Blues Matters 122

BLUES MATTERS!

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Contributing Writers:

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

Contributing Photographers:

Arnie Goodman (USA), Adam Kennedy (UK), Laura Carbone (USA) plus others credited on page.

COVER IMAGE: Laura Carbone

COVER IMAGE: Eleanor Jane

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 Please note: Once submitted material becomes the intellectual property of Blues Matters and can only later be withdrawn from publication at the expediency of Blues Matters.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

WELCOME to BM 122

So it is a fine welcome to you dear readers to the new issue 122 - one hundred and twenty-two! Nice to spell it out for a change!

It seems just a blink since Mr. Billy F Gibbons graced our cover that was so swiftly followed by the sad loss of Dusty Hill. The little ol’ band from Texas have rolled on for 50 years and we are sure the spirit of Dusty will continue to shine on any stage they play.

We also, sadly, carry an obituary on Charlie Watts. The Jazz and suit-loving ‘aristocrat’ who has been the driving force behind The Rolling Stones all these years. He never needed a large drum kit to keep the groove that steered the band through their long career. Mr. Reliable on the sticks, we all thank you!

We hope you are enjoying the extra pages we brought you in issue 121. These will be permanent because the Blues and you, the readers, deserve it. It allows us to help more acts out and get them into your ear drums.

Someone said to me that Christmas is coming... listen, if you get stuck for a present for a friend or relation and they like Blues, make it easy on yourself and thrill them with a gift subscription for the magazine! Oh and don’t forget the BM merchandise is available online only. Now enjoy your issue and stay safe and well!!

Bought the wife a trampoline recently – she hit the roof!

A red ship and a blue ship collided a while ago and all the survivors got marooned!

Alan, Editor in Chief

CONTENTS

FEATURES & REGULARS

10: Phenomenal blues women

14: blues down under

16: LAURA CARBONE - gallery

20: SOUTH AMERICAN BLUES

24: VIRTUAL BLUES

28: FREDDIE KING - PT4/4

32: BLUE BLOODS

118: BIG BLUES REVIEW GUIDE

136: RMR BLUES CHART

138: IBBA BLUES CHART

INTERVIEWS

38: STEVE EARLE

42: dwayne dopsie

48: davy knowles

54: joanne shaw taylor

60: joe bonamassa

66: robert jon & the wreck

72: buddy guy

80: samantha fish

86: melissa etheridge

90: marcia ball

94: KINGFISH

100: tommy castro

104: bernie marsden

110: joan armatrading

114: Suzi quatro

WIN*WIN*WIN*WIN*WIN*WIN*WIN*WIN*WIN*WIN

COMPETITION

WIN*WIN*WIN*WIN*WIN*WIN*WIN*WIN*WIN*WIN

To celebrate the 50th Anniversary of Rory Gallagher’s eponymous 1971 debut solo album, UMC/UMe is giving one lucky reader of Blues Matters an opportunity to win a a five-disc deluxe box set of the album.

This amazing prize includes the Rory Gallagher 50th Anniversary Edition 5-Disc Box Set includes 4 CDs and 1 DVD. The 4 CDs feature a brand-new mix of the original album, 30 previously unreleased outtakes and alternate takes, a six-song 1971 BBC Radio John Peel Sunday Concert, plus four 1971 BBC Radio Sounds of the Seventies session tracks, all mastered at Abbey Road Studios. Also included is a rare and previously unreleased 50-minute DVD of Rory’s first-ever solo concert which was filmed in Paris for the “Pop Deux” television show.

The extensive 50th Anniversary Box Set package will also contain a 32-page hardback book with many rare and previously unseen photographs from British rock photographer Barrie Wentzell, essays and memorabilia from the album recording including hand-written song lyrics by Rory, and an exclusive limited-edition poster.

The competition is open to UK residents only.

CONDITIONS: By entering, the participant agrees to be bound by these Terms and Conditions.

• You must be a UK resident to enter this competition

• The winner will be selected at random

• The winner will be notified by e-mail within 14 days of the draw date

• The prize is not transferable and no cash alternative is available

• Blues Matters nor our partners will not take responsibility for any lost prizes – replacements cannot be issued

• The Promoter reserves the right to withdraw this offer or amend these Terms and Conditions at any time without notice

• Winner will be notified via the email they’ve provided

• If the winner doesn’t respond with 14 days of being notified, a new winner will be drawn at random

HOW TO ENTER:

Simply visit bluesmatters.com/winrory50 and answer the following question: What is the name of Rory Gallagher’s long-standing bass guitarist who played on all of Rory’s albums from 1971-1991?

Denis Delighted with Box Set Prize

BLUES MATTERS

recently ran a competition online to win the amazing John Mayall Box Set worth £285. All you had to do was sign up to the mailing list and you were entered into the draw. Denis Williams was our lucky winner, drawn at random from our list of subscribers.

Denis was delighted, stating “I have just received the John Mayall box set and just to say what a fantastic prize l have won. It’s that good, l’m frightened to open it! Thank you for a brilliant prize”.

To be in with a chance of winning any future prizes, make sure you’re signed up to our newsletter at www.bluesmatters.com

CHARLIE WATTS OBITUARY

A LEGEND IN BLUES AND JAZZ

Born in 1941, Charlie Watts was the quintessential Englishman, albeit in the most famous rock ‘n roll band in the world, The Rolling Stones. Although a permanent, original member of the Stones his real musical passion was blues and jazz. The latter being his utmost favourite passion.

Words: Stephen J Harrison.

Picture: Arnie Goodman

Watts originally joined Blues Inc with Cyril Davies and under the supervision of the catalyst for so many future blues artists, Alexis Korner. Watts joined Blues Inc in 1962 but soon afterward met up with Brian Jones, Mick Jagger, and Keith Richards, and the rest, as they say, is history. After having teamed up with The Rolling Stones, Charlie became the mainstay of the band, although he was more than content to be in the background laying down the rhythm and keeping the Stones on track. Unusually for drummers, especially in the seventies, Charlie Watts did not use a large and extravagant drum kit. Instead, he preferred to keep it simple, knowing that size and extravagance do not constitute great timekeeping.

As well as being the rock in the Stones, Charlie Watts also formed his own jazz band and was a regular performer at Ronnie Scott’s club in Soho, London. Apart from playing in his own jazz band and touring and recording with the Stones, Charlie also joined Rockett 88 in the late seventies with Ian Stweart, another founding member of The Rolling Stones. Rockett 88 was a straight boogie-woogie band that mainly played for fun.

Outside of music, Charlie and his wife had a passion for breeding Arabian Horses which turned into a very lucrative business. This helped Charlie to escape life on the road and bring some normality to his life away from the ever-constant circus that enveloped the Stones when they were touring. Another side passion of Charlie’s was his love for classic cars.

Nothing unusual there, especially for someone of Charlie’s status, but the ironic thing about his collection of classic cars was that he couldn’t drive. He just loved the sound of the engines and the look of the body. I guess that could be explained by him being the mainstay of the engine room in all the bands that he played with. It’s hard to imagine blues, jazz, and rock n roll without the fine accompaniment of Charlie Watts. Mick and Keith have both waxed lyrical for many years as to the importance of having Charlie in the band. I’ll leave the final words to Keith: ‘Charlie Watts has always been the musical bed that I lie on.’ A fitting tribute to a fine blues, jazz, and rock n roll legend, and a fine gentleman.

CHARLIE WATTS: 1941-2021

BLUES WOMEN

Flora Molton

by Dani Wilde

Phenomenal Blues and Gospel Woman

Flora Molton was a singer, songwriter guitarist who performed on the streets of downtown Washington DC for over 40 years. For six days a week, year in, year out, no matter the weather, Molton busked on DC’s street corners, wearing fingerless gloves in the cold winter months to warm her hands.

Seated on a stool, she would tap a tambourine with her foot whilst moaning heartfelt blues vocals and showcasing a bottleneck guitar technique steeped in the blues traditions of the African American South. Her sincere vocals would rise above the downtown traffic as passers-by stopped to listen and throw money into a white plastic pail that she strapped to the neck of her guitar. Although her guitar style was rooted in blues, Molton also performed traditional gospel songs and her own compositions.

Flora Molton was born Flora Rollins in 1908. From birth she had a visual impairment that left her mostly blind. At eight years old she underwent cataract surgery which helped somewhat, although she still required large print material to read. Her father was a Baptist minister, and both of her parents were passionate about music. Her Father played accordion and supported the family through his ministry, subsidising

his income with farming and coal mining. Her mother played the organ. Flora was quick to pick up both instruments from her parents. From a young age, Flora too was inspired by music and by God, and at the age of seventeen she took up preaching for the Holiness Church.

Flora married in the 1920’s and had three children, however around 1930 her first husband abandoned her and Flora filed for divorce. In 1937, she migrated from rural Virginia to Washington DC in a search for better job opportunities and living conditions. In the Capital, she enrolled on various training programs for the visually impaired, but despite her intelligence and keen work ethic, she was unable to find permanent employment. Life was tough, but she refused to let her disability hold her back. Growing up, Flora had found herself inspired by a mixture of sacred and secular music and around 1943 she picked up a guitar and took to the streets.

‘You see, I got so many promises,’ she said in 1974. ‘I just got disgusted. I just took the street

... but work, no. If it hadn’t been for the street, I would have been dead.’

Not only was Flora influenced by the spiritual music she heard in church, she also took influence from blues records. She enjoyed classic blues artists Bessie Smith, Sara Martin, Sippie Wallace, and Texan blues and gospel singer-songwriter Blind Lemon Jefferson. Some of the earliest tunes she remembers hearing as a child were ‘Wasn’t it Sad When That Great Ship Went Down,’ which she learned to play on a neighbour’s accordion, as well as W.C. Handy’s early ‘Hesitation Blues,’ and ‘Atlanta Blues,’ which she learned to play on a parlour organ. At local parties she heard slide guitar being played with a knife and she later incorporated this abrasive slide sound into her own guitar style, using a metal slide.

