so very easygoing on the ear, has to be heard to be believed. This will have you coasting along the carpet in no time! the album is only available on CD Baby.com

Brian Harman

BLUE LUNCH Saxophone Shootout II Live Wilberts Records

Oh boy an album of Blues saxophone and Blue Lunch set the table with a nine piece outfit so I got ready to groove as the disc hit the platter and I pressed play and I was not disappointed one bit. They’ve been holding what they call ‘Saxophone Shootouts’ since 2004. This album was recorded at a venue called Nighttown in Cleveland, apparently a world famous Jazz Club. No less than three sax players to the fore here with leader Bob Frank on guitar and vocal duty. From the notes this sounds like a real downhome night with the audience well fed on Nighttown’s good food and really set for a good night that the band duly delivered in spades. Well laid grooves, bursting sax in layers from the terrific three of Tony Koussa Jnr., Keith McLelley and Chris Burge, smashing rhythm section of Ray Deforest (bass) and Scott Flowers (drums) holding it all down and tying the laces while Pete London also covered vocal and harmonica, piano was tinkled by Mike Sands. Numbers include Joe Liggins ‘Honeydripper’ which more than ably kicks off the proceedings, others include Gatemouth Brown’s ‘I Just Got Lucky’, a super original of Bob’s ‘Chinese Knock-off’ that allows everyone room to move, Sonny Rollins’ ‘Tenor Madness’ to which you cannot keep still with sax and piano vying for attention and flying through each other, takes your breath away! An excellent and energetic album that deserves your attention and is most certainly recommended by this listener (no way can you remain seated to this!)

Frank Leigh

BLACK COUNTRY COMMUNION

No. 2

Provogue

What can you say about an album by four magnificent musicians with the CVs that these guys have? The only thing I can think of is – bring it on! In your face right from the start Bonamassa, Hughes, Bonham and Shermian kick off Zeppelin-style with ‘The Outsider’. The guitar solos throughout are what you would expect from Joe Bonamassa, one minute full force then acoustically. Brilliant, light and shade all the way. Jason’s ‘Save Me’ at over seven minutes in length is beautifully sung by Joe and as you would expect very Led inspired. ‘An Ordinary Man’ has a great Bad Company feel whilst ‘Smokestack Woman’ is pure rock and roll heaven. The Blues side of this quartet is let loose with ‘Little Secret’, ‘I Can See Your Spirit’ and ‘Faithless’. The final cut ‘Cold’ has a chilling vocal from Glen Hughes. The whole album has a powerhouse quality from start to finish and to just call it ‘2’ is inspired I can’t wait for 3, 4 and 5! If you ever wondered who would take over the mantle of Cream think no more - THEY ARE HERE!

Bob Bonsey

ANDREAS ARLT

All Time Favorites

CrossCut

I am pretty sure it is just coincidence, but some may want to draw comparisons between this CD by guitarist Andreas reinterpreting some of his vintage favourites and Jimmie Vaughan’s recent “Blues, Ballads, & Favorites” sets; whatever, Andreas certainly does not suffer by putting him head to head with the Texan. The co-founder of top German blues outfit BB & The Blues Shacks has more than two decades of experience under his belt –and impeccable taste (listen to Roscoe Shelton’s ‘I Was Wrong! Played With Love’ reworked in the vein of vintage Otis Rush or Buddy Guy). One of the few less than totally positive comments about BB & Co. has been that Andreas does not get enough opportunity to showcase his talents; this set remedies that oversight, though Andreas is careful to point out that this is no egotistical guitar-fest but rather an affectionate, fun and very pleasing tribute to his forebears such as Guitar Slim, T-Bone Walker, Goree Carter, Freddie King, Albert Collins and others less wellknown. He has a crack band of musicians in support too, making this an “album of the year” contender for me!

Norman Darwen

AL HUGHES

Feel Like Robert Johnson Volumes 1 & 2

Vaudioville

We have all heard the arguments that go along the lines of “do we need yet another CD of Robert Johnson covers?” Well I see no difference between that vacuous thought process and the innumerable covers of the great works of say Beethoven and Strauss that constantly appears. If the material is treated with reverence, respect and there is talent added to the process, then bring it on. That is exactly what we have here with these two CDs available, I believe, independently or as a pair. Not only do we get ten Johnson classics per album but Al also includes an original of his own, in the style of Johnson, on each CD. The immediate beauty of these is that, whilst retaining the atmosphere and arrangements of Johnson’s originals, these recordings have all the audio quality befitting of the twenty first century. I’m still glad to have Robert’s versions but I do like these a lot. So with a remaining nine songs missing, ok I know that there are alternate slightly different takes around also, from the RJ catalogue one has got to assume that Al will eventually interpret those as well. Hughes has the kind of voice ideally suited to the Blues whether in the style of Delta, Chicago or Country. An accomplished guitarist into the bargain these cuts have vibrancy and clarity to them that are most pleasing. The two originals, the titular ‘Feel Like Robert Johnson’ on CD1 and ‘Laughing On The Other Side’ from CD2 don’t make you think why are they there? With each coming at the end of the albums they make for an interesting homage like tribute to a man without whom music would have been very different.

ANA POPOVIC

Unconditional

Eclecto Groove

Graeme Scott

The cover, a seemingly naked Ana Popovic behind her guitar, certainly grabs attention, but how about the disc inside it? The great news for readers of ‘Blues Matters’ is that ‘Unconditional’ is a return to form for everyone who feared Popovic was moving away from her Blues roots. Ana recalls that recording with John Porter in New

Orleans created a great spirit for the album, and there is certainly a brightness and enthusiasm about the material here that underlines her words. Even from the opener, Fearless, she wastes no time showing she’s lost none of her chops for playing fine Blues. It’s followed by a barnstorming ‘Count me in’ featuring the marvelous blues harp of label-mate Jason Ricci. It’s a musical match made in heaven and isn’t bettered anywhere else on the CD but the good news is that there’s plenty that’s equally as bluesy and good. Along with ‘One Room Country Shack’, ‘Work Song’ and especially ‘Voodoo Woman’ this is easily the best Blues Ana has put on disc to date. There are also several tracks that nudge the Blues in new directions, and Ana has her own Funk/Blues mix that is evolving into a style all her own. It’s at its best on ‘Your Love Ain’t Real’ and the gloriously brass driven ‘Soulful Dress’ which proves that this lady doesn’t need a guitar to make great songs. Her voice here is a treat too. An album with more than enough great tracks to keep fans of the traditional Blues sound happy, but also plenty of promise that Ana Popovic will be a major innovator in reinterpreting the genre without losing the heart of what it’s about. A small gripe is that her excellent live band didn’t make the trip to New Orleans. Whilst all the musicians here are top class I think her own men would have stamped a bit more individuality on the tracks. She wanted an authentic American Blues sound though and players like Sonny Landreth and John Cleary unquestionably fit the bill. There’s a modern Blues Funk style simmering in Ana’s music that with her gifted guitar playing is unique. Maybe that will be the next CD. Meanwhile, if it’s Blues you want, get it here from Ana Popovic - unconditionally.

John Hurd

BECCA LANGSFORD

Big Surprise

Independent

Debut album from young Plymouth based singer who gets plenty of help from Vince Lee on guitars, vocals, bass, piano, dobro, lapsteel, mandocaster, ukelele and percussion. He also co-produces on this varied collection of classic tracks covering country blues, jump blues and soul. Opening track is Dion’s a capella ‘(I Was) Born To Cry’ which is a rocking chunk of hard edged 50’s/60’s doowop which sets the album up nicely. ‘King Size Papa’ is a swinging big band piece of lascivious nonsense featuring powerful vocals, a swinging rhythm section and honking horns. This eclectic collection of songs is well chosen and Percy Mayfield’s slow blues ‘You’re In For A Big Surprise’ features soul drenched vocals and great blues guitar from Lee. Charley Patton’s ‘Some Of These Days I’ll Be Gone’ is a gospel tinged country blues featuring harmony vocals from Langsford and Lee and fiddle from Patrick Pearson. A hot jazz cover of The Squirrel Nut Zippers ‘Do It This Way’ is a ragtime romp fuelled by banjo, washboard, trombone and trumpet etc which speeds along furiously. Bonnie Raitt’s ‘Love Me Like A Man’ is given a Chicago Blues setting and features slinky slide guitar and fine harmonica from Ian Langsford (Becca’s dad). The

musicians are all seasoned players and the arrangements are all extremely well done. There is a strong gospel feel to Becca Langsford’s earthy vocals on ‘Lord, I Just Can’t Keep From Crying’ and this is followed by Patsy Cline’s bluesy ‘Never No More’. William Bell’s ‘You Don’t Miss Your Water’ is not the easiest of numbers to perform but this version builds splendidly with Miss Langsford belting it out in great style. The album closes with Dinah Washington’s ‘My Mans An Undertaker’ featuring saucy lyrics and a swinging, jazzy backing. This young lady has certainly come a long way in a short time and with the right guidance she should soon be able to reach a much wider audience. An excellent first album rich with the promise of more to come.

Dave Drury

BETH HART & JOE BONAMASSA

Don’t Explain Provogue

The last few years have been unstoppable in terms of success for Joe Bonamassa, yet it’s probably fair to say that not all Blues fans have been truly taken by his partnership with the Glenn Hughes fronted Black Country Communion. This release will surely bring many back on side. “Don’t Explain” is a collaboration with American singer Beth Hart which sees the pairing record a collection of ten soul covers. The opening track ‘Sinner’s Prayer’ could almost have been taken from one of Bonamassa’s solo albums; with his slide guitar prominent, yet the major difference is Hart’s superbly powerful vocals which dominant the song. A quirky take of ‘Chocolate Jesus’ follows is surely a single in the making. Hart’s sultry crones lead on the melodic ‘Your Heart Is As Black As Night’ and those craving something with a heavier punch will love the heavy makeover of Bill Wither’s ‘For My Friend.’ There is an exceptional level of musicianship from Bonamassa and the supporting musicians, yet the star of this record is Hart who imaginatively tackles classics by Etta James, Nina Simone and Aretha Franklin, from the ball room jazz of the title track to the upbeat funky soul of James’ ‘Something’s Got A Hold On Me.’ In essence it’s impossible to improve the perfection of ‘I’d Rather Go Blind’, so the standout has to be a deeply emotional version of Gil Scott-Heron’s ‘I’ll Take Care Of You’ with Bonamassa adding a crowning guitar solo to a majestic interpretation. He makes his sole vocal contribution on ‘Well, Well’ a duet previously recorded by Delaney & Bonnie. The album is certain to propel Hart’s remarkable talents to a greater audience and gives yet another compelling dimension to Bonamassa’s work. While his supergroup will continue to grab the attention of the rock press, this is Joe’s super pairing that really matters.

Duncan Beattie

this is a belting set of hard Blues. He throws a few Blues classics together with his own numbers and you would be hard pressed to tell which is which. ‘Please Find My Baby’ (E, James) gives on to ‘Slow It Down’ (D. Gogo, J.Riley, T. Tweeton, D. Paxton) a raucous and dynamic bit of Blues/Rock in the best tradition. Willie Porteous ‘Was It Love’ is soulful and Bluesey at the same time and then Mr Gogo’s own ‘Time Is Killing Me’, slow Blues with emotive and sensitive guitar and electric piano – Walter Trout couldn’t do it any better. I hope you are getting the impression that I like this album; a lot. Everywhere you go you cross over another fine number and the Canadian’s voice shows that he understands the music better than most – he hasn’t got the prettiest of voices but he really gets the meaning of a song across. Wilson Pickett’s ‘I Found A Love’ is a perfect example as his tone is on the hard side but you really feel his pain – the delightful guitar solo only emphasises the fact. I didn’t expect to be happy with Michael Jackson’s ‘The Way You Make Me Feel’ but his Albert King style guitar against a wonderful Hammond B3 lick c/o Rick Hopkins makes it a real Blues number. He turns in a punchy ‘Changeling’ which may not have the balls of Jim Morrison’s vocals but really works and Robin Trower’s ‘Whiskey Train’ has less of the Hendrix than the original but makes a great closer. Little suggestion – when you’ve finished supporting Johnny Winter in the autumn (fall) it might be time to hit the UK – I for one would love to see ya!

Andy Snipper

DEMETRIA TAYLOR Bad Girl Delmark

Eddie Taylor is one of those bluesmen revered in some blues quarters – including the Darwen household. In my opinion he never made a less than excellent track, and his children have carried on his legacy – Timothy, Larry, Eddie Jr. and now Demetria are all making their mark in today’s Blues world, with the last named well-represented on this, her debut CD, presenting her “Blues with a millennium sound”. Her repertoire here includes numbers from a variety of Windy City Blues performers - the title track reworks her father’s ‘Bad Boy’ - and she is backed by a younger generation of Chicago blues performers (I don’t include saxman Eddie Shaw in that, and Billy Branch is not that young these days either!) She has a big tough voice, with the influence of Koko Taylor coming across loud and clear on the first three numbers - the opening medley of ‘I’m A Woman/Hoochie Coochie Woman’, Magic Sam’s ‘All Your Love’ and Koko’s own funky ‘Voodoo Woman’; Veteran singer Big Time Sarah helps to pass on the baton by guesting on the final numbers, ‘Little Red Rooster’ and ‘Wang Dang Doodle’ (there’s that Koko influence again). In between are plenty more excellent Chicago blues. Maybe next time there will be some original compositions from Demetria but for now, this will do nicely... very nicely.

Norman Darwen

DAVID GOGO

Soul-Bender

Cordova Bay

I will forgive just about anything of anyone who opens an album with an Elmore James number, blasts me with a slide riff and still gets my heart pumping. David Gogo does but I don’t need to forgive him anything because

BUDDY WHITTINGTON

Six String Svengali Manhaton Records.

If you’ve ever had a grisly steak at a much-hyped restaurant, you’ll recognise that bitter feeling of disappointment. Inexplicably, I had the same feeling ahead of this and accordingly delayed its debut on the turntable. Why did I worry? Texas boys don’t do grisly

steak. The first grungy bars of ‘Back When The Beano Was Boss’ confirmed my irrational fears were just that. Most would accept that Whittington is something of a virtuoso but this polished and accomplished offering underlines he is no one trick pony – Fort Worth’s finest reveals that he composes with excellent, catchy hooks and imaginative and interesting lyrics which reveal strong narrative power. He doffs his hat to various influences – the splendid ‘Ain’t Got The Scratch’ is very ZZ Top, indeed the most famous beards in rock are individually name checked with numerous others in ‘Texas Trio’. There are traces of Johnny Cash and some rockabilly in ‘I Had To Go See Alice’ but the standout among standouts is the deliciously clever homage to all things guitar and their composite parts - the “deadwood, magnets, switches, solder and wire” in ‘Deadwood and Wire’. He delivers a collection full of contrast and shade, perfectly concluded with the poignant and grab-themoment ‘While We’re Here’, which beautifully exemplifies the understated thoughtfulness of his playing. “Probably the Greatest Bluesbreaker of them all” says John Mayall in the sleeve notes, and given the competition, it’s quite a statement, even from the great man himself. But I wouldn’t argue with it.

Richard Thomas

specifically stylised attempt to embrace their story-telling up front. It works, and showcases Clark’s lyrical skills over the general musicianship. Perhaps, this is the norm in the country genre anyway. Guy Clark has been peer and mentor to the like of Ricky Skaggs, Steve Earle, Alan Jackson and Townes Van Zandt. He has of the order of twenty albums to his name and has written for many of the country greats. This show, recorded at the Belcourt Theatre, Nashville, is a memory to his back catalogue and includes well-known numbers such as ‘L.A. Freeway’, ‘Homegrown Tomatoes’ and ‘Dublin Blues’. It is more essential for the story-telling, some included as specific tracks in addition to the music, notably the enthralling and entertaining ‘I’m From Greasy Bend’. Cosy and comforting, with an emphasis on nostalgia.

Gareth Hayes

DON AIREY

All Out

Mascot

You have to go back three and a half years for the last solo offering ‘A Light In The Sky’ from Don but that record waited twenty years on from the first ‘K2’. I suppose he can be forgiven being somewhat occupied by his day job playing with Deep Purple. Again ‘All Out’ is vast in its scope and production values. Completely over the top in places, as all Prog-Rock should be, Don has made use of the same core players from album two augmented this time around by Bernie Marsden, Joe Bonamassa and brother Keith. The overall sound is huge with loads of keyboards swirling around (funny that!), drums that knock you in the gut and wailing guitars. Vocals are handled again by Carl Sentence who continues to grow as a powerhouse. There are ten tracks, eight of which are written in-house the exceptions being ‘Estancia’ by the late Argentine classical composer Alberto Ginastera and a blistering cover of Jimi Hendrix’s ‘Fire’. The latter is taken at such a lick that it leaves you breathless. ‘Long Road’ is a fine Bluesy instrumental with some very tasty guitar from Keith Airey and indeed he co-wrote the tune. The album opens with ‘The Way I Feel Inside’ full of bombast and just sets the benchmark for what follows. At times there is so much improvisation going on that, in a sense, it drifts close to some elements of Jazz but staying well within a heavy Rock genre. Not sure if that makes sense but that is how I hear it. I’ve said it before but every now and again it is good to just be taken along for the ride and this is one such outing I would not have missed, it’s exhilarating.