In the decades she performed on the Capital city’s streets’; she saw much change. Having arrived in DC in a time of racial segregation, her songs of hope provided a soundtrack to Martin Luther King’s Civil Rights Movement as slowly but surely advancements were made towards equality. She also, married her second husband Walter Molton and had a fourth child.

Flora Molton made friends with other street musicians in the city and was often accompanied by musicians who she called ‘The Truth Band.’ One regular musician to sit-in with Molton was the now well-known harmonica player Phil Wiggins. He was still in high-school when he began busking with her and described the experience as an education in feel and following the vocal.

‘She didn’t really make chord changes so much as much as implied chord changes,’ Wiggins recalled… ‘So the main way to keep track of where she was musically and rhythmically was to follow her voice. Her rhythm was real strong on the guitar, but the main way to follow the structure, if there was any, of her songs, was to follow her voice. And I am really grateful

for that experience because it taught me to be great listener.’

Wiggins described how Molton took him under her wing like family, and remembered her for being a ‘very open-hearted, open-minded, generous person that accepted me, that welcomed me.’

In her first twenty years of playing on street corners, Flora Molton had not played any scheduled or advertised gigs. That changed in 1963 when she met a musician called Ed Morris, who joined ‘The Truth Band’ and helped Molton to get on the bill at music festivals and other venues associated with the 1960’s American Folk Music Revival. Molton’s talent was well received by a younger white audience, and she found herself appearing in front of larger crowds including the Philadelphia Folk Festival, the Smithsonian Folklife Festival, the New Orleans Jazz & Heritage Festival and several performances at the Library of Congress.

In 1970, Flora established Molton’s Records and released several 45 rpm singles of her music that featured Ed Morris accompanying her on 2nd guitar. She sold the records at her shows in venues, at festivals and on her regular spot on the streets. Whilst her music career blossomed, life was not all rosy. In the 1970’s her husband, Walter, fell ill and passed away. Flora remained strong and independent. Despite her poor eyesight, she even owned a car. Phil Wiggins described her as ‘nobody’s victim.’

When her musical partner Ed Morris passed away in the early 1980’s Molton was fortunate to befriend gifted female guitarist Eleanor Ellis. Ellis offered Molton a ride from DC to the Oxon Hill Blues Festival in Maryland where they each performed separate sets. The Women’s performances impressed each other and Molton invited Ellis to accompany her on 2nd guitar at future performances.

‘After Ed passed, I didn’t think I could find

anybody else to play the music like he did,’ Molton recalled, ‘but God works in very mysterious ways. I met Eleanor and she could play that music. I believe it was Ed’s wishes for us to play together. It has been much joy to me, and it keeps Ed’s spirit alive.’

Whilst touring The United States, The Rolling Stones heard Molton perform and became immediate fans. They hired her as backstage entertainment before their 1981 concert at the Capital Centre. That same year, Molton recorded some tracks in her home with The Truth Band for German Jazz and Blues record Label L+R who featured her music on a release called Living Country Blues USA, Vol. 3. She received further recognition when The DC Commission on the Arts and Humanities presented her with four awards, and in 1987, at 79 years of age, Flora Molton left the streets of Washington to embark on a tour of Europe.

The tour took Molton to festivals in Germany, Belgium, France and the UK. Accompanied by Eleanor Ellis and Country Blues musician Archie Edwards, they wowed their European crowds. Whilst in France, Molton and Ellis were

need to.’ At this time, the DC Commission gave Molton a grant to make a record entitled ‘I Want To Be Ready To Hear God When He Calls,’ a spiritual album which was released on Lively Stone Records. Molton sold copies of her record on the street.

Looking back at her early years of singing blues, Molton recalled ‘I was so young, in a wilder, different life then.’ She explained that she no longer performed the blues, describing her music as a mixture of gospel songs and what she called ‘truth’ music, which dealt with the struggles of daily life. Despite this, blues was ever present in her guitar style and vocal approach. Her songs didn’t have a hymn structure, but they were spiritual and uplifting.

In the late 1980’s Molton began to experience liver problems. Before she became ill, she had been scheduled for a second tour of Europe but sadly she was too sick to go. Molton was in her 80’s and she continued her downtown street performances until six months before her death in 1990.

recorded and featured on ‘Radio France’. The broadcast impressed a French recording label called Ocora who specialised in field recordings and world music. Ocora recorded an album for Molton entitled Gospel Songs (with Eleanor Ellis), which is a great celebration of female talent!

The following year she was back in her regular spot on the street corner in Downtown DC, still singing to support herself: ‘I have to do it,’ she said. ‘It ain’t that I just want to sit out here. I

Flora Molton’s legacy continues in Washington DC and around the globe. Having been a part of Washington DC’s music scene for more than forty years, Molton was well known and loved by the generations of music lovers who saw her there. Her songs brought a message of hope and perseverance to the city, which uplifted her listeners. Her presence downtown can still be seen in a public artwork series that transforms old call boxes into works of art. Artist Charles Bergen created a Bas-relief image of Flora Molton inside a call box at Thirteenth and G streets N.W for all to see and remember her by.

Although Molton preferred her musical style to be known as ‘Truth Music’ she was a founding member of the DC Blues Society who recognised that her unique brand of ‘spiritual and

“

I felt like one day they were going to stop fighting”

truth music’ was an inspiring blend of rural blues, folk and gospel tradition.

Molton is featured in a documentary produced by her friend and guitarist Eleanor Ellis, entitled Blues Houseparty. Her music and inspirational life story is also celebrated in the short documentary ‘Spirit and Truth’ by Edward Tim Lewis.

Be sure to listen to:

Flora Molton wrote many fantastic songs. Be sure to have a listen to ‘Sun going to shine in Vietnam someday’ which is a favourite of mine. In November 1969, over a quarter of million people attended the Moratorium anti-war march in Washington, D.C. The protesters, led by Martin Luther King’s widowed wife Coretta Scott King, marched down Pennsylvania Avenue to the White House in the evening, holding candles. Coretta Scott King told the marchers that it would have delighted her husband, Martin Luther King Jr, to have seen people of all races rallying together for the cause of peace. Molton’s song echoed the sentiment of the marchers and brought hope. She self-released the track on ‘Molton Records’ in 1970.

• SUN GOING TO SHINE IN VIETNAM

SOME DAY: “They were fighting in Vietnam when I wrote that song.” Flora would later explain in an interview. “I wrote it because I felt like one day they were going to stop fighting. I felt sorry for the boys, some came back crippled, some didn’t come back at all. And I felt sorry for the poor mothers. In the spiritual side, it was cloudy. But when they stop fighting, then the sun shines. And I felt like the sun would shine in Vietnam one day. And it did happen.”

• Also check out ‘YOUR ENEMY CAN NOT HIDE YOU’; Molton’s interpretation of a traditional song, which showcases her wonderful blues slide guitar style.

BLUES

With Matty T. Wall

Hi again from down here at the other end of the world. Well, a lot has happened since I last wrote. Australia is in another covid scare at the moment (although still pretty low numbers) and governments are doing what they can.

Concerts and Festivals are getting cancelled and rescheduled once more. I think we will be all so grateful once this thing starts to become less of a threat, however that happens. In the meantime, we are starting to get used to this endless cycle of fear and worry – which is a shame. It seems to have broken a few along the way.

These times, we need music more than ever. We need BLUES more than ever. If there was a genre so steeped in hope, longing, love and real life – it is the blues. Buddy Guy once said something along these lines that truly resonates with me: “Funny thing about the blues – you play ‘em because you got ‘em. But when you play ‘em, you lose ‘em.” That leads me to something that happened with my own health in these last few months, where I was left not even able to play the blues.

A few months ago, I suffered a debilitating spinal injury which affected my left leg, leaving me unable to walk and in excruciating pain from my lower back downwards. I was busy on the woodpile with chainsaw, axe and wheelbarrow getting all the wood for the coming winter. Since I live up in the hills and have access to plenty of fallen trees and good, efficient wood burners, it is still the way to heat up the house in the relatively short winter we have here when the storm clouds come over. Solar panels take care of the power for most of the year when we seem to have endless sunlight.

So - silly me, I was busy throwing around 50 kilo sections of tree trunks, my brain still thinking I am 21 years old! Spent 3 days of hard labour on the woodpile, then went to pick up a concrete slab – pop! Instant pain went searing through my body. I suffered a pretty bad disc herniation that went across two damaged discs. I was bedridden and on some pretty serious painkillers for a while. I initially thought I had pulled a muscle, but the pain did not cease, so getting a CT scan done showed the damage and set me on the path of strong pain medication and rehabilitation. It was very scary at times.

I tried everything. And I mean EVERYTHING. I was at the chiropractor several times a week, doing physiotherapy exercises daily, in the pool doing hydrotherapy exercises daily, getting spinal cortisone injections, getting acupuncture done, trying out an “inverter” table where I literally hang upside down like a sleeping bat!! If there is one thing I have in spades, it is persistence. And that really helped me stick to treatments and exercises, whilst I tried to continually lower my doses of pain medication with the hope of eventually getting off them.

Initially, I could not walk. Sitting was painful, sleeping was painful – standing with crutches was how I spent most of my day, or lying in bed trying to avoid positions of pain. Eventually, with daily and weekly treatments, I regained pain-free use of my leg and began walking more freely with crutches. I had to cancel and postpone some really big shows that my band was due to put on. That was a big blow, but not as much as the thought that I could perhaps never perform again. That thought was with me for a long time and felt very real, especially after the initial diagnosis by the doctors. Day by day, I was starting to regain movement – I could now

pick up a guitar and play it for a short amount of time, although singing was a long way off. I persisted with the pool exercises and physio exercises, gradually feeling stronger, although still requiring medication to get through the night.