Graeme Scott

ADY JOHNSON

Tell The Worry Dolls

AJR Records

Ady is a brand new name to me. He hails, apparently, from the Colchester area and got a bit of a break when whisked from busking outside the 6Fest festival to being asked to fill a vacant slot on the main stage of that gig. The album has very much a one take live kind of vibe and a range of musicians, presumably drawn also from his home territory, supports him. However don’t get the idea that this album suffers from the simple approach to production. The title of the records refers to the act of using Guatemalan worry dolls to off-load your daily concerns so that you can sleep peacefully. Not sure if the record will put you to sleep as I suspect you will find it rather engaging as long as you allow the fact that again this is not a Blues album. I’m not sure which pigeonhole exactly to place this in but if you figure on a very different, fresh approach to Folk then you won’t go far wrong. Often the vocals have power and a dynamic range that surprises then in the next moment they are soft a gentle. I particularly liked ‘Faithful Shadow’ and the slightly angry sounding ‘More Than Skin Deep’. The highlight for me, and after all music is always such a personal thing, is the soft and entrancing ‘Jewelly Box’, yes the spelling is correct, and is the stand-out track. That has nothing to do with it containing the album title within the lyrics but with the tinkling of a glockenspiel that sounds wonderful. Running it close for the top spot is ‘Maybe I’m A Blind Fool’. So not a Blues album but interesting nonethe-less.

Graeme Scott

GUY CLARK

Songs And Stories

Dualtone

Clark and his troop of musicians played this show sitting down, playing like they record the albums, as a

CHRISSI POLAND Songs From The Concrete Independent

This is an album of soul filled blues, only seven tracks but every one is dominated by an angst-ridden vocal that shouts out loud. Crissi sings with a passion that makes your backbone tingle. ‘Caught Between’ is a slow starter with a haunting slide intro that builds into a ballad that tears your heart out.

‘Thinking Of You’ again takes a while to get into a groove, but when the other musicians join in the whole track soars. This is one of those collections that I call a slow burner which takes a couple of plays to connect, but when it does it will stay with you long a time afterwards. Chrissi Poland is going to be around for a long time, quality will always shine through, remember Norah Jones.

Bob Bonsey

ERROL LINTON

Mama Said Ruby

This is Errol Linton’s first album in ten years and paid for from the fruits of busking in London’s tube stations and from the first gentle notes on a strummed guitar and sweet toots on his harmonica you can feel the simple delight of this album. Abram Wilson’s muted trumpet creates a jazzy undertone to Linton’s sweet Blues and his soft voice carries you on a warm skip down the street – ‘Roll On Tomorrow’ is a cracking way to begin. It is quite rare to hear an album that is so deliciously understated and that sounds as though he has recorded it simply for the pleasure of playing his songs but Errol’s busking credentials come out here and you can well imagine hearing this in the Oxford Circus tunnels or at Brixton station and being torn between rushing for the next tube or stopping to enjoy an impromptu concert. These are songs about London and his relationship with places and people and the whole album has a refreshing lack of ego about it. ‘Mama Said’ rocks nicely with tales of his Mothers’ admonishments and advice while ‘Through My Veins’ is a song about London and The Thames especially and just resonates with his love for the city. ‘Sunrise’ is bright and warm, redolent of a city beginning the day and bustling around while ‘J.Y.’s’ is his instrumental song to his grandfathers hill in Jamaica where the family home was built: ‘J.Y.’s Dub’ which closes the album gives another side to the story with the changes that came later to Jamaica encapsulated in a dub. He is at his best with his own material although he does a fine version of Muddy Waters ‘You’re Gonna Miss Me’ and Joe Liggins ‘Honey Dripper’ is a real belter with a howling harp. Hopefully there won’t be as long a wait for the next one – this is London Blues at its best.

Andy Snipper

recordings of the time (and has continued to do so) and there’s a honey-edged, sometimes tongue-in-cheek warmth to everything this man does. Amazingly, now in his mid-80s, he’s still working, yet no matter what his age – or yours – you’d have to be a dead plank of timber to remain unstirred by this compilation. It’s been astutely put together once again by the living lexicon which is John Broven, and the accompanying booklet by Broven, with its reproduced ads and posters is a joy to read. If you’re having a party, this is the record – as Fats says, Be My Guest - roll back the Axminster, crank up the volume –long live Fats!

Roy Bainton

DAVINA AND THE VAGABONDS

Black Cloud

Roustabout Records

This band are fronted by Davina Sowers who has a very striking vocal that conjures up comparisons with the 1930’s era Jazz singers but at other times she is reminiscent of more modern artists like Amy Winehouse, either way she is a revelation and delivers some very tasty jazz influenced Blues. Davina plays the piano in a band that is ‘guitar free’, the four other band members cover upright bass, drums & horns, playing traditional New Orleans style jazz music, a couple of tracks remind me of the music created in one of the Bond Films where a jazz band are accompanying a street funeral. All the material is self written although one track the ‘River’ has an introduction that is not a million miles away from the start of “I’d Rather Go Blind”, this apart the material is very refreshing, while based on sounds original created decades ago there is a contemporary feel to the whole album, which has an underlying ‘humour trail’ to bring a smile to the listener’s face. While this is the band’s first album I cannot believe that Davina’s vocals will remain ‘un-heard’ for much longer, she has a unique talent that has Blues & Jazz crossover opportunities.

Adrian Blacklee

FATS DOMINO

The Imperial Singles Volume 4 1959-1961

Ace Records

Ace Records are in danger of providing us old retro junkies with an overdose of wholesome fare this year. Here’s another fix from the greatest of all artists to come out of New Orleans, the mighty, seemingly immortal Fats Domino. 26 amazing recordings and not one dud among them. By the time these Imperial waxings were cut, R&B had broken free of its derogatory ‘race music’ category and, courtesy of such shows as Dick Clark’s American Bandstand, and had given birth to a strident rock’n’roll which America’s once anodyne white pop charts could not resist. So from the opening song here, the uplifting I’m Ready, with its terrific backing, including crisp handclaps, you’re in heaven. Most of the great Fats hits are here; ‘Walking To New Orleans’, ‘Be My Guest’, ‘I’m Gonna Be A Wheel Someday’, ‘My Girl Josephine’, as well as the slightly less familiar ‘Rockin’ Bicycle’, ‘What A Price’ and ‘Shu-Rah’. The New Orleans sound stands alone among

GEORGE HAMONICA SMITH Teardrops Are Falling

Electro-Fi

Mark Hummel, himself a brilliant harmonica player from the western shores of the USA, attests that “George (Harmonica Smith) remains one of the true giants of West Coast Blues Harp and he proves it on this recording!” This is high praise indeed for the former the member of Muddy Waters’ Band, who gave this performance in June 1983 shortly before his death. Smith receives similar accolades from William Clarke, possibly the best of them all. Is it deserved? This recording was made in the company of Buddy Reed & the Rocket 88s at Chuy’s in Tempe Arizona and is far from pristine, with a tinny sound, an indifferent mix and constant background audience noise to spoil the listening experience. Smith’s voice is mighty, but suffers from the application of too much echo. On the plus side there are some crafted and sensitive fills and solos from guitarist Buddy Reed, and of course plenty of strong harp playing, exceptionally so in ‘Harp Stomp’. The song choices like ‘Teardrops Are Falling’, ‘Key To The Highway’, and ‘Big Boss Man’ are well known and well executed too. His tribute to Little Walter, ‘Juke’ has a great bounce to

it, and the arrangement of ‘Goin’ Down Slow’ has more drive than many contemporary versions. Although far from being the best example of the West Coast’s unique take on Blues, this has a certain charm. The passing of this generation of artistes probably justifies its release.

Noggin

FRED CHAPELLIER

2000-2005 - The French Years Autoprod

Bringing back the old to create something new was risky but it’s paid off for Fred Chapellier who’s put together a new opus based on songs from two previous albums, ‘Blues Devil’ released in 2003 and ‘L’œil du Blues’ released in 2005. Fred re-recorded all the vocals and guitars and it gives the album a new lease of life and a real pizzazz to tracks like ‘Danger, Télé’, ‘Béton Blues’ and of course the brilliant ‘Y’en a marre’ which opens the new album. What about the fantastic ‘Que du Blues’ and the beautiful ‘Pas d’ma faute’ as if the singer-guitarist apologises for singing songs which mean something and pull our heart strings. Whether it’s because he discovered a talent for blues in Billy Price, Fred has always managed to bring us superbly crafted French songs that you’ll love to listen time and time again. After this album, you’ll have to get your hands on the original two and dive again in the world of Fred Chapellier. Only available on download, this album sung in French may symbolise Fred’s return to a Blues ‘made in France’, whilst all the while he keeps wandering the back roads with the likes of Billy Price and other big stars who’ve fallen in love with Fred’s amazing guitar skills. ‘Monsieur’ Fred Chapellier, one of the most talented and genuine musicians in French Blues deserves a proper listen and recognition. Don’t miss out!

FEARING

& WHITE

Fearing & White

Frankie Bluesy Pfeiffer and Nat Harrap

Lowden Proud Records

Ronnie Lane & Slim

Chance, Gallagher & Lyle, The Strawbs, Pick any one them or any combination of styles of the aforementioned and you will have some inkling of the approach to the ideas and sounds of the music that which this duo create. The mellifluous melodies and oh, so sweet harmonies which melt with the utmost ease into the ears most definitely have a debt to The Beatles more softer moments and arrangements (which is no bad thing, I might add). Passing inflections and references to Blues, Americana, Folk and Country abound but, the single most important fact remains is that what we have here is a fresh, highly enjoyable, evocative, hook filled collection of thirteen numbers that float, wind and embed themselves into your subconscious, in less than a couple of plays and there you are humming away to tunes with glorious memories of the golden sunlight of Summer. The gentlemen painting this perfect pastoral musical vista are Stephen Fearing; vocals, acoustic and electric guitars, Andy White; vocals, acoustic and electric bass with Ray Farrugia providing excellent percussion and drum work. Stephen and Andy have known each other for over eight years now; Andy was born in Ulster but, now resides in Melbourne Australia while Stephen was born not that far away in

Dublin but spent his formative years in Canada and still lives in Halifax. Although they primarily are solo acts (for between them they have recorded nineteen solo albums) they have planned this collaboration for a number years and when the opportunity came to write a few numbers together the ball started rolling, in fact they even performed the numbers of this album while they were on tour before they had even recorded the first tune so the numbers and the sound are as crisp and fresh as yesterday but equally warm and cosy as your favourite armchair. A highly recommended release!

Brian Harman

DOVE AND BOOWEEVIL Getting Somewhere Mud Pie Records

The first track of this compilation sounded like Seasick Steve on speed with a female voice to confuse you even further. ‘Bourbon Street’ is a raucous bluesy opening to a debut album which bodes well for them. I just can’t believe they are from East Anglia, Lauren Dove and Mark Howes have produced a sound which is pure southern United States of America in sound, atmosphere and acoustic guitar playing, definitely not the flatlands of Norfolk. Lauren Dove has a vocal range that defies description from Bourbon Street the opening song to track 5 ‘Where Would You Be Now’. If I had to be picky I’d like the lyrics to be a bit less repetitive, but that really is unfair since they write their own stuff as well as perform it with feeling. ‘Boweevil’ himself, a.k.a. Mark Howes does possess an innate ability to transport your ears to the Mississippi with his fretwork. Track 9 ‘Vague Man’ showcases this sublimely. It is a treat to this listener to hear a British, much less Norfolk, guitarist play with such feeling and where needed, fire. If this is their debut then the future is bright for this duo, this album is a cracker and can be downloaded at a fair and reasonable price. Having spent some time in Norfolk at work recently, this has me re-appraising the county as anything but a backwater.

Tom Walker

ERIC SARDINAS and BIG MOTOR Sticks and Stones

Mascot Label Group

I mentioned in passing to the folks in the BM! Office that though slow, moody and subtle has its merits, I was more of a rufty tufty grungy Blues kind of boy. Then I opened up my bi-monthly padded envelope and this fell out - grunginess and rufty tuftiness to spare. Thanks fellas. Eric Sardinas will never die wondering – he’s on the George Thorogood end of raunchy so don’t expect any naffing about– the mood is exemplified by ‘Road To Ruin’- splendid fun with a strong, growling riff interlaced with some famously dexterous slide work. ‘Country Line’ and ‘Ratchet Blues’ are pleasant interludes; addictive hooks and a couple of notches back from fifth gear and 90 in the fast lane, but they are about as restrained as it gets before the Big Motor winds itself up again. It all fits gloriously with what you would rightfully expect from someone who regularly sets fire to his guitar –literally. His weapon of choice these days is an electrified resonator, so presumably there is some cheap copy in

the wings with the paraffin these days. No duds out of 11 here, and while the music and production can’t be faulted, his website blurb perhaps over-eggs the pudding a little, claiming that “corporate-fuelled, musical puppets” have brought a “stale” industry to “the verge of collapse”, while his “unique sound and honest delivery are breathing life” back into its lungs. Told you. There’s nothing understated about Eric Sardinas and thank goodness for that I say. Hectic, high octane and highly recommended.

Richard Thomas

makes a notable contribution, whilst Michael Pickett supplies some fine harp playing on Howlin’ Wolf’s ‘Who’s BeenTalking’, ‘Dust My Broom’ and ‘Crossroads’ (Cream’s influence is pretty obvious on several tracks here). This is a relaxed yet passionate set that will be welcomed by Jeff’s fans and should bring some new followers to his music.

Norman Darwen

GRADY CHAMPION

Dreamin’

GSM Music Group

Mississippi Blues-man Grady Champion’s fifth album of original material that is a mix of funky, soulful and the Blues that is contemporary and at the same time true to traditional Delta Blues. Grady combines fine harp playing with a distinctive gravelly vocals as demonstrated from the off with ‘My Rooster King’; many of the tracks remind you of Blues classics, whilst at the same time they ring out with originality. Supported by strong musicians Zac Harmon and Gregg Wright (Guitar), Buthel (Bass) and Christopher Troy (Keyboards) producing a depth of musicality providing textures and feeling creating a unique sound wrapped in the memories form ghosts of the past.

‘Thank You For Giving Me The Blues’, guitar delivered by Harmon who produces a fine Albert King style a perfect foil for Grady’s voice and raises the Blues. ‘Dreamin’, is an artful CD the tempo and style changes from track-to-track, whilst the combination of tight musicianship and excellent production the tracks seamlessly flow from one to the next. ‘Make That Monkey Jump’ is full of life using the gospel call and response in a carnal setting; and is truly let the good times roll track. This is an album that uplifts your soul with its mix of pleasure, pain and as ever the promise of redemption a common theme in classic blues, this Mississippi Blues-man is a definite for any Blues collection.

Liz Aiken

IVAN APPELROUTH

Blue and Instrumental

Ellersoul Records

I never expected to say this myself, because it’s a ridiculous description to apply to anything, not least a bottle of wine; especially not a record. It’s very unpretentious. It turns up, plugs in, and ticks both boxes in the title with aplomb. It does what is says on the tin. New Englander Appelrouth gets down and dirty into my favourite areas of R&B griminess at times and is equally at home picking or sliding, flitting nicely between blues, swing and rock n’ roll, though I was always wanting more of the former and a bit less up-tempo conviviality. He is none-too-tardy in compositional matters either though, concocting some original-sounding numbers that will doff hats in all the right directions for 12 bar fans. Plenty of standouts here – ‘Blues A La King’ was a moody attentiongrabber– the uncredited cover ‘Frosty’ was good, but ‘Magic’s Time’ is the real corker - a slow bluesy number with all players on top form – the Watling/Cwiklinski brass section offers extra beef and a splendid extra dimension. Occasionally I missed a smoked, marinated stamped-on velvety vocal track, and consequently, sporadically tracks bleed into one another and my attention wandered slightly. But that’s being hypercritical – this is too jolly to get bogged down with such pedantics. Classy musicality, nice light and shade, some splendid licks by yer man Ivan, and authentic and genuine enough to make blues anoraks purr contentedly. Foot tappingly appealing and like as subtle as full blooded red. Bravo.

Richard Thomas

THE JEFF HEALEY BAND

Live At Grossman’s - 1994 Eagle

In the 80s several figures helped revive the ailing Blues. From different directions, Robert Cray, Z.Z. Hill, and Stevie Ray Vaughan raised its profile; so too did Jeff Healey, who with his different guitar style, young approach, and willingness to use radio friendly formats outside the accepted blues canon made him Canada’s first truly international blues star. When he made this previously unissued set, he was basically returning after nine years of touring to the bar that first established his reputation. He was obviously having fun – the sleeve photo shows a venue like a standard British pub with the band in the corner, right up against the audience. His banter and audible chuckles emphasise this. So too does his inclusion of The Beatles’ ‘Yer Blues’, prefaced with “Here’s a little something that we’ve been experimenting with”, as it was only the second time the band had played it live (the first time was the day before!). Guest guitarist Pat Rush

Mr. ISAAC ALLEN Don’t Smoke

Horizon

Isaac has lived the Blues and his music clearly shows his experiences. His vocal style reminds me of the late Long John Baldry and sometimes Tom Waits. All the self-penned songs reflect drug misuse, prison life, and misspent youth and boy don’t they make you sit up and listen! The whole album has a smokey jazz club atmosphere to it and is compulsive to hear. When listening to ‘Mouse in my Head’ you begin to understand the strangeness of drug addiction. Isaac’s piano playing throughout is simply superb and he surrounds himself with delicate brass accompaniments. Eleven songs each describe an experience Mr Allen has lived with and must have been a very dark time for him and is to his credit to have created these emotional pieces. This is an album to listen to when you are in the mood for a bit of reality blues done in great style and will stay with you long after the final track.

Bob Bonsey

JOOLS HOLLAND Best Of-Finding The Keys Rhino

Through Jools’s celebrity status this CD release falls into the Commercial category and will be stocked by all the high street chains, being an “independent” snob I would

normally give a wide berth to these sorts of releases but I was pleasantly surprised with the quality of music contained here and how much I enjoyed listening to it! This is a twenty track ‘Best Of’ release which brings together a ‘who’s who’ of top vocalist; these include; Dr John, Solomon Burke, Beverley Night and Tom Jones to name but four. The majority of the tracks fall into the Soul & RnB category, the only track with a different feel to it is ‘Scorpio Rising’, on this track Jools is joined by his old band mate Chris Difford, who between them create a song with clear homage to the original sound they delivered in the 1970’s with Squeeze. There are two tracks sung by the late Solomon Burke here, I know Jools held him in great esteem and these songs are a fitting tribute to a great vocalist, of the other tracks there are two to highlight; one demo track which I presume is previously un-released called; ‘Odd Man Out’ which has a rare vocal from Jools himself, the other is ‘Loutette’ which has a spoken story telling vocal by Norman Wassberg, very much in the Jackie Lynton style. A good collection of strong material played and sung to perfection.

HADDEN SAYERS

Hard Dollar

Blue Corn Music

Adrian Blacklee

‘Hard Dollar’ is the latest release from the talented singer songwriter and guitarist Hadden Sayers. It wears its electric blues influences on its sleeve, with everything from twelve bar rock songs, slow soul ballads, funk, and jazz overtones. Sayer’s guitar and vocals lead a band of drummer Tony McClung, bassist and fender Rhodes player Mark Frye and Dave Dewitt on Hammond Organ, Wurlitzer and Acoustic Piano. The album also includes contributions from singer Ruthie Foster and Saxophone and Harmonica player Phil Clark. ‘Crush on you’ and ‘Inside out Boogie’ are SRV type boogie numbers. ‘Back to the Blues’ is a soulful blues duet for Ruthie Foster and Hadden Sayers, whilst ‘Flat Black Automobile’ contains a Buffalo Springfield type acoustic guitar chord progression, and laid back slide guitar, ‘Ain’t Comin’ Round no more’ melds the guitar part of ‘Killing Floor’ to a more laid back groove. ‘Hippie Getaway’ starts as is stomping number for acoustic guitar, harmonica and stripped down drums, before a middle section becomes a bluesy rock-a-billy number, whilst the album closer ‘Money Shot’ is a jazz organ trio instrumental full of fine musical interplay, and good playing from organ player Dave Dewitt. All in all, this is a good album for loves of high quality blues and playing, the recording quality is of a high standard, and the musicianship is more than a notch above the average. Worth checking out. For more information visit www.haddensayers.com

Ben Macnair

hard stuff; ‘Sundown’ has a laidback feel; whilst ‘Come And Get it’ has a definite dance hall shuffle. Johnny Otis’s ‘Broke And Lonely’ has a distinctly Chuck Berry riff running through it. ‘Long Lonely Bayou’ has Michael Doucet of Beausoliel fame on fiddle [well you would not expect anything else would you] and is an acoustic treat. Alan Toussaint’s ‘Nothing Takes The Place Of You’ is a masterpiece of country Blues with a passionate vocal from Tab. Throughout this album Beniot is supported by Ivan Neville [son of Aaron] Brady Blake, Corey Duplechin, a truly sensitive bunch of guys musically. ‘Mudboat Melissa’ is a gritty funky closer to this collection. Get the Southern Comfort out and enjoy.

Bob Bonsey

MIKE PACHELLI Meeting Point

Fullblast

Mike Pachelli has been playing the guitar for a long time, having studied classical guitar at Youngstown State University in Ohio, before taking off to New York City to study bebop with jazz guitarists Joe Pass and Pat Martino. Since then he’s worked continuously across just about every field of music imaginable, having plucked strings for the likes of Brother Jack McDuff, Albert King, Michael Sembello, Crystal Gayle, Barbara Mandrell and even Sylvester Stallone’s brother, Frank. He’s released 16 records under his own name ranging from the jazz release “Electricite” to the acoustic guitar duet CD. “Two Of Us” with Phil Keaggy. He’s also put out instructional books and DVDs, and hosted his own TV show in Florida. So there’s no doubting the man has the chops. But does he have the blues? Well, ish. “Meeting Point” is his blues CD, featuring his band, The BluesMasters, who’re made up of some top L.A. Session musicians. Most of who seem to be jazz musicians, slumming it for fun. So the performances are nigh on perfect, but there is a lack of pure feeling about some of the music. Now that’s not to damn it, because there are some enjoyable songs here, and Mr Pachelli does play with his blues band on a regular basis, but it just seems to miss in places. The best of the bunch were ‘My Guitar Will Say It For Me’, ‘Too Much Hassle’ and album highlight ‘Adam & Eve & McDuff’ which features, naturally, Brother Jack McDuff. If you’re looking for virtuoso playing, then this might be right up your street. Me, I like things a little bit messier..

Stuart A Hamilton

TAB BENIOT Medicine

Telmarc

If you like your music with a Tony Joe White vibe you will get off on this one.

Louisiana born Tab Beniot takes us on a Cajun/ Swampy trip down the Bayou Blues trail. ‘Medicine’ has a vibrant guitar intro and is obviously about the

HARMONICA SHAH Live At The Cove Electro-Fi

This is Electro-Fi’s fourth album from this down-home blues singer and (of course) harp player, but his first ever live recording, made over two nights in Westport, Ontario in April 2010. The notes suggest that Shah, born in California in1946, partly raised in Texas, and based in The Motor City since 1967, just makes it up as he goes along; that’s as maybe, but there is no denying that this is a fine set of no-nonsense, raw blues in the classic fashion, nominally original but drawing strongly on the likes of John Lee Hooker (naturally enough, given the Detroit connection) – try ‘Mrs. Obama’s

Boogie’ – Muddy Waters, Jimmy Reed, Howling Wolf, Junior Wells, Little Walter… you get the idea. It helps too, I guess, that on guitar is award-winning Jack De Keyzer, who is fast becoming ubiquitous (though given the quality of his playing, that’s no bad thing!) and a rhythm section that’s right in the pocket. Occasionally one or two numbers go on too long – ‘Blues From A Lonesome Dirty Mountain’ in particular - but that’s a small price to pay for a spontaneous set of gritty blues of the kind that is beginning to become something of a rarity these days.

Norman Darwen

grabs you by the short and curlies, as does ‘I Got Love If You Want It’, ‘Snoopin’ Around’, ‘Yeah Yeah Baby’ and the exhilarating ‘Buzzin’’. The original Excello tracks are crisp, fine recordings and Harpo’s warm voice and clear diction is right up front – just listen to ‘My Home Is A Prison’ and you’ll know why Jagger & Richards followed this man. There’s the usual erudition in John Broven’s liner notes, and if you’re a new blues fan, you should still have this on your shelf – Harpo was a true legend, as inspirational today as ever.

Roy Bainton

HENRY GRAY

Lucky Man

Blind Pig

Born way back in 1925 in a place called Kenner on the fringes of New Orleans; Henry Gray has had a life in the Blues. He’s been hidden in the background behind the likes of Fats

Domino, Johnny Johnson and Otis Spann, yet his authenticity is just as grand. Working with Howlin’ Wolf’s band for a decade and as part of the Chess empire, recording with probably all the Blues greats, playing at Mick Jagger’s 55th birthday party, and being with Elmore James on the night he died, make him a Blues alumni master. This is his set from the 1988 release that was touted as his comeback album following a sporadic decade. The twelve numbers highlight not only his “twofisted boogie-woogie” but his true Blues vocals. Half the tracks were written by Gray too and serve to illustrate his virtuosity in the business. It’s a perfect piano-gumbo, with tight and understanding band (notably Steve Freund and Andy Cornett), and strongly recommended for fans of neglected Blues.

SLIM HARPO

Gareth Hayes

I’m A King Bee The Early Swamp-Blues Classics

Ace Records

When we talk about Blues influences on rock’n’roll, we usually come up with the Holy Trinity of Muddy, Hooker and Wolf. The truth is, our influences were a golden quartet, and Slim Harpo was the fourth member. Harpo was only 46 when he passed away in Baton Rouge in 1970. These 24 truly classic tracks are a legitimate monument to a great artist who would go on to influence so many people. Here’s a (I hope) worthwhile anecdote to illustrate the point. (Stop yawning at the back there…) Back in the early 60s, before the Rolling Stones became prominent, I was playing with a band in Hull called Dean Alan and The Soundtracks. We went down to London and caught The Stones at their Sunday afternoon residency at the 100 Club in Oxford Street. Naturally, we were blown away, and got to talk to Bill Wyman. He thought the name of our band was rubbish. As we aspired to playing R&B, he suggested we call ourselves The King Bees. We’d never heard of Slim Harpo then, but we returned to Hull with the new name. Shortly after I stupidly left the band, because they wouldn’t allow my girlfriend to ride in the van. They replaced me briefly with some bloke called Mick Ronson. But at least I got to know who Slim Harpo was, and ‘I’m A King Bee’, the 1957 title track here, still

TONY RĒMY’S BLUE VIBE Street Guitar

Alltone Records

This album sits at the crossroads between Jazz and Blues of that there is no doubt. There is a huge amount of extemporising going on here led, in the main, by Tony’s very fine guitar work. ‘Don’t Mess’ gets us underway in instrumental mode with a kind of funky underpinning from the rhythm section whilst keyboards interject at key moments with strident chords. Meanwhile Tony is setting the fretboard alight with some blistering runs. The tempo settled down a bit to a nice slow Blues with the coming of ‘Keep Your Heart Beating’ where vocals are handled by bassist Jo Chang. There are only seven tracks on the album so as you can imagine most cuts weigh in well over five to six minutes. This allows plenty of room for the afore mentioned extemporising. Once we are in driving mood with the, perhaps, Santana inspired ‘Cruise Control’. With more than just the title to indicate where the inspiration came from ‘Over To You Mr Beck’ the lead is taken by a rather tasty acoustic guitar with a nice counter point provided by a soprano sax. ‘E Jam Blues’ has an up-tempo groove with some pretty fast licks taking place whilst ‘Cajun Chicken’ is kind of stripped back. The rhythm section is well to the fore from the start of the track with input from guitar sax and keys coming at intervals. There is something special about this album for those of you who like the more experimental side to music. Safe it isn’t, however it is always good to step outside of our comfort zones on occasion and see what is on the other side of the tracks. Go on, step over and push the boundaries. It’s worth the trip.

Graeme Scott

JACKIE JOHNSON Memphis Jewel Catfood Records

The soul vocalist Jackie Johnson has turned in a fine selection with Memphis Jewel. Her soulful vocals lead from the front on a number of her own songs, as well as some choice covers from the great soul repertoire. The gospel influence is to the fore, but Blues, Jazz, and funk are also on show. From the gospel funk of the opening ‘It should have been me’ to the two originals ‘Do ‘Ya’ and ‘Will You Be Mine?’ with their new soul sound, almost Sade like ambience, to a rousing cover of Smokey Robinson’s immortal ‘The Tears Of A Clown’ this is finely crafted music, if a little too bland. It is almost to perfect, and if there had been a little less smoothing of the edges, this would have been an outstanding effort, rather than a good one. It has the finest ingredients, some good songs,

a first rate singer, a crack rhythm section and soloists, and guests of the calibre of Johnny Rawls, and it is very well produced, but for me it is sadly lacking the X factor that make all of the classic soul albums essential listening.

Ben Macnair

JIMMIE VAUGHAN

Plays More Blues, Ballads & Favourites

Proper Records

When it comes to stripped, down, minimalist urban blues, no one thrills as much as the pride of Texas, Fabulous Thunderbirds founder, Jimmie Vaughan. After the Grammy-award nominated volume 1, here’s the second volume of 16 solid gold, vintage R&B and early rock’n’roll cover versions. Here he’s got gutsy vocal support from Lou Ann Barton on a range of material which includes classics by Ray Charles and Hank Williams. When you hear Jimmie play Amos Milburn’s Bad Bad Whiskey you have to remind yourself that this is the man who taught his brother, Stevie Ray Vaughan, how to play. Muddy Waters liked Jimmie’s playing so much that at one gig in Texas, he collared him and said ‘When I’m gone, I want you to do that, and show everybody that’s what I did. I want you to do it for me.’ Imagine having that on your musical CV. His playing is often sparse, always intelligent. Every note is carefully aimed at your heart. He has a special place in my heart; I recall seeing him in, of all places, Hull, with the Fabulous Thunderbirds in the early 80s. A small club, just 100 punters, a tiny stage about one foot high, and I was there, just a couple of feet away from his stinging Strat. He played a solo on Full Time Lover of such intense passion I shed tears of joy. As he reached the end of the twelfth bar, smiling down at me he said “Want some more?” I roared my approval. This man is what true city blues is all about. Buy this album, because you’ll love it.

Roy Bainton

more …”, while disc two is “Blues, R&B, Swing, Jazz, and even more …” So, blues folks will be racing off to disc two where you will find Duke Robillard, Joe Louis Walker, Jay McShann, Ronnie Earl and The Broadcasters, Rory Block amongst the many fine performances. It’s a truly excellent compilation from a great label.

Stuart A Hamilton

LAZY LESTER Rides Again Ace Records

Those of us who’ve been around long enough remember the buzz we got when hearing Lester’s first hit in 1958 with the release of ‘I’m A Lover Not A Fighter’ backed with ‘Sugar Coated Love’ Whereas many of his contemporaries are up there in Blues Heaven, Lester, who won the W. C. Handy Award in 1987, at the age of 78, is still touring, still blowing that fine harp which became his trademark. This fine collection on the matchless Ace label is an expanded issue of the 1987 Blue Horizon UK sessions produced and engineered by that cornerstone of British blues, Mike Vernon. At the time these tracks were laid down Lester was a spritely 54, and these 23 songs still display all the strident vocal strength of his work back in the 1950s. ‘I Hear You Knockin’’ will have you cutting a rug, and the good thing about this re-issue is the alternate takes on songs such as ‘Travelling Days’, ‘The Same Thing Could Happen To You’ and ‘Hey Mattie’. There’s terrific, informative and nostalgic liner notes in the 16 page accompanying booklet by Mike Vernon, Paul Harris and John Broven, and fine playing from backing musicians Julian Piper, John Bruce, Dave Neill and others, especially the legendary piano of the inimitable Bob Hall. What lucky punters we blues fans are to be able to benefit from the likes of Ace Records and re-issues such as this. Get it while it’s hot – and believe me, it is.

Roy Bainton

JOHN BAILEY featuring THE ERIC DURCOFF BAND One WithThe Blues

Mascot Label Group

VARIOUS ARTISTS

35 Years Of Stony Plain Stony Plain

Every five years since their 10th birthday, Stony Plain likes to put out an anniversary compilation from their roster. And for their thirty fifth anniversary, the Canadian label has gone all out with a double album of music, alongside a bonus DVD. On the audio side, there are some unreleased rarities including a 1965 Toronto session by Robert Nighthawk, a track by King Biscuit Boy and 3 songs by the late Bob Carpenter. Over on the DVD there are interviews, rare videos and a tribute to the late Jeff Healey. So for your bucks, you’re getting 41 audio tracks and 10 videos. Which, depending on UK distribution, could turn out be an absolute bargain. For me, the real treat was the three previously unreleased songs by the late Bob Carpenter with background vocals supplied by Anne Murray and Emmylou Harris. It’s not the blues, but they’re absolute peaches. However, elsewhere, you’re getting music from the likes of Sonny Rhodes, Jeff Healey, Maria Muldaur, Ian Tyson and Long John Baldry, so there’s plenty for died in the wool blues fans. There are some informative liner notes which are well worth reading, and the music itself is divided into themes. Which means disc one features “Singers, Songwriters, and much, much

It seems from the sleeve notes that this collaboration was the result of a regular jam, and there is nice musical chemistry between Bailey and his sidemen. Bailey has a nice mellow, velvety vocal but it’s his muddy, authentic blues harp playing that really catches the ear on this one. One this form Bailey is a master– the fact that Messer’s Ducoff and co are also hitting their straps conspire to make this rather good – Ducoff especially has some cracking chops which show deep sensitivity for the material. There are some perfectly competent blues numbers here, including the poignantly melodic ‘My Sad Dream’ and the equally melancholic “The Great Valley Flood’ complete with scene-setting newscaster commentary, and my standout, the splendid ‘High And Dry’. Despite the odd one that didn’t appeal quite so much (‘Some Real Love’), there is a deliciously earthiness and the overall effect is very positive, but at times, I was a little disconcerted by signs of overproduction; some of the gruffness and palpability of playing live may have been sacrificed in the name of a nifty sound – as good as this is I never imagined these fellas live in The Griswold Inn, just in partitioned booths with headphones on. That said, it is a more than tasty debut, and I was left wanting more even though it didn’t quite reach out from “very good” to “outstanding” - I will be watching out for Bailey’s next offering ( for there will surely

be some) to root out a live recording – now that will really promises to be something.