As weeks went on, I saw a slow improvement, week on week, and I was even walking now without crutches. I started rehearsing. Playing

was coming back – singing abilities were coming back. I was on the way! So, I started rescheduling shows and getting ready. Rehearsing with the band - getting stronger - getting pain free. Slow improvements every week.

I played my first show since the injury only a couple of weeks ago. I can honestly say I have never been more relieved and grateful that I was able to do so. Despite the fact that my back was feeling pretty angry as the night wore on, through to the next day, I think it was step in the right direction. I have since purchased a back brace, which has definitely helped when performing more recent shows, and has made me far more optimistic about the future. So, my original plans are still intact. I will definitely tour Europe and UK at some stage– this injury is still improving week on week. I am so grateful.

I haven’t quite got to the point where I can jump off Marshall stacks and play my guitar behind my back as I once did, fingers crossed I can still have more fun like this as I recover. As it is now, I am just happy to be back playing – and never taking that for granted. This time has led me to do a lot of thinking, a lot of song-writing, a time of introspection, where I can truly think about my next stage in life more clearly. One thing I know for sure – playing the blues will never leave me, it will only get more strong and honest as time goes on. I am writing this knowing that there are many of you out there that have been through something similar with back injuries, I truly understand how earth shattering this can be in your life. It is the trials and tribulations that we go through that make the power of blues music resonate more as we get older.

So, thank you for listening to my story, I am grateful to be able to share this with you. In the future I hope that I will have new albums and tours that I can bring to you all, and celebrate the power of the most real form of music there is. Long live the blues.

PHOTOGRAPHER | LAURA CARBONE

Blues Matters! Is fortunate to have one of blues music’s finest photographers onboard these days. Laura Carbone is a remarkably talented US blues-lover with an absolute passion for photography. Also a highly respected US renal specialist and medic, based in Upstate New York, she organises gigs, often hosts blues greats like Ronnie Earl and his band at her home where great jams are a norm, and each

year, she travels the States – and Europe, when possible – snapping leading and up-coming blues musicians for the pages of numerous magazines. Her work regularly appears on CD/ album covers and inserts – the current Tito Jackson release being a wonderful example. Here, we present a short montage of her work and a promise to bring more to these pages in coming months.

BB KING

CHARLES BRADLEY DOM

JP SOARS

DWAYNE DOPSIE

IRMA THOMAS

ERIC GALES

JOHN NEMETH

BIG CHIEF MONK BOUDREAUX

TRUMBONE SHORTY

Blues in South America

When you think of the blues, your mind may turn to the Deep South and the Southern States of the USA. But our beloved genre has a far greater global reach. In this issue of Blues Matters, we delve into the roots music scene in South America and talk to some of the artists who are making an impact in locations far from our British shores.

LUCIANO LEÃES – THE BRAZILIAN PROFESSOR

played with Professor Longhair. And I’m in the band. So, during Jazz Fest, I played with them. And I also played myself, some gigs in bars and other places.”

Performing in and alongside his peers and in musically rich locations as New Orleans gives blues music more context. “I always say that blues is about learning about the history, where it came from. It’s not just about learning the notes,” explains Leães. “We need to know where it came from. I think we’ll never feel the way real bluesmen felt. But we can understand the story, respect it, and try to bring it to some other place.”

A prominent figure on the Brazilian blues scene, Luciano Leães has performed across South America, Europe as well as regularly in New Orleans. The latter being a constant source of inspiration for the artist’s distinctive brand of piano-based blues. “The last four years, I’ve been going to New Orleans to make gigs,” says Luciano. “One of the bands I play with is the Mo ‘Fess band. That is a band of musicians that

Although blues music in Brazil may not be as at the forefront as other popular forms of music, it is still very much in demand. “I can tell you that people here love blues and rock and roll, but it’s not mainstream. And the cool thing about this is with the blues festivals, any musician that played with a blues guy from the United States that came here to play - in some way, it changed their lives. Because then you have contact with the real deal. It’s pretty cool how the cultures interact, and you can exchange information,” said Luciano.

Throughout his career, Luciano has shared the stage with many international touring artists who have passed through South America. “I played with Carey Bell, John Primer, Whitney Shay, Annika Chambers, Willie Walker, Omar

WORDS & PICTURES: Adam Kennedy

Coleman and Larry McCray,” proclaims Leães. “I can tell you that each tour I made with one of these American blues guys, I learned more in one month touring with these guys than I’ve done in ten years – it was huge.”

The impact of the pandemic has limited opportunities to perform both at home and abroad. During this time, the in-demand artist has turned his attentions to his production work.

“I’m a lucky guy because I have a studio. I work with production too. I have vintage keys and a studio where I record people all around the world. This kind of saved me because I can keep on working making music. But I know that it’s a privilege because almost everybody that works with music is in a very difficult position right now,” explains Luciano.

Despite this, out of the pandemic, a potential new concert album is on the cards. “I played at Pianistico - which is maybe the biggest piano festival in Brazil. It’s really cool because they mix jazz, classical music, and Brazilian music. I was there representing the blues, rhythm and blues, and jazz. I will also release an album from this live performance in the next month or maybe two months,” Luciano says excitedly.

“I think that it would be cool in ten years to look back and see that I did this concert in the middle of a pandemic in Brazil.” Thus, creating a permanent record of a strange time in both history and music.

DANIEL DE VITA – FROM BRITAIN TO BUENOS ARIES

Argentinian bluesman Daniel De Vita recently became the latest signing to the rising British label Lunaria Records headed by Chris Rand. Thus, resulting in the release of De Vita’s fourth album ‘Lost in Translation’ on the 30th of July.

“I’m extremely happy to be on Lunaria. It is a blessing, at least for me it is because I was looking for a label or someone like Chris for a year probably,” said De Vita. “There’s only so much

you can do as an independent artist in terms of promotion and radio time.”

‘Lost In Translation’ traverses a wide spectrum of blues and roots music and incorporates Latin inspired numbers such as De Vita’s astounding take on The Buena Vista Social Club’s “Black Chicken 37”. The latter being worth investing in the album alone. “The whole point of this album was to have my own material. I was done with playing covers and songs written by other people,” said Daniel. “I want to challenge myself, especially with the lyrics, which is the hardest part for me, in my opinion. Not only because English is not my native language, but also because I don’t think in English. So that was quite challenging as well.”

The language barrier also makes it difficult to receive radio support in Argentina. “I might have two or three radio shows that are friends with me, and they will gladly play my music. As a blues artist, we sing in English, and here they speak Spanish, so there is like a brick wall between my music and the audience,” explains

Daniel. “I think that it is never going to be easy for a blues musician who sings in English to somehow get a crowd and get radio time. Because I mean, the language barrier is a reality. Unless you’re a supermassive pop star from America or the UK. But that is a completely different reality from my own.”

Subsequently, the blues scene in Argentina remains relatively low key. “Nowadays, it is strictly an underground blues scene. I wish there were more people playing blues, or at least what I consider to be blues. And again, I like to think of myself as what some people might refer to as a purist, or someone more into the traditional side of blues,” declares Daniel. “Even though we have a nice, healthy, small underground scene, it is not big enough to make a living out of playing gigs. Every musician that I know of must teach guitar lessons, singing lessons or harmonica. Or maybe they have a day job.”

As a result of which, the Buenos Aries native is no stranger to the European blues scene, having become a regular visitor since the release of his debut album in 2015. When asked where in Europe the artist had performed, he replied: “Well, I think it might be easier and faster to just name the places where I haven’t played. I haven’t played in Portugal and Luxembourg. Most of Eastern Europe I haven’t played yet. But I have played in Ukraine, Poland, Slovakia and the Czech Republic.”

Speaking of his European endeavours, De Vita insists that: “It’s a completely different reality. The people are way more open and welcoming. Especially in places like the UK, France, Switzerland, and Ukraine.” Daniel continues by saying: “There’s such a strong pop culture like they have a certain thing in England where you have a pub every two blocks. You can expect to see a lot of live music and venues with bands playing, or at least just one person with his or her guitar singing. But you can expect to see a band easily in a place like the UK or Ireland.”

Moving forward, Daniel De Vita plans to: “Promote the album and focus on that. Grow my social media platforms. And Fingers crossed, maybe in a couple of months - late 2021 or early 2022 to start touring again. But it is hard to predict what’s going to happen.”

NETTO ROCKFELLER AND MAYRA AVELIZ – BLUE CRAWFISH RECORDS

You can’t delve too far into the blues scene in Brazil without coming across the work of Netto Rockfeller. An established blues artist in his own right, Netto alongside his partner Mayra Aveliz of root’s music trio the Clementine’s, run the Blue Crawfish Records label.

Throughout the pandemic, the dynamic duo is keeping busy in the studio, but it’s not the same as performing live. “I can play the guitar all day, every day, but it’s not the same. I believe that the only way you learn to play for real is by playing for people. This is the thing to make you grow. So, this is the part that I miss playing here in the studio,” explains Netto. “I think people sometimes think that we are sad because we’re not making money. And they forget that it’s not the money. You can’t do what you want to do or what you love to do. So, it’s not about the

with Rockfeller, Aveliz performs with vocal three-piece the Clementines, which started in 2018. “I learned so much with these two girls,” declared Mayra. “Carol [Carol Lewis of the Clementines] - we used to play in another band together. It was a soul band. And we had this desire to make something together again.”

Netto started the label in 2014 and presently has 21 artists on the roster. Recently, they have been working on Aveliz’s new solo album. “We will try and release the album at the end of August,” said Mayra. “It’s very traditional, others more like soul. I think that it was the songs that are the most important in my career.” The album features appearances from Netto himself and members of his band, along with musical guests from other regions of South America, including Argentina, Brazil, and Chile.

money, it’s to miss the shows, to miss people, to miss the instruments and to miss the noise and everything,” adds Aveliz. “These are things that make us happy. To play for people, but people that are near to you.”