Richard Thomas

is more than offset by the energy levels lifting it up so that the fireworks coming off the fretboard are what count. Whether playing straight high octane Country, Rock ‘n’ Roll or Blues, Johnny is way up there with the best I have heard.

JOHN

MAYS I Found A Love Electro-Fi

Until now I was not particularly familiar with John Mays work, best known as vocalist for Canadian band, Fathead. They have won Junos, and he multiple Maple Blues awards as male vocalist of the year. It is easy to see why. I was listening to May’s powerful and emotive vocals and thinking of Otis Redding, only then to discover that this 70 year old was born in the same place and year as that late, great soul singer – Dawson, Georgia, 1941. The dues have been paid; he sang gospel and doo-wop, R&B and funk through the decades of his career. This all comes to fruition in the stonking performances throughout five days of studio recording. The results pay tribute to his seasoned and utterly professional approach. Highlights? Well Lennon of course captured the true essence of his own angst in ‘Jealous Guy’, Ferry sanitised it, but May truly revives it. His church roots shine through in the thrilling ‘Jesus On The Mainline’ and the swirling arrangement of ‘Think’ is a joy. The slow Blues of ‘Your Good Thing Is About To End’ completes a quartet of songs which are as good as anything I’ve ever heard in the Soul/ Blues arena. It is almost impossible to pick favourites amongst a true galaxy of performances, and from a band and guests who provide the foil to this consummate lead vocalist. Ultimately it is all about the voice, and it all comes out here, soul, emotion, urgency and above all sheer dance ability. Fabulous.

Noggin

KARL DEMATA Cross The Mountain Green Lizard Records

Graeme Scott

A new name to me, Karl is Italian who at some point has pitched his tent here in the UK, based in the Oxford area. As far as I can tell this is his first album under his own name however, as a regular member of the collective known as the Crippled Black Phoenix, he is no stranger to the inside of a studio. On this album he has a couple of alumni from that band, Chris Heilmann bass and Merijn Royaards drums, in support alongside guests Tim Howes keyboards and High Flint percussion. Karl growls his way through eleven cuts that are quite a mix of styles but still firmly rooted in Blues-Rock. Whatever the elements of inspiration that he taps into over the album there is no faulting his skill as a guitarist. I was particularly drawn to his terrific mesmerising use of the slide on the title track. It’s not often that I listen to cuts especially on headphones but the mix works very well this way. Country Rock swing is clearly defined on ‘Never Come Around’ and back at the start the album kicks off in a fine way with ‘Barefoot Walking Blues’. Grungy and guitar drenched throughout it is edgy, stretching out into the future to attract contemporary music lovers and yet at the same time it has enough familiar roots to satisfy those listeners who remain loyal to past. Lyrically Karl tells tales of adult themes of loves disappointments, those searching for something within themselves, disillusionment and wistful memories of the past so eloquently described in the closing track ‘The Circus Never Comes To Town’. He may be a new name but this album is fully formed from a musician with years under his belt.

Graeme Scott

JOHNNY HILAND

All Fired Up Provogue Records

You know that when something pops through your door from Provogue that it is going to be good and this new album is no exception. If you like your music played at breakneck speed then this is most certainly for you. Johnny’s Country picking is straight out of the top drawer. Think Albert Lee then you will be in entirely the right area of expertise. Legend has it that Johnny began playing guitar at the age of two. I’m not sure if that is possible but, for sure, so fluid is he that he sounds like he is permanently attached to his axe. Ably supported by the mighty Stuart Hamm on bass, Jesse Bradman keyboards and Jeremy Colson on drums what you get for your hard earned cash are ten cracking top choons and a couple of vocal led bonus cuts. I’m not certain why there are not more vocal outings as Johnny is no slouch in that department either but this is essentially an instrumental album. So whether you are driving around the place with this coming at you and with a great big grin on your face or bopping along playing air guitar as you go about your house this is most enjoyable stuff. In truth though trying to talk about the ten main tracks is tough, as they tend to merge into one a bit. I don’t mean in style but just in being able to identify each one by name. This slight downside

LEWIS HAMILTON AND THE BOOGIE BROTHERS

Gambling Machine

Independent

A world away from Pussycat Dolls and F1, another Lewis Hamilton is pursuing a different road; Blues music not tarmac, and its epicentre is Scotland not Silverstone. This young Lewis Hamilton, has released his debut album, entirely self-penned and recorded at the Sawmill Cottage Studios in Auchterarder, Perthshire. “Gambling Machine” is just shy of 40 minutes long, with ten tracks of solid Blues and boogie, and Hamilton has put together a fine first release. There are strong family ties, with father Nick on bass and Uncle Steve on keyboards and some drums. The regular band also employs Ian “Santa” Wallace on drums. The lineup is augmented by occasional sax, harmonica and lap steel: the latter two to great effect in the instrumental ‘The Getaway’. Lewis Hamilton has a tuneful and authentic Blues voice which belies his years, but it is as a virtuoso guitarist that he excels. The album’s strength is in its variety; the Savoy Brown like boogie of the title track,

the slow blues of ‘Living In A Bad Dream’, and the funky beat of another instrumental ‘Phatitude’. The tour de force is ‘Crying Shame’, six and a half minutes of classic Blues guitar playing. The track sequencing which closes with ‘There You Are Now’ again featuring Fraser Spiers’ haunting harmonica was a smart move. Whilst this album is more derivation than innovation, it provides a rock solid example of British Blues at its best.

Noggin

these brothers have pulled it off.

ROBIN TROWER The Playful Heart Repertoire

Graeme Scott

LIL JIMMY REED

Live In Scotland

Blue Junction

As the title implies this CD was recorded live at the Dundee Blues Bonanza in 2006 at two venues, the Marquee & the Social on two summer nights, I get the impression that there was never a prior intention for these sessions to be recorded but someone just “flicked the switch” and as they say the rest is history! Leon Atkins namely Lil Jimmy Reed is a USA based blues man from Alabama who is now a regular by popular demand, at the Dundee Blues festival, returning year after year, listening to these sessions you can understand why, his raw gritty blues is played with great enthusiasm; he really puts his heart and soul into his performance. The material on the album is a mix of Blues standards and some self written material, there are a couple of repeated tracks here that were recorded at each venue although certainly not identical, on both recordings the supporting musicians come from Scotland, who are credited on the album as the ‘Kick Ass’ band, not a true representation as they provide some low key support at times. Nothing refined here just rough edged authentic live electric blues played by a musician who understands and lives the blues.

Adrian Blacklee

LOS LONELY BOYS

Rockpango

Provogue

Slightly out of the normal rock band vein come this outfit who hail from San Angelo, Texas. By no means are they a power trio as there is a whole lot more going on here than straight-ahead Rock. Garza brothers Henry, Jojo and Ringo handle all the instrumentation and vocals on what is a heady mix of styles including Jazz, Blues, Soul, Rock with a little bit of Dub. The boy’s switch effortlessly between English and Latino Spanish on, for example, the tracks ‘American Idol’ and ‘Love In My Veins’ and the single ‘Fly Away’ are all layered with wonderful harmonies such as only come from a familial connection. This album has all the ingredients to have playing at a party. Infectious rhythms and irresistible pop sensibilities all combine to get your body bopping and feet moving. I have absolutely no idea what ‘16 Monkeys’ is about but there are elements of The Beatles ‘Drive My Car’, Mamas And Papas ‘Creek Alley’ and Stevie Wonder around the time of ‘Superstition’ all jumbled up with lyrics in part about Batman. Crazy I know but somehow it all works. The title track ‘Rockpango’ with swirling Hammond organ, thumping rhythm section and strident guitar powers along at a breathless pace and is perhaps the heaviest cut on the album. Having said that it still comes in at a suitable commercial radio play length. That important point of track timing allows room for plenty of options in respect of potential singles. In short this is an album that will appeal on many different levels and to lovers of commercial pop albums and those who prefer their music with a bit more depth. It’s not an easy mix to achieve successfully but

Up to and including his work with Procol Harum this is Robins’ thirty-first album and it appears from the eleven numbers here, that he is not going to lay down his axe quite just yet. He established his style many years ago and has been playing muscular earthy blues with a deftness and lightness of touch that has always suited him, his music and just as importantly, his fans. This album from a man in his sixty-fourth year proves that maturity, skill and experience will always stand out, for here, Robin has put together with Pete Thompson; drums, Glenn Lestch and Livingstone Brown on bass a collection of eleven numbers which contain a combination of resonating Blues Rock and Soulful ballads. The number ‘Don’t Look Back,’ invokes memories of hazy, late nights in smoky clubs. Robin’s rich, deep, chocolatey sounding guitar work oozes from the speakers with a power and passion that entwines with seamless imaginations, of smoothly inflected Jazz runs that linger long in the mind. Robin shares vocal duties with Davey Pattison, unfortunately, their voices are not as robust as the music seems to demand but, never mind we are more than compensated for, in numbers such as; ‘The Turning’ with its gritty guitar work that evolves into a flowing soul filled piece. The slowburning dream like quality of ‘Maybe I Can Be A Friend’ shows that Robin still knows how to write a spine- tingler! All-in all we have an album here by an artist who knows just what quality is and how to deliver it! Long may he continue. If, you are not a purist this may well be for you!

Brian Harman

JT COLDFIRE

Crazy Sun Independent

Austin-based JT Coldfire is a thirty-something guitarist on the rise. At least, he is making progress on the live circuit and this has been the place to date for the best exposure to his raw and energetic Blues attributes. So far, it hasn’t always transferred very well to his CD releases. This self-release is actually a cracking album, if slightly dull in production, and veers from powerhouse Blues with machine-gun guitar work (‘Lee Malone’), to sensitive song-writing in an atmospheric Blues mood (‘Sweet Little Isa’). The guitar playing is reminiscent of Melvin Taylor and the singing not too far removed from the UK’s own Marcus Bonfanti. All the songs are penned by Coldfire and are suitably expressive within the agreed constraints of bad luck (‘Bad Day’) and lost love (‘She’s Crazy’). With ‘Hangin’ Tree’ a genuine candidate for one of the best tracks of the year so far, Coldfire has the name, has the talent and just may get the luck with this release.

Gareth Hayes

PADDY MILNER

The Curious Case of… Paddy Milner Music Records

A stalwart of the London Blues scene for a long time I first heard Paddy playing really fine piano in a scratch Blues

band fronted by Marcus Bonfanti, Tony Rémy & Robbie McIntosh

one Sunday night in Ronnie Scott’s club. I was well impressed and subsequently bought this solo offering. In a sense the title of the album is apt, as there is indeed a bit of a curious mix of styles to be enjoyed here. Whether playing rollicking Barrelhouse, Honky Tonk, Blues, Jazz, Country and even some Folk influences this is a really happy record to listen to. ‘Going To See My Baby’ is the opening cut and it frankly is way too short coming in at a little over one and a half minutes. However it kind of sets the tone as it is full on Louisiana Dixie Jazz before we head with ‘Jump Into My Car’ just a little into the kind of vocal territory often to be heard from Bobby McFerrin. The happy summer feel continues throughout the album and after each song you are eager for the next to swing around. Paddy has an engaging and adaptable voice depending on the requirements of the song style. However it remains the case that his real strength lies in the undoubted skills he possesses as a piano player. To achieve this level of expertise can only be the result of constant practice and indeed years spent honing his craft playing live. Fourteen tracks mostly self penned however there are a couple of very interesting and differently arranged covers including ‘Come On In My Kitchen’ and Dave Brubeck’s ‘Unsquare Dance’. He completely deconstructs and rebuilds Rihanna’a ‘Disturbia’ into something completely new sounding so fresh as well.

QUINTUS MCCORMICK BLUES BAND Put It On Me!

Delmark

Graeme Scott

This is Delmark’s second set from Chicago singer/ guitarist/ bandleader Quintus McCormick and builds on the promise of his debut CD by offering 14 tracks of soul, blues and soul-blues hybrids in true Chy-town club fashion. Quintus draws inspiration from a wide variety of sources as diverse as Jimmy Reed (the opening track), Muddy Waters, Ray Charles (listen to the vocal on ‘How Quickly We Forget’), the Windy City’s legendary soul man Tyrone Davis (lend an ear to ‘Loveland’), and jazz/ funk/ pop outfit Earth Wind & Fire, whilst Z.Z. Hill and Bobby Bland certainly came to mind on the loping ‘I Got It Babe’. As that list shows, Mr McCormick’s vocals can be silky smooth or tough and gritty, and the same can be said of his guitar playing, which occasionally betrays a marked rock influence with a raw, distorted tone, but this can be contrasted with a number like ‘Lady Blue’, on which Quintus perfectly evokes vintage B.B. King - even down to the tinge of T-Bone Walker in the playing. And just to round off what is undoubtedly a very impressive album; proceedings close out with a rousing gospel number in a blues-soul style.

Norman Darwen

very bluesy, very warm and which deserves a rave review. Raoul has invited guests such as Lenny Lafargue on guitar, Laurent Fourchereaud on drums, Bruno Consolo on bass and many more to join him at the Studio Berduguet and together they wrote ten gems of pure French blues. And for those of you who think that Blues is best sung in English, this album proves that singing the Blues in French is quite something too, different but great. The words stick to the tempos and recount snippets of life as it is. Moroccan born Raoul Ficel brings the necessary spice, mystery and exoticism which come from his North African roots. There’s no point saying too much about Lenny Lafargue given all the good things that have been said about him and who didn’t know him before will soon fill in the gaps. Throughout these ten tracks, Raoul and his mates are trying to find out who killed Robert Johnson and on their way, they bring a light, a sincerity to their music leaving us with a certainty. They must have sold their soul to the devil; the same one Robert Johnson met one night at a crossroads. A truly beautiful moment of Blues! Good things come to those who wait.

Frankie Bluesy Pfeiffer and Nat Harrap

MIKE ZITO

Greyhound

Electo Groove Records

If you like solid grooves and guitars played by players that really mean it, this could be the album for you. This is a Blues album for people who think that Blues is about more than 12 bar shuffles and the pentatonic scale. Leading from the front, Mike Zito leads a tight band through 11 of his own songs, from the hard country thumper of opener ‘Roll on’ with its screaming slide guitar parts, to the title track ‘Greyhound’ which is a song of escape and redemption against a bluesy backing. ‘Show me the way’ which is a co-write with second guitarist Anders Osbourne is a gently funky piece with leaps in time signature and an unusual bass part in the opening, whilst ‘The Hard Way’ is a slow piece, with an Blues structure, but an almost hip hop rhythm. ‘Motel Blues’ is a gentle dobro and guitar duet, whilst ‘Stay’ is a radio friendly anthem. The playing by all four group members is tight throughout, whilst Mike Zito has a pleasingly, careworn vocal timbre that carry his songs very well indeed.

Ben Macnair

RAOUL FICEL

Qui a tué Robert Johnson?

Tempo Concerts – Socadisc

They came, they saw and they conquered. For his album, Raoul Ficel, a one man Blues band, has chosen to surround himself with good friends to produce something

MEGAN HENWOOD

Making Waves

Dharma Records Ltd.

Megan Henwood is a talented young British singer/ songwriter as demonstrated on this début album “Making Waves” released early July. Megan has been busy touring and has made a name for herself on the folk circuit and alongside her own gigs she has opened for a wide variety of artists including Eric Bibb. This album is without doubt clearly in the Folk genre, though this album will definitely help to widen her fan base. The quality demonstrates that her skills have been honed by performing live has been steadily finding new fans and building her audience and features some of her best songs the beautiful ‘White Lies’, which ultimately won her the Folk Award. This is not a Blues album but is an acoustic album and with Megan’s roots are grounded in the very best of British folk tradition,

this is a contemporary album with thought-provoking protest style lyrics as demonstrated in the title track ‘Making Waves’ challenging the new Generation to be making waves to wash away the mess we’ve made!. Her stripped back simple style makes the most of her gentle clear voice allowing the strong lyrics to stand out with the support of guitar and haunting addition of violin and cello. There is just enough change in rhythm and tempo to make each track different this is no doubt an accomplished and delightfully produced début album

Liz Aiken

STONEY CURTIS BAND

Cosmic Connection

Provogue

It seems like ages since I had a new album from Stoney gracing my player and it’s a pleasure for me to welcome him back. To be honest I’m not sure if this is the follow-up to the rather tasty 2007 release ‘Raw Deal’ but whatever the case he is back again, raw and loud as ever, blasting out twelve tracks. Was I to say that nothing much has changed that is, only true in the same sense as when you buy a new pair of jeans. You know that when you put them on they are pretty much gonna fit perfectly and deliver what you wanted. Stoney along with bassist Steve Evans and drummer Aaron Haggerty deliver a clutch of solid rocking Blues top tunes with all the panache of a band who have honed their craft through countless live shows. I have no idea how long they actually spent laying these tracks down but hell they have a very live feel and I like them for that. The pacing on the album is faultless. From the off, with the appropriately named up tempo ‘Blues And Rock ‘n’ Roll’ with Stoney really giving over his soul to those two genres, through the more reflective slower disintegrating romance of ‘When The Sweet Turns To Sour’ and out the other side with ‘Mouthful Of Honey’. The latter picks up the pace and is a fine driving song. ‘Heading For The City’ and ‘Good Lovin’ Done Right’ would both sit well on any Walter Trout album, great chops, groovin’ rhythms and lots of swirling keyboards. Twelve cuts, no instrumentals this time, nicely produced, not very ‘Cosmic Psychedelic Man’ to my ears however, to my ears, this sounds just fine with much to enjoy.

Graeme Scott

Bjørn Berge is a true virtuoso. Those who’ve seen him live can testify to the man’s astounding mastery ofthe 12-string guitar, to the bewildering fluency of his slide work. A mix between a steam train at full speed and a four-piece band. “Blackwood” gives proof that blues, heavy metal and country music share roots that have spawned tasty fruits in the North as well as the South!

To be released on sep. 26th

MICK CLARKE

The Rambunctious Blues Experiment Independent

Veteran of the British Blues scene for many decades Clarke has produced an album of stripped down, raw, rough and ready Blues which was recorded in, mostly, first takes. The title and feel of opening track ‘Cheap’ sums up the philosophy of this spontaneous sounding album and the lyric states the case admirably - “I ain’t lookin’ at the label, I ain’t worryin’ bout the quality”. There are a few glitches along the way but everything is left in - even a broken string! Drummer Russell Chaney copes well with this minimalist, no frills, approach and Dangerous Dave Newman added some harp to the finished tracks. Clarke was persuaded to add some bottom end so bought himself a cheap bass guitar and added it himself in deliberately clunky style. ‘Groundhog Man’ features a stomping Bo Diddley beat, abrasive slide guitar and distorted harp

Rural roots, urban rock and tribal trance are the main ingredients of the highly original blues recipe cooked by Hell’s Kitchen. This surrealistic Swiss group fuses post-industrial influences and deep blues with an incredible primal and hypnotic energy, light years away from the bland, politically correct sounds of FM radio.

To be released on sep. 26th

DFGCD8710

DFGCD8704

work. Great stuff! ‘Shake That Boogie’ does what it says on the tin with Clarke taking no prisoners with his fierce slide guitar. The pace relents for a moment with the perfunctory slow Blues ‘Twenty Miles’ but a distorted, heavy, rumbling riff introduces ‘Old Bones’ a rocker which ZZ Top would approve of. A touch of garage rock features on ‘Slipaway’ a steady paced rocker that thrashes away at an insistent hook. The instrumental ‘Go Go Freddie’ is a toe-tapping tribute to Freddie King which speeds along furiously as Clarke’s guitar duels with Newman’s harp. I think Clarke won. This gutbucket album closes with the chaotic and rousing ‘Woodsman’ where Clarke ploughs on with five strings and also hits the pick up switch a few times randomly changing tones and switching off his corruscating slide guitar completely at one point as Dangerous Dave wails furiously and Chaney thrashes his kit within an inch of it’s life. A mess - well yes but also incredibly exciting, as they thrash to a mutual climax. The dictionary definition of rambunctious is “boisterous and disorderly - difficult to control” and that certainly sums up this album. This will serve to revitalise any jaded palate and is thoroughly recommended.

Dave Drury

RIKKI ILILONGA & MUSI-O-TUNYA

Dark Sunrise

Now Again

Was it possible to sample in the mid-70s? I only ask because Zambian artist Ricky Ililonga (also founder of the band Musi-O-Tunya) has a track here called ‘The Queen Blues’ which has a Delta styled slide guitar and wailing harp accompaniment… But the beautiful packaging that goes with this two CD set reveals that by the time Rikki made this music between 1973 and 1976, he had met Buddy Guy and Taj Mahal, played in a band performing covers of soul hits, loved Hendrix’s music, taught himself to play blues harp, and was of course strongly influenced by James Brown’s rhythms and messages. He was also aware of Leadbelly, Bob Dylan, Merseybeat, garage rock, and The Velvet Underground. Most of these can be heard on the spacious, driving music here – particularly the Hendrix sound. The results may not be to everyone’s taste, but those who have enjoyed the likes of Orchestre Poly-Rythmo De Cotonou or even the latest from Vieux Farka Toure might like to give it a try.

Norman Darwen

ROLAND TCHAKOUNTE

Blues Menessen

World Connection

Pretty well everyone agrees that the Blues originated in Africa, came across the sea to New Orleans with the slave trade and eventually became the incredibly wide church of music that encompasses Blues today. So why should it be any surprise to hear an album of electric Blues from a Cameronian who appears to have brought the music back to its homeland. There really is no doubt that this is music of very high quality and Tchakounte’s slide guitar and deep, almost gravelly vocals are absolutely steeped in that music we love. But he adds something more to it in the African percussion styles and chants that take the music back into its roots and creates a dense and atmospheric sound, hypnotic and exhilarating at the same time. From the title track, which shows off his guitar playing to a great extent, and through ‘A Tchann’ with strong chants and percussion and into ‘Soucous Blues (Nyangsah)’ where he adds in an almost Santana - like rhythm he really is a musician of great talent. ‘Sweet Melody’ opens with a muted trumpet and gently played guitar and swelling organ he takes it down to a slow Blues that tugs at the emotions even if you can’t understand the words. In fact it is all in French as he is a native of a French speaking West African nation and has enjoyed many tours and performances in France. Remarkably it was in France that he first heard John Lee Hooker and changed his playing style forever. The percussive nature of much of John Lee’s playing but allied to the inventiveness and pride of Ali Farka Toure – another influence and idol. The twelve tracks on this album are all gems – all different but with a coherent core of his voice and guitar – one of the best things to have come out of leftfield this year.

Andy Snipper

PAUL WASSIF Looking Up Feeling Down Black Brown And White Records

I have a bit of a problem with this album. I like it very much indeed however in all honesty in my book it is not what I would strictly call a Blues album. For me it sits a bit closer to a Roots/ Folk / Country base and most certainly in the broad area of Americana. That is not to say that there are no elements of the Blues in here because there are. Whatever the basis and influences that Paul has drawn from this is a delightful album. Anything that begins with a Bert Jansch song, in this case ‘Build Another Band’, gets my vote notwithstanding the fact of having Bert himself playing acoustic on that and several more of the tracks. It doesn’t stop there however as a certain Mr Clapton joins in on the first original cut the heartfelt ‘Please Don’t Leave’ and a cover of Bill Broonzy’s ‘Southbound Train’. So now that we’ve established that Paul has some pretty good pals I just like the laid back feel that permeates this album. It is music for a nice summer evening around the BBQ or better still curled up in front a warm winter fire. Mostly with acoustics well to the fore in the arrangements and with vocals that are often closer to speech than sung there is even room for two gentle instrumentals

‘Preacher’s Trick’ and the closing title track. An unusual selection of traditional songs are included here that have had some tasty arrangements made of them including ‘Ballad Of Rose Connelly’, ‘ 900 Miles’ & ‘Rosemary Lane’ all performed with integrity and obvious love of the originals. As I said not strictly Blues however this is very good indeed.

Graeme Scott

THE CRIPPLED FROGS Down Home French Blues

Crippled Frogs Prod.

Humour and music are the first two words that come to mind when you think of this Franco-French group from the Drôme region in the South of France. Just like the French

label Dixiefrog, these three “frogs” chose their name to embody their very “Frenchness”. Their electro-acoustic blues sound left a rather good impression on the Jury at the 2010 Tremplin during the “Blues sur Seine” festival and they left the festival with the CRB (Collectif des Radios Blues) Prize. The Crippled Frogs is made up of three mates, Mike, Romain and Julien, who play acoustic and resonator guitars as well as ukuleles and cajons. The result: a muddy and slightly muggy blues where the voices mingle with the music from the washboard, kazoo, cajon and guitars. The fourteen titles listed on this opus are pure Crippled Frogs vintage. Each one even makes reference to a bone in the batrachian’s skeleton as illustrated inside the digipak with fourteen dots to mark the spots. The three musketeers sing and play their instruments with such spontaneity and heart that all your worries are left behind and all you can think of is catching a flight for some fun in the Mississippi Delta, home of the blues. You won’t be able to get ‘Ol’ Time Blues’, ‘Best Wishes From Hell’ and ‘Death Row Blues’ out of your head. The whole album sounds like a tribute to the Delta Blues, as though the original versions have been dug up, given a good clean and made into a great compilation for Blues fans and avid collectors alike.

truthful that is a well-populated area and you have to be pretty special to rise above what can often be mediocrity. These guys appear to be certainly prepared to engage in the battle to rise well above that level. The ten tracks on “Notebook” are terrifically played; the production is clean and straightforward allowing both the lyrics to stand out and also the individual playing skills. When I listen to this type of music I want a no frills solid rhythm section underpinning the lead playing and these guys have just that. I have been playing the album a lot in the car and the miles just roll away in a blaze of loud music and me trying, and failing, not to groove too much. I defy you to listen to a cut like ‘Higher’ and not have your head bopping along. ‘Right On Time’ would not have sounded out of place on any Bad Company album. Strong vocals are present throughout the album and, whilst you may realise that you have heard similar ideas before, I don’t believe this to be a barrier to anyone’s enjoyment to be gained by adding “Notebook” to their own collection. Plumping for my own favourites I would choose ‘Too Late’ and ‘Dangerous’ both fine rocking Blues but the latter also has just a touch of jazz about it which works very nicely indeed.

Graeme Scott

PHILLIP SAYCE

Ruby Electric

Provogue

Phillip Sayce is one of a new generation of players that owe a debt to Zeppelin, Gallagher, Hendrix, Cream, Trower, etc… a resurgence in the power blues that first made its mark over 40 years ago. Born in Wales, raised in Canada…Sayce cut his teeth as a teenager with the legendary Jeff Healey, made film music, got a US number one with Unkle Kracker (me neither), then joined Melissa Etheridge’s band (In fact, Etheridge guests on album opener ‘Let The Love In’). ‘Ruby Electric’ is his third outing… Split into two virtual volumes, the two ‘sides’ weld seamlessly together. ‘Ruby…’ was cut live in the studio and live on the road during Sayce’s perma-gigging 2010 schedule (he’s no slouch on the work front, in fact, at the time of writing; he’s just finished yet another tour). It’s an odd mixture of reworked older material – a studio outing in Hollywood that used vintage equipment, the dusty fuzz of vintage amplification boosts Sayce’s sound to fuzzy nirvana, welded to the live on tour material – mixed by none-other than Eddie Kramer (check out his CV – Hendrix, Stones, Zeppelin). Sayce’s re-working of the Neil Young classic ‘Cinnamon Girl’ is worth the price of this disc alone. Sayce’s band hit the spot on both ‘sides’ of ‘Ruby…’pinsharp, speed-blues… passionate, loud and strangely familiar. A new take on an old formula and no bad thing. He’s already in Nashville, cutting his third album proper. Onwards and upwards...

Notebook

Hill House Music

I have to confess that I know nothing about TEB other than those facts gleaned from the accompanying press release. Tony, along with bassist Dave Brown and drummer Ian Woodthorpe, are based in East Anglia and from the sounds contained in this album are very much hewn from the bedrock base that is power trio land. Being

SIMON STANLEY WARD Myself To Blame Independant

Martin Cook

Simon is a twenty four year old singer-songwriter from London who yearns to inhabit the world of the American country singer experiencing the solitude and inspiration of the vast open plains and at night hearing the song

Frankie Bluesy Pfeiffer and Nat Harrap

TONY EDWARDS BAND

of the Whippoorwill in between listening to tales of the old West while drinking copious amounts of whisky, culminating in late-night bar fights. This, he knows is unlikely to happen as he says he doesn’t drink and has never been in a fight. So, in his ideal world of song he creates his own version of the West in this captivating collection of six numbers. Armed with a very convincing American accent tinged with a just a hint of Lonnie Donegan’s nasal twang and playing electric and acoustic guitars, he launches himself into ‘American Voice,’ where he bemoans his extreme lack of credibility while explaining to all and sundry, his love of Country music and the American West. Together with Arthur Rathbone Pullen on bass and drums with Charlie Newell on the fiddle they create a highly authentic mixture of Country and Americana as with ‘Stand in The Rain,’ a strong richly twangin’ dramatic piece about strange dark nights in the rain. ‘Behind Closed Doors,’ is classic country about life, loves, behaviour and missed chances. In the same vein is ‘The Seven O’clock Alarm,’ a melancholy acoustic piece about the daily grind of work. ’The Monster Song,’ is almost a two-step that concerns the egos, flaring tempers and monsters created in a relationship, squeezed in is a wonderful industrial grinder guitar effect. Lastly, ‘Homesick,’ is a splendidly jaunty shuffler that contains a jolly grooving Jazz fuelled piano and brushwork led toetapper. On the evidence of these numbers a trip to the (Wild) West is a distinct possibility!

Brian Harman

THE HUB A Sleepless Night Bonus Tracks Records

The very embodiment of the Mississippi Delta, the critically acclaimed French artist Hubert#06 seemed to be destined to walk alone down the path of the most authentic blues with his hat tight on his head and his guitar slung over his shoulder. But, from a meeting with multi-faceted artist, Yarol Poupaud, another concept was created: The Hub and a first album release, “A Sleepless Night”, a title evocative for any Bluesman. Fourteen original tracks in French and English combining a spirit and sound that is both authentic and current, as if we needed proof that Blues is and always will be modern. In this first album, Hubert#06 goes back to his roots with his gravely voice and original guitar playing, the signature sound that’s made him one the France’s most authentic blues musicians. Add to the recipe, Yarol Poupaud’s own ingredients: a talented, clever arranger and brilliant multiinstrumentalist who has added a personal touch, a groove and energy that only those who put their heart and soul into music can do. So what do you get? A Blues that is as muggy as it is muddy and coming from a Frenchman, this was daring, but it works and how, proving that France can also produce great Bluesmen. After listening to this amazing album, there is only one thing for you to do… get across the Channel and get to one of The Hub’s gigs.

SOLOMON KING Medicine

JLM

Frankie Bluesy Pfeiffer and Nat Harrap

THE NAT MARTIN BAND

Don’t

Lose Your Cool MGP Records

Wow! I thought I had slipped through a time warp and ended up in the late 1970’s when the first strains of ‘Playin’ The Blues For You’ the opening cut on this rather excellent album came at me. Drawing heavily on Funk, Blues, Jazz, Soul and fusing them together has produced an album that you will love if you open your ears to the likes of Steely Dan, Average White Band, and all the good things that come from the laid back west coast, the sharper east coast and the grooves of the southern states. The wonderful thing is that these guys are home grown! A very strong debut release there is just so much to enjoy here that I have been dipping into it regularly since it arrived recently. The standard of musicianship is extremely high based around a core of four guys with a couple of extra girl vocalists where needed. Having said the late 1970’s, that was when I really first started listening to Funky Jazz, make no mistake this is a very contemporary album, Ten cuts that have a fantastic groove going on, ideal for easing away the cares of the week. Each time I play this I keep hearing different things as I focus in on a particular part of the song. Truly there is not a bad song on here and, were it not for the small point of really not liking the artwork at all, then I would have given this five stars. Ok I know we don’t grade albums in that way on this magazine but this really a first class body of work and one that will give pleasure for years to come. Oh screw it, five stars it is.

Graeme Scott

Here’s another great Grammy-nominated American bluesman who straddles the gap between the blues past and the blues future – to quote his website – ‘with no safety net in sight’. What remains so exciting about reviewing the work of often unfamiliar US blues artists is the laudable dedication to authenticity, to presenting the blues in its true, classical framework. This album by Solomon King (not to be confused with the singer of the same name (1930-2005) who worked with Billie Holiday and The Jordanaires who sang ‘She Wears My Ring’) is no exception to that dedication. It features ten fine songs with King leading a powerful trio of Pablo Alemann on drums and Sebastian Steinberg on bass. He reveals a real talent for lyrics on self-penned numbers such as the title track, Medicine, an atmospheric, moody opener where his vocals really shine, and the somewhat morose Bucket. The song ‘Cinammon Rose’ prowls along like an alligator looking for dinner, and ‘Don’t You Love Me No More’ and ‘Closer’ are fine. The track which probably represents King best is the slow, crawling and slightly sinister Trouble, and he does a good job on Hooker’s Little Wheel, although the slowed-down, lacklustre rendition of the Ronettes’ ‘Be My Baby’ probably wasn’t a good idea. Impressive original material, proficient musicianship, strong vocal styling. It’s all here, just another fine example of what America still has to offer.