Aside from her solo work and her endeavours

Rockefeller concludes by reiterating the sentiment outlined by Luciano Leães. Speaking of the blues scene in Brazil, Netto said that: “It is not underground anymore. We have a lot of big and great festivals here in Brazil. The good thing is that the blues is working along with jazz music. We have a lot of great jazz festivals, and they put some blues artists on those festivals. So, we’re not underground. Maybe we can run on both sides. The underground with the bars and the clubs, but at the same time we have a lot of great festivals - but not the mainstream.”

In conclusion, perhaps the blues scene in South America is a hidden gem. With many talented artists and vast layers of roots music waiting to be enjoyed.

WORDS & PICTURES: Adam Kennedy

Although there are signs of a return to live music and some semblance of normality, the pandemic continues to cause havoc for artists across the globe. Both travel and venue restrictions will remain a feature of our lives for a while longer. But in the meantime, here at Blues Matters Magazine, we’ve been able to catch up with a whole raft of artists via the wonders of modern technology. This latest instalment of Virtual Blues brings you closer to artists everywhere from California to Kathmandu and many places in between.

TROY REDFERN

(Herefordshire, UK)

Congratulations are for British blues/rocker Troy Redfern, whose critically acclaimed latest album ‘The Fire Cosmic’ was chosen as one of the IBBA’s picks of the month for August, alongside albums from Big Daddy Wilson and Walter Parks and The Unlawful Assembly. You can also see Troy Redfern on tour alongside one of this issue’s featured artists Robert Jon and The Wreck during September.

BLUES

PRAKASH SLIM

(Kathmandu, Nepal)

The Nepalese bluesman recently released his new single “Poor Boy”, featuring Italian blues harp legend Fabrizio Poggi. This song was inspired by the artist’s hard times growing up in Nepal. When I caught up with Prakash recently, he showed me the running water tap that has just been installed in his home. This new addition, providing drinking water for Prakash and his family. Based on these circumstances alone, it’s fair to say that Slim’s experience in the blues transcends music.

SKYLAR ROGERS

(Champagne, Ilinois)

Earlier this year, Blue Heart Records made the signing of US-based singer/songwriter Skylar Rogers. Despite the success of the artist’s latest offering, ‘Firebreather’, which reached #4 on the Roots Music Report Blues Album chart, Rogers is already looking to the next chapter, with a new album presently tipped for Summer 2022.

WHITNEY SHAY

(San Diego, California)

It’s been a long time coming, but the latest incarnation of the Ruf Blues Caravan tour will finally arrive in the UK and Europe in September. Artists featured on this run include a trio of transatlantic blues talent - Ryan Perry, Jeremiah Johnson, and Whitney Shay. The latter also happened to pick up the Best Blues Album award for her latest offering, ‘Stand Up’ at the San Diego Music Awards – and deservedly so.

GILES ROBSON

(St Hellier, Jersey)

In recent times, Jersey’s award-winning bluesman Giles Robson has been entertaining audiences with a series of sold-out concerts under the guise of ‘Blues By Candlelight’ at The Revere Hotel in St Hellier. Guests so far include legendary Parisienne pianist and prodigy of Memphis Slim - Philippe Lejeune and former Robert Plant guitarist Innes Sibun. Giles is pictured here with his harp in the atmospheric bar area of the Jersey-based hotel.

OTHMAN WAHABI

(Montreal, Canada)

Othman Wahabi is a Moroccan-Canadian singer/songwriter, guitarist, multi-instrumentalist, and producer. Wahabi has carved out a niche in the trance/desert blues genre. He is best known for his slide guitar work, versatile vocals and eclectic records. These often combine black American blues with North/ West African melodies and a variety of musical influences. Some compositions are marked by a deliberate eclecticism, while others stay true to the traditional acoustic blues-roots formula of compelling vocals and down-home guitar.

KYLA BROX

(North West, UK)

To quote from Kyla Brox’s latest tour flyer – “Gigs 2021 …finally!”. Perhaps, a sentiment we can all relate to. Yes, that’s right, the British blues lady will soon be taking to the road across the UK, including a date at The Cluny in Newcastle on September 24th. Brox will also be participating in the ‘British Blues Boom’ series of online concerts throughout September. The latter features streaming shows by peers such as Elles Bailey, Errol Linton and Martin Harley, to name but a few.

LISA MANN

(Portland, OR)

Pop singer Meghan Trainor famously sang: “I’m all ‘bout the bass”. Perhaps a sentiment that bass player extraordinaire Lisa Mann would agree with. Just look at the artist’s bass clef tattoo on her wrist for confirmation. Lisa has been performing both live and online whilst promoting her latest album, ‘Old Girl’. Subsequently, the track “It’s The Monkey or Me” from said release is currently a finalist in the Unsigned Only music competition. Good luck with the contest Lisa from all of us here at Blues Matters Magazine.

ALASTAIR GREENE

(Oxford, CA)

California-based bluesman Alastair Greene recently unveiled the video for his new single “Lies and Fear (Live In The Studio)”. The artist’s latest album, ‘The New World Blues’, has received critical acclaim and deservedly so. The release was produced by Tab Benoit, who Greene has been touring alongside across the US during an extensive run of dates. Alastair Greene also recently appeared at the legendary Big Blues Bender in Las Vegas, NV.

LIL JIMMY REED

(Alabama)

Widely regarded as the last of the Louisiana bluesmen, Lil Jimmy Reed is flying the flag high for the greats of yore. The artist, otherwise known as Leon Atkins, earned his moniker after sitting in for the late great Jimmy Reed in the early days of his career. Atkins was born in the late nineteen-thirties and is still actively performing, touring, and recording presently. Lil Jimmy Reed is pictured here during a recent recording session in Alabama.

THE PALACE OF THE KING PART 4

BENNY TURNER

WORDS: Adam Kennedy PICTURES: Growing Tree Photography

Throughout the last three issues of Blues Matters Magazine, we’ve shared stories and reminisced with those who were near and dear to the great Freddie King. Starting with his daughter Wanda King before hearing from his bandmates and colleagues. In this final instalment of The Palace of the King, we go full circle by speaking with Freddie’s brother and bandmate - the award-winning bluesman Benny Turner.

Quite literally, the proverbial ‘Blues Brothers’ Benny and Freddie were living their musical dream together. “We played off and on his whole life. I was with him when he played his first note; I was with him when he played his last note. We were together for a long time, and I enjoyed everything,” reflects Turner.

DOWNTIME

Now in his 80s, Benny Turner is still going strong. With an active career in the music industry that has spanned over 50 years. The pandemic has allowed the legendary bass player a moment to unwind a little. “When this came along, it made sense not to have to dress up all the time; and just chill. And then, I got tired of that - I started to work on a solo CD,” said Benny. “I’m working on two CDs simultaneously. I’m working on one solo - just me and the guitar, and then I’m going to play all the instruments and do all the singing and everything.

And then we’ll do one with my band,” confirms Turner. “I’ve got a three-piece band that’s killer – I love them.”

Widely renowned for his bass playing skills, for his forthcoming release the veteran musician will be changing things up a little. “I went back to the guitar because I put the guitar down in ‘61 or ‘62. Because when me and Freddie played together, of course, I didn’t have to play the guitar,” he recollects. “So, I had to learn the guitar all over again. And it’s really, very good - it’s turned out great. I haven’t put the tracks down, but everything’s there. And then I’m doing just a regular one with my band.”

WHO SANG IT FIRST?

In 2019, Benny Turner released a new song titled “Who Sang It First”. Adapted from Jim George’s track “Black Is Beautiful,” Turner’s interpretation intended to give credit where it’s due, to the legendary blues musicians that have paved the way for those that came after them. “All of these musicians, they’re getting their music played, and they don’t get any credit for it,” remarks Turner. “People would say this song is by this guy, but the song is by Lead Belly.” Benny’s aim with the track was that those artists: “Need to be brought to the front – they need to know about these guys, and I did my best to do it. That was my frame of mind doing that.”

GOING BACK HOME

Benny Turner’s last full studio album ‘Going Back Home,’ was released in 2019. “The idea behind that was, I was having a chat with somebody, and I was really good friends with them. We had a discrepancy about a group called The Pilgrim Jubilees, who I played with. I wasn’t a member of a group, but we all played Gospel together,” Turner recalls. “I said, Cash McCall, he played with them. I said, let me call Cash, and let’s verify some stuff here. And so, I called Cash - we found out he had stage four cancer.” From this conversation, the two Chicago blues legends were reunited.

“He was a studio musician for Chess. He played with Bo Diddley,” said Turner. “I went to see him, and we started to talk. I said - we need to do something together; let’s get you in the studio. He said - man, that would be great,” recalls Turner. “I knew we didn’t have much time. We

just had to grab whatever time we could grab.” McCall already had a song in mind to lay down on the album. “I think he called it Money - I believe it was, and he wanted me to sing that song. I said - no. I said, just like you’re telling me how the song goes, we should record it. And so, I put the music behind it,” confirms Benny.

One of the tracks that made it onto ‘Going Back Home’ was a cover of the blues classic “Spoonful”. “I did Spoonful because I was at that rehearsal for Spoonful with Willie Dixon, Howlin’ Wolf - and my brother Freddie King played with him along with Hubert Sumlin. So, I said we’ve got to do that one,” said Turner. “We decided to do the songs by the people we crossed paths with along the way.”