RAY MANZAREK AND ROY ROGERS

Tranluscent Blues’

Blind Pig Records

Roy Bainton

‘Translucent Blues’ is full of echoes of The Doors and is not a traditional blues album with its’ mixing of genres, Rock, Jazz, Blues and a twist of reggae producing a sound that works. There may be echoes of the pasts and ghost tapping on the shoulders of the music but this is most definitely a truly contemporary album with the talents of Ray Manzarek and Roy Rogers building off each other yet never in competition just delivering confident energetic soulful music. The lyrics are powerful with Manzarak’s distinctive at time demonic voice ensuring every word is delivered with meaning. ‘New Dodge City Blues’ has that same Doors-like Manzarek sound, with lyrics warning us about society changing and not for the better with the wildness of the West being re-visited . ‘Greenhouse Blues’ is a jazzy blues number warning us of our global plight George Brooks tenor sax solo on this one adds a relevant melancholy. The title ‘Transluscent Blues’ reflects the musical style yes, Blues are present not in the traditional form but here Manzarek & Rogers have created a sound that takes you back and keeps you in the present, this is what Jim Morrison could have sung and what The Doors may have sounded like in the 21st century. The final two tracks are instrumentals though excellent I am not sure what they add following on from ten tracks with such strong lyrics. Overall this is a great album yes, it does take you back to the best of the seventies sound I for one thoroughly enjoyed this bluesy, Doorsy CD.

Liz Aiken

such as Etta James ‘At Last’, B.B. King’s ‘The Thrill Is Gone’, or Hoagy Carmichael’s ‘Georgia on My Mind’, but Ms Wylde has an extremely pleasing voice, and the arrangements are very thoughtfully put together. The best of the covers is her take on Johnny “Guitar” Watson’s slow blues, ‘Three Hours Past Midnight’, with some superb horn work and inventive guitar work. Over on the originals, your eye (well, my eye) is immediately drawn to ‘Lovely Push-Up Bra’, a sprightly number which is dedicated (for reasons I choose not to pursue), to the late Jeff Healey. A special word of praise goes to the aforementioned guitar work, which is courtesy of Jack de Keyzer and Peter Schmidt, and which is a delight all the way through. Ms Wylde explains the record thus; “When you are in the light, you are standing in a place of contentment and joy,” and this record brought a little bit of both into mine.

Stuart A Hamilton

VICTOR WAINWRIGHT & THE WILDROOTS Lit Up Wild Roots Records

WILL SCOTT Keystone Crossing Music Matters

Despite the slightly quivering voice which can be disconcerting, Will Scott has produced consistently high quality music on this album. He has a cast of support which adds lustre to an already top class amalgam of gospel, Blues and country music with a richness of sound, superb guitar and Hammond organ playing. You can’t pigeon hole this disc into any one single category; it has everything and is well worth a punt of anyone’s money. If I had to pick a favourite track then number 9 ‘You Are the One I Love’ really does it for me with some exceptional organ support. That is not to say that the whole set isn’t excellent, they most certainly are. The lyrics of track 6 ‘Broken Arrow’ are infinitely more sensitive than my use of the expression to describe former colleagues, where a “broken arrow” meant someone who didn’t work and couldn’t be fired. Track 8 has the strangely named ‘You Said You’d Take Me To Spain’ as its title, and is almost worth the price of the c.d. alone. The inappropriately named Scrote is anything by that with his contribution to the overall production. I don’t know if this will burst into the British charts but for fans of this type of Americana this is a must.

Tom Walker

Let’s get straight to the point here, this is a wonderful album by a very promising young Blues vocalist & pianist, what makes it stand out is that the ‘Wild Roots’ are more than just a backing band, they are a group of talented musicians who work their socks off throughout the album, particular bassist Stephen Dees who has written or co-written the majority of the material here, in addition to producing the album. This is Memphis based Victor Wainwright’s second album and he mixes several different styles, opening with a full Memphis Horns sound on ‘Big Dog’s Runnin This Town’ but then switching to more straightforward Blues/Rock with my favourite track ‘Ting Tang Bang’, there are also some more stripped back numbers, where the piano comes to the fore, pick of these is ‘Pile of Blues’, aided by Harmonica by Mark Hodgson. Victor’s piano playing and vocals are excellent throughout, he has a very easy relaxed vocal delivery that sits comfortably with both slow and up-tempo blues, the fourteen tracks are all top notch and there are no weaknesses anywhere. As an aside the album was mastered and mixed by Foghat’s Bryan Bassett & continuing the Foghat theme I believe Stephen Dees also played in one incarnation of the band during the 1980’s, getting back to the artist, I cannot see anything other than major success for Victor over the coming years.

Adrian Blacklee

SUSAN WYLDE

In The Light

Sun, Moon & Stars

Canadian born pianist / vocalist Susan Wylde is a classically trained jazz musician who has a penchant for dipping into the blues, something that is ably demonstrated on this, her latest CD. You’re unlikely to leap up dancing, but as she eases her way through a mixture of originals and well chosen covers, you can’t help but be drawn into the atmosphere that she’s concocted for the record. To be fair, some of the covers are very well travelled, and it’s a hard sell putting a new spin on songs

THE MIGHTY MOJO PROPHETS

The Mighty Mojo Prophets Rip Cat

Billing themselves as students of the Blues and with a band title that more than hints of their flavour, this is a fantastic set of in-your-face Blues. Being inspired by the likes of Muddy Waters, Willie Dixon and Albert King also qualifies their genealogy. Hailing from Long Beach adds to their vibe and attitude, with tracks like ‘Friday Night Phone Call’ and ‘Hoodoo Lover’ highlighting their visceral Blues spirit. Fronted by Tom “Big Son” Eliff on vocals, and Mitch Dow on guitars, the pair also do the song writing, the album also features contributions from their circle

of Southern California Blues friends, notably Johnny Mastro and San Pedro Slim. It’s Mastro who produces the album and he sets it off with a live feel that best suits this slice of bar-room Blues. This is the first release from the label Rip Cat and it comes sweetly packaged, just like the music. Acceptably derivative, and not breaking any new boundaries, doesn’t make this any less enjoyable. Competent indeed.

Gareth Hayes

THE BREAKERS

The Breakers

Wicked Cool Records

In the spring of 2010 Little Steven Van Zandt produced this album and co-wrote several of the songs with Bob Clearmountain and his hand is all over this CD. The style is reminiscent of Van Zandt’s solo work and also has echoes of Springsteen’s E Street Band. Opening track ‘Start The Show’ is a catchy pop rocker featuring chiming guitars and soulful singing over a dense back drop which is at times Stones-y. ‘The Jerry Lee Symptoms’ is of course a tribute to Jerry Lee Lewis and features lyrics which reference “ rock ‘ n’ roll pneumonia and the aching lovesick blues” and “I’ve got the burning hot soul fever and the boogie woogie flu” which sound awfully familiar but the delivery is energetic and sounds as fresh as a daisy. This is good time party

music and should get the dancers on the floor at the local Palais. Oops - showing my age there! ‘Riot Act’ is a rowdy rocker with a catchy chorus and should prove to be very radio friendly. ‘If You Please’ is a soulful ballad which could easily have come from the STAX/Motown stable back in the day. The catch here is that The Breakers are Danish although you would never know from the music or vocals. Apparently this band are leading a Danish Soul Music Revolution and very good they are too. ‘Temptations’ is a belting rocker and the album closes with the pretty ballad ‘Forever’s A Long Time Gone’. Although there is not much Blues here there is plenty to interest and please the listener and the quality of the material, the playing and the production is excellent throughout. Bring a bottle and we’ll start a party. Better still bring a crate and a bunch of friends and enjoy the music.

Dave Drury

JAMES ‘YANK’ RACHELL Blues Mandolin Man’

Blind Pig Records

This album was originally recorded in 1986 as a musical tribute to James “Yank” Rachell known as the ‘Father of Blues Mandolin’. Yank was one of the first generation bluesmen and came from Brownsville, Tennessee. He was born in 1910 and died in 1997. He first recorded in 1929, and continued recording for nearly eighty years until his last recording session in 1996. He is best known as having been the musical partner of both Sleepy John Estes and Sonny Boy Williamson. He also wrote ‘She Caught the Katy’ with Taj Mahal. That song was on Taj’s second album and was also the opening song on the Blues Brothers movie and soundtrack.

TOP 20

1. Shawn Pittman: Edge Of The World (Delta Groove CD)

2. Kenny Brown: Can’t Stay Long (Devildown 2CD)

3. Vee-Jay Records Presents The Blues (Charly 2CD)

4. Lightnin’ Malcom: Renegade (Ruf CD)

5. Jimmie Vaughan: Plays More Blues, Ballads And Favourites (Proper CD)

6. Dave Alvin: Eleven Eleven (Yep Roc CD)

7. Golden Gospel Gals- Selected Sides 1949-1959 (JSP 4 CD)

8. Woodie Guthrie: Live Wire (Rounder CD)

9. Jimmy Duck Holmes: Back To Bentonia (Broke & Hungry CD)

10. Tedeschi Trucks Band: Revelator (Sony CD)

11. Gillian Welch: The Harrow & The Harvest (Warners CD)

12. George Thorogood & The Destroyers: 2120 South Michigan Ave. (EMI CD)

13. Paddy Milner: The Curious Case Of Paddy Milner (Paddy Milner Music CD)

14. Otis Redding: Soul Legend – The Best Of (Muisic Club 2CD)

15. The Story Of Blue Beat 1960 – The Best In Ska (Sunrise 2CD)

16. Greg Brown: Freak Flag (Yep Roc CD)

17. Levon Helm: Live At The Ramble (Vanguard CD)

18. Sean Costello: We Can Get Together (Delta Groove CD)

19. Matt Schofield: Anything But Time (Nugene CD)

20. Sneakin’ Around – The London Records R&B Story

1948-1951 (GBC 2CD)

This tribute CD has 21 tracks and runs over 77 minutes. The album features tracks from international artists Mike Seeger, Grammy winner Tim O’Brien with David Grier, David Grisman and John Sebastain, Bluegrass star

PeteRowan, and Blues award nominees Andra Faye of Saffire – The Uppity Blues Women, Rich DelGrosso, and several more. 15 of the 21 songs on here were written by Yank. On His tracks he is joined by a full rhythm section and is in really good form, his voice and instrumental skills as strong and compelling as ever even near the end of a career. Recommended for all you blues mandolin players out there and acoustic guitar players looking for new lick or two.

Vicky Martin

THE MIGHTY BOSS CATS / RICHARD TOWNEND

Ticket Of life

Old New Borrowed and BLUE

78RPM

www.themightybosscats. com

Three albums from the same source and what a fine bunchastuff it all is too.

The Mighty Boss Cats are Richard Townend (once with the incredible Charlie Drake and also ex-Lloyd George Knew My Father) on guitar and vox, Terry Hiscock (ex Hunter Muskett) on guitar and vox, Geoff Conway on bass and Fluff on drums and ‘Ticket Of Life’ is a collection of songs in various Blues styles – from a dark and soulful Mississippi Blues style through Blues with country touches and some delightful lithe Blues picking too. ‘House Of Blues’ is wonderful: dark and hypnotic with some beautiful guitar playing, ‘Ticket of Life’ has real Dire Straits touches with more upbeat playing and a whispery vocal and ‘Gonna Be B.B. King’ has a gently rollicking gait. ‘Old New Borrowed and BLUE’ continues the mix, opening with the atmospheric ‘You Were My Angel’ – massive nod to Chris Rea and a wonderful track to just cover yourself over with and float off into the bayou: never mind Mighty Boss Cats, this is wonderful number by anyone. ‘She’s My Best Friend’ is a paean to a guitar – with you through thick and thin and always there when all else has failed you. Only eight tracks here including the deep and emotional ‘Omagh’ but immensely satisfying.

‘78RPM’ is Richard Townend solo and now you can hear who the lead vocal was for most of the Mighty Boss Cats. He wields what sounds like an original resonator and plays with a lot of considered depth and natural charm –lovely songs performed with real heart and love. These three albums show some of the best of the modern age – three albums from out of nowhere, created by musicians for the love of it and not needing to bankrupt themselves to record and press (I assume) and marketed through the wonders of the t’interweb. On the other hand if I were not in the lucky position I am I might never have heard of them. Really fine music and on a sweltering August night they really do fit the bill.

Andy Snipper

many readers of this magazine will have sung or played the song numerous times. It initially made me feel a tad jaundiced in considering the music, how do we view a group of Polish musicians offering us a song we’ve heard and played so often? So I did the most important thing and listened to the album in full…and my negative thoughts were dispelled. The music on here has a certain quality that is very rare now among UK/US bands – it’s the sense of freshness, of joy in simply being able to sing and play such music – the joy of discovery and the joy of sharing it – there’s an innocence that pervades the performance and it’s in the audience reaction as well and it’s all a joy to listen to. Magda and Slim make a great combination- both have a great sense of rhythm – they’re right there on the backbeat and in the groove from the start – the opener ‘You Can’t Judge a Book’ is a really nice groove laid down and sung by Magda, it’s followed by a lovely version of Charles Brown’s ‘Driftin’ Blues’, excellent vocal from Slim and neat guitar. The best track is Slim’s own groove ‘Brand New Face’ – the swing feel on this is sublime and I felt I just wanted it roll on and on…the final track is a medley of Fred McDowell’s ‘Kokomo’ it’s nice lower key finish to an all too brief concert. I guess that the blues is a much newer sound in Poland than it is in the UK and this album is a prime example of musicians and audience really relishing the music…so…recommended.

Vicky Martin

THE ORBITSUNS Give the Orbitsuns What They Want

ATP Productions

The first hearing of the Orbitsuns in the car, had me cringing as a cacophony of sound assaulted my ears, but it just goes to show you shouldn’t judge a book or in this case a CD by the initial reaction. This album is not for the faint of heart, or of a delicate disposition. I’d put money on their live shows being a blood pumping experience. They can play all their instruments with inherent ability and Dombroski has a voice that has a range to die for. The album easily slips from hard core rock to a sort of country (ish) style without losing its edge. The slide guitar work on the opening track ‘Detroit Call’ is an absolute delight, though why they needed the background cop car siren beats me, but then I don’t live in a city much less Detroit!

MAGDA PISKORCZYK & SLIDIN’ SLIM

Live at Satyr Blues

Zawiera Nagrania Audio

I came to this CD with mixed feelings – the opening track is the Bo Diddley/Willie Dixon classic ‘You Can’t Judge a Book’. It’s song we’ve been hearing covered by UK rhythm and blues bands since around 1963- and

These guys are so “in your face” you can’t ignore them, but if you’ve heard them before then the last thing you’d do is ignore them. Track 9 ‘She Said Call Me’ brought back memories of the Rolling Stones in their heyday. Second and subsequent listening to this blistering album has me converted. This group are not going to get much radio time, which is a pity but the anodyne tripe you get on a lot of stations is more to the Orbitsuns credit than a comment on the discerning taste of DJ’s on British radio. Get this album if you like your music with an edge, but I caution against driving when you’re listening to it as your foot may go down a bit harder than you intended on the accelerator.

J P SOARS

More Bees With Honey

Tom Walker

Winner of the 2009 International Blues Challenge, J P Soars from South Florida, has foregone the traditional label route and releases this, his second album via the independent route. For an artist who is relatively new to the international scene, Soars displays extraordinary maturity both in his song writing and guitar playing. He readily encompasses a great many differing styles and I love his voice, a powerful growl that helps to portray far more than just the lyric. ‘More Bees With Honey’ opens the set with aggressive soul styled sax and punchy guitar riffs guaranteed to get people dancing. ‘K.Y.N.O.M.B’ or “Keep Your Nose Outta My Business” is a classic shuffle and Soars growl adds menace to the warning “don’t let your mouth write a cheque your ass can’t afford” The ballad ‘So Many Times’ a song of hurt and misplaced love has Soars wringing the emotion from his vocal chords whilst the solo is measured and complimentary to the song. ‘Hot Little Woman’ is very difficult to follow as it moves from swing to shuffle and back again on almost every line. ‘The Hustle Is On’ is a classic Ronnie Earl sounding shuffle, whilst ‘Lost It All’ is a slow, almost morose, Django Rheinhart sounding jazz/Blues with haunting harmonica playing by Jasson Ricci. ‘Twitchin’ is an out and out rocker with some great boogie piano. My favorite, ‘Doggin’ is the track where Soars and the band, The Red Hots, really shine in a funky, foot stomping style. The beat has attitude and Soars slightly distorted guitar rips beautifully. This young man certainly shows a lot of promise for the future, judging by his successes so far. J P Soars, he certainly does!

Merv Osborne

good enough and would probably slay the listener in live performance. All in all a good record from a good band that promises much to come.

HAT FITZ N CARA ROBINSON

Beauty and the Beast

www.rrsmusic.com

Vicky Martin

VINTAGE TROUBLE

The Bomb Shelter Sessions

Private Production

Before writing anything I played this to some friends who didn’t know about Vintage Trouble – I played it and asked the question ‘British or American’?

Everyone said ‘American’, I asked ‘Why?’ ‘It’s the feel’ they all said. Vintage Trouble is from Los Angeles, and formed by Ty Taylor (vocal) and Nalle Colt (guitar). They’re joined by Rick Barrio Dill (bass) and Richard Danielson (drums). The album follows on from a successful appearance on ‘Later’ and an established reputation as a powerful live act. The web site describes the music as ‘the feel and essence of the original soul movement’. Well the music is good– it is certainly a vintage sound but its more classic R&B with a touch of the Doors and the occasional hint of soul that really flowers on the closing track ‘Run Outta You’. Its close in essence to the feel and structure of British R&B as it was at time the old blues boom faded and soul came in. (For historians that would be close to the time that Manchester City last won the League) Taylor’s vocals are really the album’s strongpoint and if you added keyboards the band could go in a much more classic soul based direction. It’s a very energetic and consistent sound and the songs are good throughout. Although the album lacks a really killer song ‘Blues Hand Me Down’, ‘Nancy Lee’ (reminiscent of Susie Q) and ‘Run Outta You’ are

This is the first CD of this duo but I am sure it won’t be their last. Their music is described as amped up old time blues with a Queensland twist. The music on this album is a mixture of their own writing and songs from Jessie Mae Hemphill, Blind Willie Johnson, Blind Willie McTell, Fred McDowell and Jon Estes. With Hat hailing from Australian and Cara from Ireland this gives the whole album a different direction to the music it’s a mixture of all the influences mentioned. Cara has a stunningly sweet voice which has been compared with Bonnie Raitt and Joni Mitchell it compliments perfectly the deep tones of Hat, they are the perfect foil for each other visually and musically. On this album Cara sings a haunting version of Blind Willie Johnson’s ‘Nobody’s Fault But Mine’ with sympathetic slide guitar from Hat. They are multi talented Hat playing guitar and banjo, Cara playing drums, flute, washboard and whistle. You will hear some of this musicality demonstrated on their self penned ‘Wicklow Jeel’. Having seen them at a festival recently I was keen to buy their album and its proved to be as interesting as their live performance. Look out for them they tour the UK and Europe as well as Australia. If you love old time country blues as much as I do this album is definitely for you.

Christine Moore

ROD PIAZZA AND THE ALL MIGHTY FLYERS

Almighty Dollar

Delta Groove

After more than four decades in the business and over twenty five releases, Rod Piazza could be forgiven for taking it easy. However, on “Almighty Dollar”, both he and the band sound fresh and pumped up. Rod says on the liner notes that the band took things to a new level and it certainly shows. Along with Miss Honey on Piano, Henry Carvajal on guitars and Dave Kida on drums, rod exploits his extensive experience of the West Coast scene to produce a mature, complete yet exciting release. Opening with a great swing style Blues in ‘Move Out Baby’, Rod gives his lady her marching orders, insisting she takes all her clothes cos’ she won’t be coming back. Throughout, Miss Honey’s ivories are working overtime and she is given her own extended solo where she showcases some great playing. The band is augmented by Hank Van Sickle on upright bass, Rusty Zinn on guitars and Jonny Viau on tenor sax and together, the resultant music is filled and pushed into a bigger sound format than what may be Rod’s norm. This allows a wider variation in tone and style. Following the opener, ‘What Makes You So Tough’ comes over in gospel feel complete with angelic backing vocals, whilst the hard Blues edge of ‘Blue Shadows’ benefits from the wailing sax in the background. ‘Wine, Wine, Wine’ has a very clean jazz sound whilst the classic ‘Ain’t Nobody’s Business’ is dealt a very retro, almost acoustic style with Sickle’s bass giving a very deep,

almost reverent compliment to Miss Honey’s playing and Rod’s no-nonsense vocals. For me though, the best is saved for his own harmonica work, whether on Little Walter’s ‘That’s it’ and ‘Confessing The Blues’ or his own instrumental closer, ‘Con-Vo-Luted’.

Merv Osborne

SYBIL GAGE

Nola Calling

Third Boxcar

“Nola Calling”, released in 2009, is an album that was born out of the floods that devastated New Orleans following Hurricane Katrina, Nola being an acronym for New Orleans. Sybil Gage, a native of that city is often compared to Nina Simone, Laura Nyro, Janis Joplin and Eartha Kitt as well as being an award winning singer songwriter in both the Blues and Jazz fields. All ten songs penned here are by Gage and they all tell stories relating to the people, the community, the music, the food and all the pleasurable sides of New Orleans. ‘Catch New Orleans’ is an extremely poignant story of the city pre the floods, then a little rain & perhaps a small hurricane.

BLUES GREATS SERIES

Next comes survival in the superdome as the waters keep rising. Powerful stuff. Throughout there is a great bass line but the bassist is not listed. Instruments that accompany her are piano, harmonica, clarinet, drums and guitar. ‘Honey Chile’ struts with a confidence that exudes a sexual essence. The title track is a sentimental visit to all that she loves about her hometown, her voice dripping with expectation as she is accompanied by beautiful piano and a haunting harmonica. ‘Bout Chu’ is a funky but simple song about relationships, as is ‘Ice Cold Blues’, realization that she is being used by the man she loves. To be honest, I wasn’t looking forward to reviewing this album upon first listen, but I have been completely swept up in Sybil Gage’s music, its honesty, simplicity and beauty. She is a very clever lyricist, creating imagery that the listener has to listen to, pulling them into her visions and existence, making them part of her environment. Check her out because she deserves more than just a few words.

Merv Osborne

The first thing that struck me as I opened the package with this collection of Blues in it was the attractiveness of the album covers. Each of the eight albums in the collection has a skilfully drawn cartoon of its subject as its cover and they are tremendous, capturing the image and roughness of the musicians in a very evocative way. Drawn by Chris ‘Leadtip’ Price, they are very similar to the collection of cartoons that grace R. Crumb’s lovely book, ‘The History of Jazz, Blues and Country’. As readers will know, Robert Crumb is a master illustrator. The music on these CDs has been reviewed many many times over the passage of time, and looking at the catalogue and reputations of the artistes featured, it is clearly excellent, so listeners can be assured they are getting some wonderful music that is fully representative of our genre. Many of the great recordings are there, Muddy’s ‘Mannish Boy’, John Lee Hooker’s ‘Boom Boom’, Howlin’ Wolf’s ‘Smokestack Lighnin’’ to name a few. Compilations often do not give us the most popular or necessarily the best music and can consist of obscure tracks that have been used as fillers on best-forgotten albums recorded years ago. Whilst there are a few of these in this series, most of the stuff is well known. Each album also has a generous list of twenty tracks and all are original recordings reproduced well. Having looked up the prices of these albums, it seems that you can get them for under a fiver each, making them good value for Blues fans’ hard earned cash. Whilst most Blues fans will have most if not all of the music on offer of their favourite Bluesmen, here is an opportunity to perhaps listen to the artistes whom you are not too familiar with. This collection will also serve as a fantastic introduction to a newcomer to Blues. At around forty quid for the collection of 160 great Blues tracks it works out at 25 pence per track. A lot less than iTunes and it may be life changing for a newcomer to the wonderful world of Blues!

(8 Separate CDs) Muddy Waters, John Lee Hooker, Jimmy Rogers, Sonny Boy Williamson, Buddy Guy, Little Walter, Memphis Slim, Howlin’ Wolf Universal Records

GOT LIVE

TEDESCHI TRUCKS BAND @ 02 Shepherds Bush Empire, London. 07/10/09

This was the first date of the European tour for the recently formed Tedeschi Trucks Band, comprising the eleven musicians on the superb debut CD, “Revelator” and including amongst others Oteil Burbridge, Derek Trucks fellow member of The Allman Brothers Band on bass, Mike Mattison, the singer in Trucks’ own band, a three piece horn section and two drummers. With Susan Tedeschi on guitar and vocals and her husband Trucks playing lead and slide on his usual red Gibson SG, those in the near capacity audience were treated to six tracks from “Revelator”. The spine tingling ‘Until You Remember’ and the beautiful ‘Midnight In Harlem’ were particular highlights. These slower numbers contrasted with ‘Learn How To Love’ and the funky ‘Love Has Something Else To Say’ on which Tedeschi was able to use her strong, soulful and Blues drenched voice to best effect, while her impressive guitar skills showed she can let rip with some nifty fretwork too. Trucks is often referred to as the best slide guitarist of his generation and it’s not difficult to see why. With an unmistakable tone, incendiary guitar licks which scream and soar and slide playing that is simply other worldly, one could almost feel the presence of the late Duane Allman in Trucks’ playing on a wonderful rendition of Derek and The Dominos’ ‘Anyday’. Interpretations of other classics included a gut wrenching bass driven version of Hendrix’s ‘Manic Depression’ sung by Burbridge, a lively version of Bobby “Bue” Bland’s ‘That Did It’ and two numbers on which the horn section had the chance to excel; ‘Space Captain’, who those of a certain age will remember from the “Mad Dogs and Englishmen” album of the early 70s plus Stevie Wonder’s ‘Uptight’, in deference to Tedeschi’s grandfather’s recommendation to “play something they know”. Throughout the evening there was a feeling that this was a very special show and for those fortunate enough to be there, it will certainly be one of the highlights of 2011. On this performance they’ll almost certainly need a larger venue for their next visit to the UK.

Philip Woodford

IAN SIEGAL and the MISSISSIPPI MUDBLOODS @ The Borderline London July 15 2011

Artists of late have started to revisit their back catalogue and take classic old studio albums out on the road. Always the exception to the rule, Ian Siegal has taken his recent release The Skinny to a packed Borderline audience. This is even more daring when you consider that he does it with only one member of the band which cut the original. In this first live outing, in preparation for the Blues Peer Festival in Belgium, he is backed by Cody Dickinson on drums, Andy Graham on bass and Paddy Milner on keys.

The band launched straight into the title track with Andy’s commanding bass line and Cody’s rhythmic drumming driving the song along, as Paddy Milner’s keyboard adds depth to the sound. Punctuating this are Ian’s strong vocals and excellent guitar work. The band were obviously enjoying themselves and this translated into the music and spilled over into the audience.

Moonshine Minnie followed on with a keyboard introduction. Featuring great slide from Ian and a spoken outro it jammed its way to an end. Better Than Myself started off very workman-like before transforming into a grind with superb slide and a repeating riff. Master Plan again opened with Paddy’s excellent keyboard before it hit a groove that had us all moving. The keyboard was featured in two songs not on the CD with Paddy Milner given vocals on Mojo Hand and Junco Partner. This latter song featured some wonderful old-time barrel-house piano.

We were also treated to Hard Pressed, from Broadside. After the first chorus Ian left that part of the song to us as we took over vocals. He seemed equally happy and surprised at this spontaneity from the crowd. Then back to the Skinny with Coolin Board and Picnic Jam given an outing. The main set ended with Hopper, which featured a odd sounding guitar break.

Before this though we were treated to Hound Dog In The Manger, (in a previous review referred to as Devil on My Shoulder - oops). My notes say dirty guitar/rim shots, then I was gone in a groove! Better still was Stud Spider which

Derek Trucks

Susan Tedeschi

proved a real show stopper. This Tony-Joe White number gained for being let loose in a live setting. With Ian’s guitar and Cody’s electric washboard (Woogie-Board) both through a wah-wah they traded ‘drones’. The band came straight back on for the encore, no stops. (They had to be up for a five-thirty flight next morning). A very upbeat version of Walk in The Wilderness had me re-assessing the song as a positive rather than resigned statement –ever the re-interpreter Ian!

C.C.R. covers brought the evening to a wild conclusion with a less swamp-more funk Run Through the Jungle and Born on the Bayou. Explosive Southern Blues to end an excellent night. And that’s the lowdown. That’s the Skinny.

Mel Wallace

GREGG ALLMAN @ The Barbican Hall, London. 01/07/11

The fully seated Barbican Hall is usually the scene for classical concerts but for this sold out return to London for Allman, its excellent acoustics provided the perfect venue for this world weary veteran of the Blues. While Allman’s well documented health problems caused him to be a little unsteady at times and clearly experiencing some discomfort, his performance was almost flawless and he certainly wasn’t a passenger in his nine piece band. The stand out performances from his sidesmen, and the names to remember, were the lead and slide guitar of Scott Sharrard and Jay Collins on flute plus tenor and baritone sax. Besides Allman on Hammond and electric and acoustic guitars, his band comprised keys, drums, bass, two UK session musicians on sax and trumpet with Floyd Miles, who was a major influence on both Allman brothers in their formative years, on vocals and percussion. Although billed as the Low Country Blues tour, the set list included only four tracks from the universally acclaimed album of the same name; the downcast Blues of ‘Tears, Tears, Tears’; the radio friendly ‘Just Another Rider’ co-written with Warren Haynes, a bass heavy ‘I Can’t Be Satisfied’ featuring some superb slide from Sharrard and the ponderous ‘Floating Bridge’ as the first encore. In between these songs Allman traded banter with the lively crowd of predominantly Allman Brothers Band fans as they yelled their demands for old favourites. There were plenty of these with a sublime ‘Don’t Keep Me Wonderin’’ to open the show, ‘Dreams’, including a jamming duet between Collins on tenor sax and Sharrard, the beautiful ‘Melissa’ and the instantly recognisable ‘Midnight Rider’. Allman’s voice may have picked up some gravel in recent years but there’s no doubt it is as strong as ever and arguably even better for singing the Blues. Closing the set with an impassioned ‘Whipping Post’, it was a full ten minutes before the band reappeared for the two encores ending with ‘Statesboro Blues’ to get everyone on their feet and rocking. With seventeen songs and two hours of superb music the faithful went home more than satisfied. NB Sadly an upper respiratory tract infection caused Allman to return to the US mid way through the German leg of this European tour.

Philip Woodford

BB KING @Edinburgh Playhouse, 26/06/2011

Having performed his retirement shows in the UK several years ago, it was a pleasant surprise at the start of this year to hear that BB King was returning to the UK for a presumably final tour in June this year. We were warmed up by fifteen minutes of instrumental boogie from his backing band, the James Boulden Boogaloo Blues Band, yet all were poised for the moment that the kind of the Blues took to the stage with a standing ovation from all present. And a king he was as he was lead to his chair, like a king being led to his throne. Rare is it to see such goodwill from an audience before the act has started to perform, and then silence awaiting the first note

Gregg Allman

from his beloved ‘Lucille’ guitar. ‘I Need You So’ was his opening number before an old classic played by many, yet none can claim to have owned like King has; ‘Everyday I Have The Blues.’ While his age has clearly weakened him, his rich voice was still in fine form. The lyrics of ‘Key To The Highway’ were poignant, particularly the line ‘cause when I leave this town, I won’t be back no more.’ Each and everyone in the crowd believed it. Yet this was a moment to savour, as he performed the title track of his last album, ‘One Kind Favour’. Stripping back without the horn section we were then treated to the mournful slow Blues of ‘All Over Now’. King was toying with the audience, leading the guys through ‘Rock Me Baby’ and then the ladies through ‘Sunshine’. And then the spine tingling moment of the opening guitar licks of ‘The Thrill Has Gone,’ possibly the highlight of the evening. ‘Someone Loves You’ was his farewell before he shared his guitar picks to the crowd, donned his hat and left the stage. The feeling was he had left for the last time, yet overall the feeling was one of celebration of one man’s considerable legacy.

Duncan Beattie

WARREN HAYNES @ 02 Shepherds Bush Empire, London. 05/07/11

This was the first date on the European leg of the tour to promote Warren Haynes’ newest release, the soul, funk and blues infused ‘Man In Motion’. With no support, the band took to the stage and after a short instrumental intro’ to warm up, went straight into the title track from the CD. Apart from tenor saxophonist, Ron Holloway, the other members of the touring band were different to those on the album with Nigel Hall on keyboards, Ron Johnson on bass, Terence Higgins on drums and Alecia Chakour, with her extraordinarily mature, soulful voice for someone so young, on background vocals. The following four numbers were all from the new CD, but each was around twice as long as the studio version and included a lengthy jam as befits any performance by a member of The Allman Brothers Band, The Dead and probably the best jam-band of them all, Gov’t Mule. The few bars of ‘Voodoo Chile’ during ‘On A Real Lonely Night’ were a taster for the next number, Hendrix’s ‘Spanish Castle Magic’, which turned into a full blooded jam as it segued into ‘Everyday’ and featured some superb sax from Holloway. ‘Invisible’ from Haynes’ first solo album, ‘Tales of Ordinary Madness’ closed the first set, except this time the jam was cooked with a small pinch of funk. Following a break Haynes returned for a solo acoustic spot on a darkened stage to sing four songs, including two atmospheric numbers from the Mule CD ‘By A Thread’; ’Forevermore’ and the traditional story of unrequited love, ‘Railroad Boy’. Back came the band for the old Sam Cooke song, ‘A Change Is Gonna Come’ and the explosive ‘Fire In The Kitchen’, again from Haynes’ first solo album before returning to the new CD for its most Mule like track, the wonderful ‘Hattiesburg Hustle’. A little yelling, encouraged by Hall who appeared on stage to lead the cheering, brought an encore with the almost inevitable ‘Soulshine’ to have the two thirds full Empire singing along. Those who should have made up the other third missed a truly memorable evening.