As the project continued, McCall’s health declined. “He would go and have a double chemo and go straight into the studio and put stuff

“We decided to do the songs by the people we crossed paths with along the way.”

down,” said Benny. “And then, by the time we finished it, he took a turn for the worst.” Sadly, Cash McCall passed away at the age of 78 in April 2019.

story from the road involving a setlist switch. “Freddie always liked to come on with Big Legged Woman. So, I said, I’m going to change it. I’m going to bring him up with It’s Your Move because I loved that song. And so, we finally got the guys together. We got up there, and we started to play it,” said Benny. “We introduced Freddie King, and he walks up and picks up the guitar. Freddie starts playing, and he’s enjoying the song. And when the song was over, he whispered in my ears – Big Legged Woman. He loved that song to start with; it set his groove.”

JUST ME AND MY GUITAR

Music was always part of family life growing up. Benny and Freddie would listen to and learn the guitar from their mother Ella Mae (King) Turner, and her brother’s Leon and Leonard. “My mother’s younger brother Leon, he was like the leader. And everybody would follow him. And then, Me and Freddie, we would get out on the back porch. And there was a little space under the door, and we lay down on the floor, and we would look under the door and watch him,” recollects Benny. “We would watch my mother and brothers play. And then Freddie decided, that’s what he wanted to do.”

MY BROTHER’S BLUES

In 2017, Benny Turner paid homage to his brother Freddie King, 40 years after his passing with the album, ‘My Brother’s Blues’. Without a doubt, Benny regards recording these songs to have been an emotional experience – “Especially - Have You Ever Loved a Woman,” he says. “I had to do it, but I can’t do it the way Freddie did it because we are two different people. So, I had to do it the way I do it. And we had a good time recording it.”

Reminiscing about the album, Benny turns to the song “It’s Your Move,” which features on the release. “Oh man, we had fun with that. I always liked that - it was one of my favourite songs,” said Benny. The artist recollects a particular

However, for Freddie to acquire his first guitar, the boys had to work for it. “My dad was a Texas butcher. The people who owned the stockyard had a guitar. It was one of those old Western guitars,” said Benny. The owner said, “I heard your son wants to play the guitar. He said you’re welcome to it. And my dad said, well, good - but we are going to make him work to get it. And so, we got together; me and Freddie and we went down to the stockyard, and our job was to salt the hide.”

Not the most glamourous of tasks, but the brothers got through it. “Man, that’s not a beautiful job. But anyway, we did it, and he got his guitar, and then he started to play. My mother showed me chords, but I wasn’t interested, but Freddie was,” recalls Benny.

PICTURE: Benny Turner Archive

SWEET HOME CHICAGO

Eventually, a move to Chicago from Texas would change everything. Speaking about The Windy City, Benny recalls the city famous for its thriving blues scene. “It wasn’t like East Texas. East Texas is totally different – it’s like night and day. It was a total game-changer,” he said. “Howlin’ Wolf played a big part in getting him [Freddie King] introduced around town.”

“When we got to Chicago early on, we’d like to go around and listen to the blues players. That’s what we liked to do. We loved that. And in 1955, I wasn’t old enough; Freddie was 20 years old. He was getting of age to go in bars, but I couldn’t. So, we would have to stand outside,” recalls Turner.

One memory of such an occasion that stood out to Benny took place in Texas. “I remember one time we were in Houston. And Freddie said I’m going to take you to see somebody play - almost as good as I can,” says Benny. “We went down, and we stood outside, and it was Albert Collins.” A treat for sure for this pair of esteemed blues brothers.

THE FUTURE OF THE BLUES

Although the old guard may be fading, when

asked about the future of blues music, Turner believes that:

“There are still people out there that want to play the blues, young and old.” A sentiment that the writer agreed upon. “Every once in a while, I get in touch with some of my friends and people are still getting up and they’re playing the blues. They want to

play the blues. I don’t think it will ever go anywhere,” concludes Turner.

Of course, Freddie King influenced many of the British bluesmen including the likes of Eric Clapton, The Rolling Stones and Jeff Beck, to name but a few. King is regarded as one of the “Three Kings of the Blues Guitar”. Both Benny and Freddie would perform in Europe on many occasions. Rounding out the conversation, Turner stated that he “Would love to come back to the UK. Those people love it over there.” I’m sure you will agree that the welcome carpet will always be ready for Benny Turner’s return to our British shores. The legendary bass player is just as welcome as Freddie King’s music to our ears.

For more information and merchandise opportunities from both Freddie King and Benny Turner, please visit their websites accordingly: https://freddiekingonlinestore.com. https://www.bennyturner.com

BLUEDISCOVERBLOODS THE UNDISCOVERED

DONNA HERULA

WORDS: Supplied PICTURE: Supplied www.donnaherula.com

I want to express my gratitude to Blues Matters and its readers for contributing to the success of my new album, Bang At The Door. The album rose to #1 on the Blues Music Chart (Roots Music Report) in June, #14 on the IBBA chart in May and was just nominated for a Blues Blast Music Award for Best Acoustic Blues Album. This couldn’t have happened without the support of blues lovers like all of you!

blues alive and well, it was important to write in the blues tradition then modernizing the lyrics such as Who’s Been Cookin’ In My Kitchen – a double entendre song that’s not really about cooking in the kitchen. I also thought it’d be fun to take a traditional Bukka White song and update it overdubbing Delta-Blues guitar slide leads - creating a slide-guitar instrumental, Black Ice, by adding percussion lending some driving rock feel too.

For my third album, I wanted to write songs full of heart capturing the spirit of Son House, one of my heroes. As a resonator slide-guitar player, I wanted to feature the resonator on differing blues styles – Delta, Piedmont, Hill Country, Jazz, Ragtime, Gospel, Country, Folk and New Orleans styles – creating a good listening mix. I wrote 11 of the 14 tracks, including one about my mentor and great blues radio DJ “Sunshine” Sonny Payne who hosted King Biscuit Time Blues radios show in Helena, Arkansas for over 65 years!!

I also felt it important to write some songs from a woman’s perspectives and provide a window into issues women face. In order to keep the

I began playing guitar and listening to Blues when about 10 years old. I learned about acoustic blues when I started classes at the Old Town School of Folk Music, Chicago, where I now work as a guitar and slide-guitar teacher. I’m currently teach online fingerstyle blues, slide-guitar & electric slide-guitar enjoying seeing my students grow. For 10 years, I’ve been a regular performer at Buddy Guy’s Legends in Chicago, where I live. I was inducted into the Chicago Blues Hall of Fame. I feel fortunate to live in a city where so many people love and respect blues traditions. I had the opportunity to visit Honeyboy Edwards at his home a number of times and play with him. I’ve played with BB King’s daughter, Shirley, in a group named Chicago Women In The Blues.

I’m fortunate to have met many interesting people on this blues journey. Making lots of friends worldwide because of the blues. I’m grateful to you for listening, loving the blues like I do and passing it on to the next generation.

If you’d like to learn more about me and my music, please visit: www.donnaherula.com or email me at contact@donnaherula.com

Full Fat have been called “Scotland’s best kept secret”, they have built a loyal following across Scotland and the North-East and are one of Scotland’s finest emerging power trios. The line-up consists of Fraser McKain on electric guitar and lead vocals, Fraser Urquhart on bass guitar and backing vocals and Simon Rattray on drums.

The group is a melting pot of influences and styles; Whether it be the blazing Stevie Ray inspired blues riffs from Fraser M, Fraser U’s frenzied funk bass a la Joe Dart or Simon’s country rhythms fit for Cash himself, their music will be pumping through your veins and into your heart and soul. They have a passion and a talent that will not be stopped and this is clear to anyone who sees them play.

Pre-pandemic the band were going from strength to strength. After their European “In the Dark” tour promoting their latest EP of the same name, they sold-out a tent at the Edinburgh Jazz & Blues Festival, secured a headline gig at the Glasgow O2 and this then paved the way for their first London gig which would have capped their 2020 Winter/ Spring tour. This tour however was cut short like so many others due to Covid19. Instead of finishing the Winter-Spring tour, Full Fat used Lockdown to host and perform in a series of online gigs in aid of the NHS called “The Lock-In” featuring a multitude of musical talent including Tom &The Brassholes, and Dave Arcari.

Full Fat’s discography consists of 1 studio album, 1 studio EP and 1 live album, all available wherever you listen to your music. In

2021 they jumped back into the music scene with both feet, releasing their newest single “Lipstick” which quickly became their most listened to track. They plan to release two more tracks in 2021 to pave the way for their next studio EP and, Covid Permitting, start playing shows again across the country. Whether you’re listening to Full Fat at home or seeing

them take to the stage, their message and passion will always be clear.

Through their music, they write stories about life’s joys and struggles that are all too familiar, seeking to share not only their stories, but the stories of other people. If even for a moment their music can make you forget about the bad and feel part of a whole, then they have achieved their goal. The joy they experience from playing is infectious, and if you are lucky enough to find yourself at the front of the stage at a Full Fat show, you’ll know you’re just as much a part of the show as they are.

BLUEDISCOVERBLOODS THE UNDISCOVERED

CW AYON

WORDS: Iain Patience https://cwayon.com

CW Ayon may call the Southwestern deserts of New Mexico home but his soul is deeply rooted in the Blues and grooves of the Mississippi Hill Country. With a rather simple kick/snare and tambourine setup he lays down solid beats while picking out some catchy hooks on anything from acoustic to resonator guitars. Sometimes dropping in a bit of harmonica for good measure. All the while building a sound

In these bands, he played rock music and covers and — being a blues man — tried to add as much blues as he could. After the bands split, Ayon struck out on his own, literally, as his own drummer, guitar player and singer.

“I’ve been pretty fortunate in having steady gigs,” he said about the uniqueness of his sound. “I’ve been doing it for a few years now and it’s pretty constant.”

In 2010, he won a best blues award for his song “Seen My Baby” at the New Mexico Music Awards and another in 2013 for “End of My Rope.” Ayon’s influences are Junior Kimbrough, R.L. Burnside, John Lee Hooker, Muddy Waters and Robert Belfour, just to name a few.

and playing style that is deceptively larger than it seems.

Cooper “CW” Ayon has lived in various places around his beloved state New Mexico, but hails originally from Reserve. His wife, Carol, is a trained musician who taught him how to play the guitar. He excelled with this instrument before he could learn to read notes and joined a few Las Cruces bands in 2004.

In recent years, CW has gained a place in French blues-lovers’ hearts, frequently touring and playing festivals to considerable acclaim. In mid-August, he again rolled up in France and turned in an absolutely cracking set at an event organised by local blues association, Blues & Co, in Thouars. Set in a stunning open-air, riverside location, with a magnificent Chateau backdrop, a few hundred people turned up to enjoy the evening as the sun set behind the chateau while Ayon played on supported by two regular French blues sidemen, Denis Agenet on drums and Abdell B Bop on upright bass.

BLUE BLOODS

DISCOVER THE UNDISCOVERED

David Massey had a long career as a lawyer, and named his record label “Poetic Debris” as a self-deprecating allusion to his aspirations as a songwriter and a passage from Gustave Flaubert’s novel “Madam Bovary”: “Every bourgeois in the ferment of his youth . . . has believed himself capable of a grand passion, of a high endeavor. Every run-of-the-mill seducer has dreamed of Eastern queens. Not a lawyer but carries within him the debris of a poet.” But don’t let Massey’s day job or modesty fool you; as Blues Matters! noted in a recent review, “Please do not think ‘oh no not another wannabe.’ That is absolutely not the case.”

David’s fifth and latest record, a six-song EP called “Island Creek,” peaked at number 14 on the Roots Music Report’s Country album chart and at number 11 on the RMR’s Americana Country album chart in May of 2021. Country Jukebox said “As in the past, the former lawyer’s talent for evoking feelings and experiences in the hearts and ears of his listeners with just a few words is very much in the tradition of the great songwriting icons from Bob Dylan and Tom Petty to Mark Knopfler, and yet he always remains himself in an unmistakably likeable way - Massey takes us on a journey into his very own reality, in which there is so

much to discover.”

His album “Until the Day Is Done” - described by Late For the Sky as “a great and beautiful album” - included the song “Broken Home,” which spent most of the summer of 2016 in the top 10 of the RMR’s Folk-Rock song chart.

Massey’s location on the music business food

chain doesn’t yield riches or groupies (or roadies, which he notes drily “would be more useful at this stage in my career”). Asked what he hopes to achieve through his music, Massey says “Not to compare myself to Van Gogh, but he once said something about wanting people to look at his work and say ‘That man really felt.’ That’s all I can really hope for, but you know, that would be enough.” www.davemasseymusic. com

CHLOE KAY AND THE CRUSADE

Antipodean blues outfit Chloe Kay and the Crusade have recently released their debut single “Just Got Burned.” It’s still early days, but the group are already making waves around the world. Shortly after the single received its premiere, it caught the attention of Blues supremo Joe Bonamassa who added the track to his “Ultimate Blues Rock” Spotify playlist.

“We hadn’t even had 1,000 listens at that point. So, to have him add us to playlists that feature established artists, even smaller artists who have a lot of listens, was crazy. But that is incredibly inspiring. He’s one of my all-time favourite musicians,” said Chloe. But it was not only Bonamassa who took an interest in the group, “Just Got Burned” has received frequent airplay on one of Australia’s most popular radio stations Triple J.

The song itself has quite a personal context. Chloe goes on to say: “I was inspired by a little romance, that didn’t mean all that much. I find it’s the little things that generally don’t mean very much that inspire the best songs.”

Chloe Kay discovered the blues via one of her biggest inspirations John Mayer. “I knew that he had an SRV tattoo. I read that he was into the blues. So, I decided one day, and I remember

this day so distinctly because it was such a defining moment, and I remember thinking, maybe I should go look up those people. Let me look up, Stevie Ray Vaughan,” recalls Chloe. “I was lying in my bed; I had my headphones on. It was late at night, and I was listening to “Lenny”. I closed my eyes and listened; I just started crying. He just touched me so deeply.” The group is already working on a second single inspired by a conversation that Chloe had with Double Trouble drummer Chris Layton about Stevie Ray Vaughan himself.

In terms of the blues scene ‘Down Under,’ Chloe said: “It’s pretty underground, but for those underground bands, it’s thriving.” The artist aims to: “Try and bring blues to a younger crowd and to just make blues exciting and fresh for the people and to reintroduce it.” So far, their plan seems to be working. “We have a lot of young people at our gigs and, of course, a range of ages,” said Chloe.

The artist has a dream. “I would love to crack the Australian blues scene for sure because this is my country,” said Chloe. With support from media, radio, and legends of the genre such as Joe Bonamassa, perhaps their dream will soon be a reality.

WORDS & PICTURE: Adam Kennedy www.chloekayandthecrusade.com

The Curse of KK Hammond lives on a farm in the backwoods and plays solo acoustic guitar. So far, so blues. However, the woods are in Buckinghamshire and Kris Hammond is a young Englishwoman who only released her first single, The Ballad Blue Docherty, in late 2020. It garnered a couple of plays on the Radio 2 Blues Show, and KK started to rack up Instagram devotees with a series of enigmatic posts, and video snippets. She currently has an astonishing 16000+ followers on the app…

The videos which accompany her singles are without equal on the blues scene. First up the Bayou/Huck Finn ambience of The Ballad of Blue Docherty. Then there’s the extraordinary drone footage and pagan folk-horror vibe of the vignette she came up with for In The Pines. It’s genuinely spine-tingling. While the epic Devil’s Kin Blues boasts a Claymation version of KK meeting the Devil in Hell.

She made her most recent single in collaboration with another rising star of British blues, David & The Devil. The Ballad Of Lampshade Ed, tells the story of serial killer Ed Gein’s twisted relationship with his Bible-spouting mother. Gein was the basis for the character of Leatherface in Texas Chainsaw Massacre…. The mini-thriller for …Lampshade Ed is directed by the award-winning Tom Hughes of Ritual Video. It’s safe to say KK doesn’t pull her punches!

Her style has elicited praise from British

BLUE BLOODS DISCOVER THE UNDISCOVERED

Resonator-meister Michael Messer: ‘I hear many young players, but not many are pushing for their own sound, and few use roots music as a foundation. Kris has her own style, her own dark and mystical world.’

Bob Keelaghan of cult roots band Agnostic Mountain Gospel Choir, opines - ‘She’s a cool mix of British art-folkpop and gritty blues.’

The self-professed hermit (she has never gigged, only leaves the farm occasionally) gives us a little background:

“I’ve tangled with the blues since childhood when my good friend started playing it to me and telling me all about it. I’m a huge fan of Skip James. His music is moving and haunting with a unique spin; complex and melodic guitar playing and eerily beautiful falsetto voice. Though I try to be pretty faithful to roots blues, I do tend to stretch beyond tradition too.

I have a total fetish for Resonators. I have a single cone, 12 fret National (NRP) in steel. She has the most impressive, dominating bark and growl. She was customised for me by National withabalone Roman numeral fretboard inlays. My other steel Resonator is a Mule Resophonic Tricone. I absolutely love her. She has such a nuanced, choral tone. I call her Swampbitch.I also have a steel Mulecaster, my only true electric guitar. Her name is Chainsaw. She’s a beautifully made machine. Mule really put their heart and soul into their guitars.”

STEVE EARLE OUTLAWS & GHOSTS

If there’s anyone out there in musicland who might truly be described as an ‘outlaw,’ it must surely be Steve Earle, a rabble-rousing, rebellious guy who has been there and done it all, repeatedly, it often seems.

WORDS: Iain Patience PICTURES: As Credited

Few, if any, of the current crop of Nashville superstars can, and do, admit to having spent time at the Federal Government’s expense sheet. But for Earle, it was just part of life, youthful wildness combined with naivety, now long -lost chimeras. He is swift to recount the day as an inmate when he received a postcard, a photo of the late Waylon Jennings sporting a red bandana while playing a gig. The inscription in Jennings’ hand-written script simply read, ‘I’m wearing the bandana for you.’ Two outlaws together.

Our very own blues outlaw, Scotland’s Dave Arcari has worked with Earle, touring as support in the past and it’s hard to imagine a

up-coming writer and musician with a steadily growing following and a seemingly enormous, guaranteed career ahead. Like his father, Steve, Justin Townes Earle was working the Americana music end of the business for the most part and it is clear Steve Earle is deeply distressed by the death. So much so that he was not prepared to discuss the subject or the album itself, a perfectly understandable stance in the sad circumstances.

Looking back to Earle’s previous album, ‘So You Wannabe An Outlaw,’ on Warner Bros, Steve Earle is unusually upbeat and happy to chat about where he’s at and what he’s up to right now. When I pick out one track, ‘Fixin’ to

better rude, raw blues-cum-Americana pairing hitting the road together. Like Earle, Arcari hits the strings hard and his raucous vocal delivery has little similar or comparable in the UK blues world today. Two hard-drinking musicians with a shared passion for blues, Americana and roots music could be hard to find.

Earle’s last, recent release, ‘J.T.’ was a revealing, deeply personal offering mourning the passing of his son, Justin Townes Earle, a rising,

Die,’ and suggest it seems dark, foreboding and brooding, he is quick rising to the bait to dispel the thought telling me not to take it in any truly literal sense: ‘It’s not that dark, don’t look at it like that. Sure it has edges but it ain’t meant to be depressing’ he laughs.