Philip Woodford

BB KING & ANA POPOVIC @ Museumsplatz Bonn 11/07/2011

Wish I could still run like that…“ BB King muses, as a roadie jogs across the stage to sort a technical problem behind the amplifiers. BB doesn’t need to run for things anymore, there are plenty of people to run for him. He doesn’t need to play or sing much anymore either. For most of the audience just seeing this living legend is worth the entrance fee alone. He knows it and uses the goodwill appropriately, playing and singing just enough to keep people happy without burning his 85 year old body out on the never ending Tour that has been his life for practically ALL his life. Maybe it’s down to having a stunning young lady like Ana Popovic along for some of the shows, but.King looks slimmer, and, dare I say it fitter, than for a good long while. When the long legs of Ana Popovic pace across the Museumsplatz stage at 7pm in a stunning glitterdress with a ‘64 Vintage Stratocaster slung across her shapely hip she stuns much of the audience before even playing a note. I’ve seen Ana live many times now but never did she look or sound better than here. Pinned down by the solid Blues Matters! 124

Ana Popovic

BB King

Warren Haynes

rhythm section of Frenchman Stephane Allevanada on Drums and Ronald Jonker on bass her band had the perfect punch for the venue and hit hard with rockers ‘Nothing Personal’ and ‘Hold On’. American Steve Pace on keyboard added colour too but for Ana the best colour is still Blue. ‘Unconditional’ was a tasty promise of the return to raw Blues promised to come from her next CD of that name, but the trademark instrumental ‘Navajo Moon’, Her tribute to the late, great, Stevie Ray Vaughan, was a musical highlight of not just the set but the whole evening. BB King’s days of long, flourishing guitar solos are sadly gone. He sings and plays just enough to imprint his own unmistakable sound to each number but he is really onstage now as much to be seen as to be heard. Which is not to say he can’t play, one note from ‘Lucille’ is still worth a dozen from any other guitar slinger and similarly every word sung and spoken has a deep resonance about it that no-one else could hope to reach. He introduces songs as if about to say something deep and meaningful about life, but then gets distracted by something happening around him and we never quite get to hear BB’s secrets to love and happiness - which is a pity because he evokes so much of both from his audience. King classics such as ‘Key to the Highway’, ‘Rock Me Baby’ and of course ‘Thrill is Gone’ still bring lumps to the throat and tears to the eye and he’s still backed by the finest Jazz Band that never went by such a name, even if nephew Walter is now grey haired too. As BB sits chattering and clowning between songs we stand, listening like schoolchildren mesmerised by the musings of their seemingly ‘ancient and wise’ teacher. A man who has seen it all and still come out smiling. All too quickly the band is playing ‘When the Saints Go Marching In’ and it’s time for BB King to put on his hat and coat and leave the stage here, for probably the last time. We all know it, fear it even; but none of the three thousand plus audience really wants to believe in a time without BB King to show us how special this thing called Blues music was, is, and can be in the hands of a Master.

John Hurd

Anna Popovic

Johnson to Joe Bonamassa

From Johnson to Joe Bonamassa In About 8 Unlikely Steps; Taking Time To Leave The Main Blues Highway To Follow A Less Well Trod, But Sometimes More Interesting Route.

From St. Louie down to Missouri

Oklahoma City looks oh so pretty

You’ll see Amarillo and Gallup, New Mexico

Flagstaff, Arizona don’t forget Winona

Kingman, Barstow, San Bernadino.

Part 1 Blind Willie’s vision

By Richard Thomas

Except that we aren’t going that way. We are leaving Route 66 and going off on a tangent. It promises to be dusty and hot, with our Blues instincts serving as our map. The routed chronicle of Blues, and rightly so, may be something like Handy, Johnson, Waters, Hooker, King, Mayall, Green, Clapton, then arriving at Bonamassa or Trucks, but there is more to this genre than that. Plenty of folk have carved their names on the tablet of history, and this series is about the ones who have done so perhaps more quietly than the big hitters. Some are neither familiar nor especially significant, but their stories are irresistible.

As ever, it is a personal choice, full of preferences and favourites that others may share but many will not. I begin with an early contributor who had not only the ancient suppression connected to race to contend with, but also a cruel physical impairment. The life of an itinerant musician was bad enough, as Roy Bainton explains in ‘Good Time Charleys’ (2011), there was someone lurking around every corner looking to make a selfish fortune from the dexterity of the “talent”, and for my first subject Blind Willie McTell, being blind no doubt made navigating a way through the crocodiles and sharks even more difficult. His blindness though, did not prevent visionary participation.

Not that he was anything typical. As Gray (2007) he “explodes every archetype about the Blues musician. He is no roaring primitive, no Robert Johnson-esque devil-dealing womaniser. He didn’t lose his sight in a juke-joint brawl, or hopping a freight train. He didn’t escape into music from behind a mule plough in the Delta. He didn’t die violently or young.” Thereafter Blind Willie’s biographical details are occasionally a little hazy, beginning with that most basic of information, the year of his birth. A number of sources, including The Pennsylvania Folklore Society (1973), Dicaire (1999), Hobbs (2010), Uhles (2000) and Creswell (2005) suggest that McTell was born in 1901, though Oliver (1969) claims 1898. Gray’s meticulous study of 400 plus pages (2007) disputes both these and cites the correct year as 1903. In itself this dispute confirms that many of the early Blues legends are just that – legends that are difficult to prove, a mixture of fact, fiction, myth and apocryphal anecdote. Blind Willie’s story thus begins with uncertainty. Gray’s research uncovers the fact that Blind Willie was descended from a white great –grandfather, introducing an interesting angle to the story, which like so many others echoes of dominance and oppression on racial terms. Like the date of his birth, the nature of his blindness is also contested. Oliver (1969) suggests it was a condition from birth, but others challenge this. What is less contentious is Cresswell’s claim (2005) that in the early years of the last century young men who were clearly unsuitable for manual labour had to find some alternative way to carve a living for themselves. McTell was born into a musical family and his mother recognised early on that her boy had some skill. It was her death that later acted as the catalyst for his becoming an itinerant musician. Oliver (1969) also points out that he shrewdly decided to study Braille at an early stage, and at age 24 he went to school in Macon, Georgia. The name will not be lost on many, for this is where Duane Allman and Berry Oakley met their desperate, premature ends, and where they lie, side by side in a neatly manicured cemetery.

The intertwining with The Allman Brothers Band extends more extensively. It was McTell who penned ‘Statesboro Blues’ in 1928. As Weissman and Carlin (2006) observe, it is an unusual composition with 4 distinct melodies and no chorus. The song’s assertion that that whole family has the Blues (even Grandma and Grandad) is also perhaps less familiar than usual.

The influence of Blind Willie has more contemporary manifestations too. Gumbrecht (2003) points out that the White Stripes dedicated their album, “De Stijl” to him. They released his ‘Lord, Send Me an Angel’ as a single, and Gumbrecht further suggests that they had a common love of name games, comparing Jack adopting Meg’s surname and Blind Willie’s penchant for using pseudonyms like Blind Sammie, Hot Shot Willie and Georgia Bill. Possibly the most enigmatic and intriguing connection with more modern times however, is the connection between Blind Willie and Bob Dylan. Parrish (2009) suggests that Dylan’s Blues anchoring and homage to the heritage of suppression is personified in his song ‘Blind Willie McTell’, and that the song is used as a shorthand representation of thousands who fought against the odds to make a living from their music. Blind Willie McTell is more than an obvious lyrical device to add punch to Dylan’s message. Again echoing Bainton’s point about the pitfalls of the entertainment industry, Parrish argues that this is a distraught singer confronting a world doomed by endless cycles of “power, greed and corruptible seed”. Willie himself may have had only “the stars above the trees” as “his only audience” but Dylan achieved fame and fortune within his own lifetime. Blind Willie was perhaps part conduit to carry a much wider message about the vipers and pythons in record companies and bookings agencies. There is a perhaps a touch of humility too; Sheehy and Swiss (2007) allude to Dylan’s acceptance of his own lack of Blues authenticity, citing Willie as the genuine article. As Dylan himself concedes, “No-one can sing the Blues like Blind Willie McTell”.

Dicaire (1999) is one of many commentators who refer to Blind Willie’s virtuosity, but also to his versatility and the almost chameleon nature of his performance. Weissman and Carlin (2006) also celebrate his guitar skills but also his “amazing repository” of songs across ballad, vaudeville, folk and Blues genres. This is echoed by the Pennsylvania Folklore Society (1973), who describes him as a “foremost exponent of the 12 string”, while James (2001) suggests that “nobody played

the 12 string better” and that McTell, together with Charley Patton are both in the “required listening” category for Blues fans. Evans (2008) claims, more scientifically, that four archive photographs of Blind Willie show him employing three different playing styles. Coelho (2003) calls McTell “the best 12 stringer in town” and like several other including Oliver (1969) refer to the “nasal” quality of his voice.

Just in case the technical aspects cloud an important issue, Mercer Dorson (1986) synthesises this group of arguments into a most important summary, namely that McTell could adapt to his audience, and always aimed to please. As Griffiths (2005) proffers, mid-song, he always made sure he “put a little bit of that good stuff in” and Townsend (2009) suggests that “he was first and foremost an entertainer”. The life story of Blind Willie has a sadly familiar conclusion. According to the Pennsylvania Folklore Society (1973), his use of pseudonyms was a ruse to avoid contractual complications when cutting records, but this was seemingly unsuccessful; Dicaire (1999) observes that he had little success and often played with a cap in his hand. Despite this, Oliver (1969) asserts that he always thought of himself proudly as a professional musician, rather than a beggar. His blindness meant that his other senses were sharpened; Townsend (2009), Weissman and Carlin (2006) and Gray (2007) all suggest that Willie seemingly had a street map of Atlanta in his head while Living (1992) claims that he could “identify people he hadn’t seen in years by their voices” as well as having an uncanny ability to differentiate between different denomination of banknotes by just feeling them. Despite these other talents, his dotage was not comfortable. In McClellan and Bratic (2004), singer-songwriter Buddy Kalb suggests that spiralling into alcoholism, Blind Willie busked in down at heel spots, moving from car to car “to earn a buck”. As Uhles states bleakly, he was “never a star”. Hobbs suggests that he lived in an era “where blacks didn’t stand a chance of succeeding very much. All they knew back then was that they had their place. And they knew where that place was”. Gray (2007) gives perhaps the most poignant summary of Blind Willie’s later years, as he eschewed the publishing of any of his music. “I don’t want this ever published while I’m alive,” he said, “cause if I did ever get any money for it, I would just drink myself to death.” It seems like that happened in any case, though making it to 59 (or 56, or 62, depending on which birthday you go with) represented a long life compared to contemporaries like Johnson or Jefferson.

Cresswell (2005) concludes Blind Willie’s story with the sad denouement that he died just as his music was reaching a white audience. There is, as Miller (1996) suggests, an opportunity to remember him at the Thomson, McDuffie County music festival. He is more than just the name of a musical jamboree though, and Dicaire (1999) and Townsend (2009) conclude that McTell was deserving of much more credit than he got. He expressed a “sinners view of religion” in his songs (Oliver 1969), which is a useful antidote for those who like their Blues with a little less gospel; Gray (2007) suggests that he “steers his way through appalling conditions brilliantly.”

Blind Willie was a virtuoso and a skilled songwriter who cheerfully made the best of what he had. He inspired others, and his music and name lives on. Laudable and weighty those his other achievements may be, as I studied him it occurred to me that he leaves an important legacy for me, and others like me who have become rather insular and elitist from their love of Blues music. McTell’s willingness to experiment, to adapt, to cross genres and to ultimately please his audience is reminder to our musical community, since the shameful episodes of Blues history should mean that we, more than most, should be tolerant and embracing of other styles and genres. I am defective here more than most, but good music is good music, however it may be pigeonholed. Blind Willie has left me that, and it’s more valuable than any of his tunes. Our magazine is “Blues without the blinkers”, and it is ironic indeed that it is a blind man that should need to remind me of it. Bravo Blind Willie.

References;-Bainton, R. 2011. Good Time Charleys. Lulu.

Creswell. T. 2005. 1001 Songs: The Great Songs of All Time and the Artists, Stories and Secrets Behind Them. Hardie Grant Books

Coelho, V. 2003. The Cambridge companion to the guitar. Cambridge University Press.

Dicaire. D. 1999. Blues singers: biographies of 50 legendary artists of the early 20th century . McFarland.

Evans, D. 2008. Ramblin’ on my mind: new perspectives on the blues. University of Illinois Press.

Gray, M. 2007. Hand Me My Travelin’ Shoes: In Search of Blind Willie McTell Chicago Review Press.

Griffiths, J. 2005. Review: Pop: Gospel gets the funk in Manchester: The Blind Boys of Alabama: Bridgewater Hall, Manchester 4/5. The Guardian. August 4th 2005.

Gumbrecht, J. 2003. Sound Check: White Stripes’ Shade of Blues. The Atlanta Journal Constitution June 19, 2003

Hobbs. B. 2010. Blind Willie McTell; Descendants of blues legend live in county. The Augusta Chronicle, Georgia. July 29, 2010

James, S. 2001. Inside blues guitar. String Letter Publishing

Living, D. 1992.Ear-sighted’ Willie was a whiz on Atlanta streets. The Atlanta Journal and Constitution. March 22, 1992.

McClellan, J and Bratic, D. 2004. Chet Atkins in Three Dimensions, Volume 2. Mel Bay Publications.

Mercer Dorson, R. 1986. Handbook of American folklore. Indiana University Press, 1986

Miller, Z. 1996. They heard Georgia singing. Mercer University Press.

Oliver, P. 1969. The story of the blues. Barrie & Jenkins.

Parrish. T. 2009. Walking blues: making Americans from Emerson to Elvis. University of Massachusetts. Pennsylvania Folklore Society. 1973. Keystone folklore: a publication of the Pennsylvania Folklore Society, Volume 18.

Sheehy, C and Swiss, T. 2007. Highway 61 Revisited: Bob Dylan’s Road from Minnesota to the World. University of Minnesota Press. Townsend, B. 2009. A fresh take on Blind Willie; Author uncovers details of family tree. The Atlanta Journal-Constitution. October 6, 2009.

Uhles, S. 2000. Singing the Blues – Blind Willie festival Honors Music Legend. The Augusta Chronicle (Georgia). May 12, 2000

Weissman, D. Carlin, R. 2006. American Popular Music: Blues. Infobase Publishing.

Interviews with Allen Toussaint, *Virgil And The Accelerators, Barrelhouse Chuck, Irma Thomas, Kevin Brown and more! Features - Part 3 of Michael Messers ‘Slide Guitar’, ‘Jive Blues’ by Mike Owens, ‘Young & Blue’ by Brian Kramer and a load more. Also, coming up in the next few issues… Rory Block, Candye Kane and Walter Trout, JJ Grey, Davey Knowles, Ben Prestage, Aynsley Lister and that’s just a few names which don’t even cover half of what’s planned.

*TEENAGE KICKS AND TEENAGE LICKS!

YOUNG UK BLUES ROCKER’S SUCCESSFUL DEBUT ALBUM!

One of the youngest Blues Rock bands in the UK is about to hit the ground running with a debut album out on 26th September. Virgil and the Accelerators’ album ‘The Radium’ is being well received and talked about as an exciting album of its genre. It follows numerous successful performances of the songs on the Blues circuit with support and headline slots. There has been a rising clamor at gigs for an album. The main man is Virgil McMahon he’s just 19 and a very adept player- with a voice to match. The rest of the trio comprises in Virgil’s brother Gabe 17 on drums and Jack Timms 21 on bass. The resulting mix of Rock / Blues, Hard Rock and blistering solos bears comparison to some of the finest 70’s Rock trios and in similar fashion they are beginning reach out and improvise. Virgil & Co are well seasoned in performance from playing the ‘New Generation Blues Tour’ alongside Oli Brown and Joanne Shaw Taylor recently. They have a full schedule for the rest of 2011 with several headline gigs plus support slots with Uriah Heep, Robin Trower, Billy Walton, Southside Johnny and Roy Wood. In issue 63 of BM we talk to Virgil and Co to get a young guy’s view of how the Blues is perceived – we’ll be asking how their contemporaries view the blues in the light of the huge popularity of dance music culture – we’ll be asking how can you present fresh and new music in the light of the huge back catalogue of classic Blues Rock and how to avoid plagiarism. We’ll ask Virgil’s view on youth culture today and much more – BM talks to Virgil and the accelerators – issue 63.

Apologies to Texas Slim and Norman Darwen. The interview in issue 61 was missing some questions and answers.

Please check the website for the full interview. http://bluesmatters.com/magazine/

FIND OUT WHAT’S COMING IN THE NEXT ISSUE…….

FIND OUT WHAT’S COMING IN THE NEXT ISSUES…….

Candye Kane

Ben Prestage

Irma Thomas

RULES OF THE CONTEST – For all contestants you MUST be a current subscriber to BLUES MATTERS! magazine.

(Entries will be checked against memberships) if you are not a member join now via the website or by contacting Jenny Hughes via eMail jenny@bluesmatters.com or call 01656-745628 to subscribe over the phone

(Following us on Facebook or any social media does not qualify)

DEREK

AND THE DOMINOES – LAYLA AND OTHER ASSORTED LOVE SONGS

Courtesy of UMusic for the Clapton collector we have a set that includes the re-mastered reissue of 14 tracks plus the double CD set in a deluxe edition with bonus disc of 13 tracks AND a vinyl 180gm double album pack.........WOW!!!! ----- We also have two more CDs of the basic re-mastered single CD.

First three correct entries drawn win so simply answer this: Which band was Eric a member of?:

A. Disraelli Gears,

B. The Cream,

C. Badge

D. Cream

E. Spoonful

F. White Room

CHRIS BARBER – MEMORIES OF MY TRIP

This super double CD set: we have 4 copies for you.

First four correct entries drawn win so simply answer this:

The Chris Barber Jazz Band was so named in which year?:

A. 1952

B. 1954

C. 1956

Walter Trout