Earle is on safe ground, happy to reminisce, to look back on a career that has picked up three Grammy awards, universal international acclaim and numbers recorded by countless

“It’s not that dark, don’t look at it like that. Sure it has edges but it ain’t meant to be depressing”

mainstream ‘big star’ performers including Johnny Cash, Emmylou Harris and Carl Perkins. Recalling his arrival as a late-teenager in Nashville, he jokes about the melting-pot the place then was, with country music legends still out there being seen, drinking and Hell-raising into the night:

‘I was the Kid when I arrived in Nashville, assuming that mantle from Rodney Crowell as he shipped off to the coast to front Emmylou Harris’s Hot Band. On any given night you could find a dozen good songwriters and a couple of great ones up late in somebody’s house or a hotel room passing a guitar around and trying our most recent creations out on each other. There was no caste system. Established writers like Guy (Clark - and don’t forget Susanna), Steve Young and Billy Joe Shaver rubbed elbows with street level scufflers like myself, David Olney and Richard Dobson. Out of town luminaries, the likes of Roger Miller, Mickey Newbury and even Neil Young, occasionally would fall by. On your way home you could stumble over to J.J.’s Market and find Waylon-By-God-Jennings and Tompall Glazer banging away on adjacent pinball machine until sunrise. It was fucking glorious.’

With ‘So You Wannabe An Outlaw,’ on Warner Bros, Earle seems to have remained wedded to his politicised, liberal principles while also drawing on a determinedly more introspective glow at times. Tracks cover the usual Earle bases, dealing with love, loss, inequality, futility; and, at times, a streak of optimism rises to the surface. Clearly missing his old buddy, song-writing legend Guy Clark who passed la few years ago, the album closes with a truly emotional tribute that in many ways sums up Clark’s outstanding position, prominence and importance, in a track entitled ‘Goodbye Michelangelo.’

When I ask about this particular number, Earle immediately confirms its place, its personal meaning and importance to him: ‘A bunch of us,

Rodney Crowell and others, all travelled down to New Mexico with Guy’s ashes where we’re having a special casket made for them,’ he says with hints of both tristesse and humour in his voice.

With the release in reality dedicated to the memory of his old mentor and influence, Waylon Jennings, Earle is in a more sombre, reflective mood when he adds:

‘But I’ve been attending an awful lot of funerals lately and maybe that, alone explains my sudden need to acknowledge where I come from, to revisit the solid foundation upon which I have constructed this house of cards of mine. Maybe it’s just looking in the mirror at “the age in my eyes” and remembering that in spite of the obvious math, nobody that knew me back then, when I was 20 and Waylon was 38, would have ever believed that I’d still be here today and he’d be gone all this time.’

Now, Earle has a new album, ‘Ghosts of West Virginia,’ on New West Records, full of his usual, visceral political views and concerns for the down-trodden coal workers of Virginia, Kentucky and the strip and open-cast mines that blot the otherwise stunning landscape. Earle explains his thinking about many political issues plaguing the USA this way:

“I thought that, given the way things are now, it was maybe my responsibility to make a record that spoke to and for the people who didn’t vote the way I did. One of the dangers that we’re in is if people like me keep thinking that everybody who voted for Trump is a racist or an asshole, then we’re fucked, because it’s simply not true. So this is one move toward something that might take a generation to change. I wanted to do something where that dialogue could begin,” he says.

Find out more at www.steveearle.com

DWAYNE DOPSIE

KEEPING UP THE ZYDECO TRADITION

America’s hottest Accordion player, Dwayne (Rubin) Dopsie, plays a unique, high-energy style of Zydeco music. Dwayne hails from one of the most influential Zydeco families in the world, born and raised in Lafayette, Louisiana.

WORDS: Colin Campbell PICTURES: David

Although inspired by tradition, he has developed his own high-energy style that defies genre specifications and is putting his own twist to playing 21st Century Zydeco music. But there is so much more to the sound; mixing soul, blues, funk and rock and roll. His live concerts are just a gumbo of joy. He is a singer, songwriter and accordionist and has brought his music to all parts of the world. He is the front man for his band the Zydeco Hellraisers which he formed at age of nineteen.

Dwayne cites his father, Rockin’ Dopsie Senior (Alton Jay Rubin) as a major influence. Well the Dopsie family are probably the most influential Zydeco playing family internationally. Two-time Grammy nominated Dwayne has a new album out, ‘Set Me Free.’ Blues Matters caught up with him recently at his Louisiana home. An interesting discussion ensued.

“We’re back working, it’s like it was before the pandemic.” He explains, turning to present issues. Some shows have been cancelled but he was still able to do parties. He’s doing a lot of shows just now, so many he’s forgotten!

Initiallyinvolved with music through his father, Rockin’ Dopsie Senior, he was a Zydeco pioneer back in the late 50s and 60s. Dwayne recalls being given advice of; ‘if you’re going to do something, do it right, follow the tradition!’

Growing up he listened to mostly Zydeco music, but also rock and soul music. “Anything good I made sure I’d give it a listen. There was always music around, it’s hard to wipe those memories away,” he grins.

Asked about his style of music and what Zydeco means to him as a Louisiana musician, he

Villalta

retorts: “Zydeco means; purity, hardworking, something that you love. This music is not for the faint hearted, when you hear real Zydeco music, it’s going to touch your soul. True Zydeco music will outlast the test of time!

Blues music connects with Zydeco not Cajun. Cajun is more like folk and grass roots music. When Clifton Chenier came up with the word Zydeco, it’s because he influenced the Creole culture with the blues. It has the same changes and flow and style of music. That’s what Zydeco is! It’s the beat, that’s infectious to even people who have never heard of Zydeco. The style of accordion playing is important and will grab your attention.”

Dopsie chose accordion as an instrument, again, because of his father: he was self-taught, he watched and listened. It’s a difficult instrument to learn, he didn’t know how it worked at first. But somehow figured it out! At seven years old he picked up his first accordion, playing on stage at nine years old with his father at some Festivals. He got a feel for it then and it felt great. First live gig was at a Festival, because he was too young to get into the Clubs. He formed his first band The Zydeco Hellraisers when he was nineteen. These were people he knew already from Lafayette and New Orleans area.

Best advice has been to stay true to yourself. He never thought he had to sell out to make his music and still goes by this philosophy. Advice for up-and-coming musicians; “Be true to what you’re doing. If you cheat the process, the process is going to cheat you!”

He may seem energetic and charismatic on stage, but this is not a trait he bears offstage: “I’m a very secluded and quiet person, I love

peace and tranquillity. I love watching TV sitcoms and cooking, always cooking, seafood, in particular. When people go to a Festival to see a band, they all have lead guys. When they come to my shows to see an accordion player and what he’s going to do, I make sure they know when they leave!”

Learning how to work and take over a crowd, comes from watching his brother. Dopsie lies down on stage and plays his accordion. He also goes down on his knees to play; this is something he added to the show about three years ago. He was able to get back up: “People think I do yoga, nope! The adrenalin of the music gives me extra power on stage.”

play when we started but a lot of tourists also.” He enjoys playing any venue or Festival, it’s the music that matters! There are so many layers to his music style; he sums it up as “aggressive and right in your face”.

Next, we talk about some tracks on the new album, ‘Set Me Free.’ Title track he describes as being a song about if you helped me when I was down:

“It’s about life’s tribulations, having someone there who’s got your back! Songs come from different ideas, every song is always different, he doesn’t have a song writing technique as such. ‘The Things I Used to Do’; the Guitar Slim

how it would work. When we

The strangest concert he played was in Italy: at an outdoor Festival held in a field: “Soundcheck went well, I wasn’t sure how it would work. When we came later, the field was full of people. There were lights up. That night there were huge locusts coming out of the field.”

He usually tries to be out of town though during Mardi Gras at New Orleans: “I used to play on Bourbon Street and thought it was so good. But post-Katrina, it’s cover bands. I wish there was more original music there but to play the French Quarter you need dedication, discipline and will. The “kicker” is you must play well to a crowd and keep them there. If you can’t keep a crowd you won’t stay at the Club, you won’t get a contract. If you’re a good band you can stay as long as you want, business is business! We had a lot of locals coming to see us

out of town though

reinterpretation was done as a tribute to his father.” It was one of his favourites to play.”

Recorded outside New Orleans, the album and was finished quickly. ‘My Sweet Chaitanya’ is about a woman who’s feisty but sweet at the same time! ‘Shake, Shake Shake,’ he wrote because it took him back to a 1950s setting, about people going to the Juke Joints and partying: “I’m looking through the window and seeing them partying. This is not an autobiographical song; it was too far to ride my bike to these places!” he adds with a laugh.

Being a band leader means he must keep the band working and there’s always something to make you better as a band: “The more you

now do it because it’s popular.”

That’s not what Dwayne wanted when he first started; he saw it as a job and way of living. He’s never had a day job; it’s always been music. He loves the blues genre; “Blues means people going through hard times, it means a lot to make a statement. It brings a feeling of release, hearing it and playing it. There’s sad blues and positive blues, it’s all good! One guy now who brings back the old blues genre for a new generation is Christone Kingfish Ingram. He’s a professional player without playing for ten years. He’s a solid player. I tell him he’s going to be the next King of the Blues! His playing ability is unmatched. His guitar playing matches my accordion playing, he’s like Stevie Ray Vaughan and BB King mixed up. I’ve played with him onstage in Colorado.”

Regarding contemporary accordionists, he cites Corey Ladette. “His playing is great, he’s a lot of blues in his music.”

His future plans are to take Zydeco music to places it has never been before and putting it on the mainstream level: “When the stars align, this will happen! Hoping next year for a European tour and the UK.”

become known, there’s more business possibilities. When I first started, I was just playing but now as a musician if I had to start out again, I would hate it. Things have changed so much!”

Many places where he first played no longer exist: “It’s hard being an up-and-coming band because a lot of Festivals don’t want to give you a chance. They have their sponsors. They lose money if the band is no good. It’s not like it was years ago. What could improve this is the music talent coming out now! If people in this genre were stronger then they might not be getting as hard a time. The guys don’t know their accordion playing! I was winning awards at nineteen and knew my instrument. The people playing

He will soon be inducted into the Louisiana Hall Of Fame and says about success; “Once you’re able to get the attention of the Recording Academy it’s what you do with that, because I know guys in my genre of music who have won Grammys but not doing anything now. I know if I win, I will keep working, maybe sell underwear or something! “

Last words from Dwayne to Blues Matters readers; “Keep your head up and everything’s going to be alright! Thank you and hope to see you all soon!”

For further information see Dwayne’s website: www.dwaynedopsie.com

“ When the stars align, this will happen”

WHAT HAPPENS

HAPPENS NEXT?

It seems remarkable that it’s almost 15 years ago that a band of young hopefuls calling themselves Back Door Slam emerged from the Isle Of Man like a breathe of fresh air on the blues rock scene. Led by an talented young front man called Davy Knowles it was clear we were seeing the beginning of something significant.

WORDS: Steve Yourglovich PICTURES: Timothy M Schmidt

Davy has since re-located to the USA and immersed himself in the blues culture and is enjoying the fruits of his labours. His new album is called What Happens Next and it’s a good question, I think this humble young man with his thirst for learning and improving can go on to even greater heights. He has learned that the songs matter more then the guitar solos and having teamed up with the gifted Eric Corne his work now has the contemporary feel that the likes of Gary Clark Jnr and The Black Keys give to the blues.

I was pleased to chat to Davy via phone from his home in Chicago recently during a break in his touring schedule.

Hi Davy, good to hear from you. You’re in Chicago, is that your home city now?

Hey Steve, yeah, I live in Chicago now. I miss the Isle Of Man tremendously. This is home 2, my wife is from here and I’ve lived here, gosh, 12 years now. We were due to play on the Isle last year but due to Covid that got pulled along with everything else. It’s three years since I’ve been back there.

Any plans to get back over with the new album out?

I’m sure there will be, yes, sorry that’s a bit vague but with everything as it is agents and bookers etc are a little hesitant with regards to international travel. As soon as it becomes feasible, we will shoot over there for sure. It’s hard finding the spaces too as some big tours have been carried forward and rescheduled a couple of times. We actually recorded this album a year ago, so to only start playing it live

now is odd. We’re excited to play the new songs but it’s not a regular album release and promo around it. But you have to sink or swim so it’s about adapting, staying connected and keeping working in a smart and safe way. It’s challenging for sure but we’re still here and making a living from music, and that’s all I ever wanted to do, to be able to call it my job. With all of that said I’m extremely lucky and I’m counting my blessings.

The new album, you know often I hear great blues guitarists who make great blues guitar albums and then suddenly the songs take centre stage. It feels like this is yours, you are playing great guitar on great songs. Well thank you so much, I think that’s a real compliment. And I really wanted to do that. I feel like you can shake a tree and so many great guitar players come down and embarrass me, there are some astounding musicians out there in the world. I think to myself sometimes wow, I can’t compete with that! As you get older I think you start to think where do I fit in? What can I do that is me, something personal and hopefully unique to me. I felt I wanted to rein in the guitar playing, some of my favourite players like Mark Knopfler, undeniably a great player but always serves the song. You can’t separate his guitar and the song, they co-exist. So that was my aim with this record, to take away that element of , quick lets get to the solo. And bring it back to I’m really proud of this song and I have something to say.

You used the word personal and it does feel like these songs are personal, based on true experiences.

Thank you, yeah, we were really strict on that

so it’s great that you’ve picked up on that.

Eric Corne is a super producer, is this the first time you’ve worked with him? Yeah it is.

That’s interesting, I think Eric did a very similar thing with Walter Trout’s last album. Making it more song based. I’ve always been a big fan of Walter. I think he lives in that more traditional world of blues rock. I mean he is capable of and does so much more, but he’s more traditional than where I fit in. I heard what Eric had done with Battle Scars, some great song-writing by Walter and Eric gave it a modern sonic sound. I mean it wasn’t pretending to be from the 70’s. It was a modern sounding record that represented Walter wonderfully. I was such a big fan of that work. So I got in touch with Eric to see if he was interested in working together and thankfully he was.

I wondered if Eric had a big influence on how the album ended up, or did you know how you wanted it to sound so went to Eric because of that. A little bit of both. The previous album Three Miles From Avalon, we just set the mics up and kinda just played. And that was perfect for me at that time, but with this one I felt I need some real production help. I felt I needed someone more objective guiding this. We sat down and created a mission statement and really laboured over it. We wanted more modern influences then previously, Eric has amazing eclectic tastes so he introduced things I wouldn’t have otherwise considered. So he really helped create that mission statement and keep us on path with it. Also, in the studio he had a lot to say which is exactly what you want right. He was tremendous to work with, studios can be a pretty stressful place for me so to have someone keeping me on path constant-

ly and reminding me was very important.

Running down the tracks, opener Light Of The Moon has a bit of swagger going on but as well as that some very soulful vocals. I have to say I love the organ in that too. Is that Hammond? Actually it’s an old Vox Continental. It’s Andrew Toombs playing it. He’s a great player, he’s all over the album. It’s the same personal on all of it, Jeremy Cunningham on drums and Tod Bowers on bass.

As well as many of the songs sounding personal I felt there is a lot of positivity, they are reflective but in a positive way. Yeah, you know I often find it’s easier to write songs that are a bit woe is me, so I wanted to try and be more uplifting a little, so the whole thing is different. It was in my head that if I wanted this album to sound different I had to approach it differently from the get go, you know from

the writing to everything. From the writing to production I really wanted to commit to it.

Roll Me is a great song. Slow and reflective but a super vibe.

That is an Eric song, as soon as he played it to me I thought we have to put this on, it was one of those light bulb moments. He’s a great writer.

I think one of the stand out tracks is Devil And The Deep Blue Sea.

It’s a modern day version of the old Robert Johnson going to the crossroads story. Ahhh yeah, sure it could be. I wanted to reference something that is part of my identity and almost an obsession I have. It started out as a more straight track, almost Free sounding. We messed around with it a bit and wanted it be a bit like the end of She’s So Heavy by The Beatles and something Jack White might do. They were our references, and lyrically it was about feeling hemmed in musically. And Andrew added that dark upright piano played low, it’s lovely.

There’s a super guitar solo too in case anyone is worried. Seriously, I guess these songs might sound different when you play them live. Absolutely, live is a whole different beast. We might go back to playing it in that kinda Free way. We can stretch a song like that out, with the chemistry of the band we can take that and run with it. A lot of these songs have room for more interpretation when we play them live.

Sideshow is another track that made a big impression on me. As much as any on the album it shows that modern crisp production you mentioned earlier.

I love that riff, it’s not one I would have normally come up with. It’s another that is Eric’s baby, it’s something I wouldn’t have come up with. It’s another example of relinquishing some creative control really worked well.

Wake Me Up When The Nightmares Over is another cool track. It feels like you’ve been through the blues and rock life style, it has

that lived in persona. Reflecting on it a bit. That started out as a bit of a joke really. I put myself into these sort of situations where I can barely cope. It started as an acoustic track and the band played with it. The piano thing with those little stabs was Eric’s idea. An almost Leon Russell motif.

The last track on the album is very reflective about your father and the future, obviously a hugely personal song for you.

That song really means the world to me, and you know it’s the idea that I’m treading a path similar to his. He was a deep sea diver, so when he was starting a family he was away a lot which draws a lot of parallels with what I do. So it was the thought that I wish he was around so I could ask him how the hell did you do it? I need your advice and it’s moments like that, that hit home when you lose someone.

Him and my older sister had a big musical influence too. Their record collections shaped me in a big way, I certainly wouldn’t be doing this now without there guidance. Music was one of the things me and Dad and in common and bonded over. He was as big a fan of Peter Green and John Martyn, or Bert Jansch or John Renbourn.

I read somewhere that you played to the crew on the space station. How did that come about?

It was mad really, I was the first person to play live to the International Space Station from mission control in Houston. It came about that a chap from the Isle Of Man in the space industry, his wife became an astronaut and went on the last Discovery Space Shuttle flight, and she took my CDs onto the space station. So I ended up recording a song for her to use as her wake up call on the morning of her mission. So from that I got invited to go to Houston and play. It was so surreal.

For more info go to davyknowles.com

JOANNE TAYLOR blues is alright!

SHAW

Guitarist, singer songwriter Joanne Shaw Taylor is hailed as one of the UK’s finest blues guitarists. Now living in America, she has released her sixth studio album. ‘The Blues Album’ is an eleven-track release featuring lesser-known covers by Albert King, Peter Green and Little Richard. Blues Matters got a chance recently to talk with her at her home.

During the pandemic has been the longest time Joanne has been off the road and she has been touring for about twenty-three years. She was in the middle of a UK tour and had to return to America. On a positive note, she’s been able to get to her bed every night, cook and be normal: “That’s been cool.”

When not touring she describes herself as ‘pretty boring,’ and enjoys reading and cycling, talking with friends, playing piano and playing guitar every day. Life in the USA is still enjoyable, living in Michigan, but there is a possible move afoot to Nashville.

“It’s more a music city. Winters are kinder. I love being in the States and touring is easier here. Don’t have much family or friends in UK and with Brexit, touring wise it’s not good for Europe!”

Regarding live streaming concerts, this has not been happening as, “I’m crap at technology Setting up a camera is anxiety provoking.”

There have been videos posted on Social Media and this helps keep the connection going with her fans. We talk about early influencers on her career. She cites Dave Stewart: “You can write the best solo in the world but if it’s not a good song then no one is going to want to hear it. He encouraged me to become a package. He said, ‘Don’t forget you have a voice and with this voice you can write songs as well as play guitar.’ This advice, she believes, certainly changed the artist she became.

Next up, was the new album. ‘The Blues Album’; recorded at Nashville and produced by her friend and mentor Joe Bonamassa. “Joe’s got

a studio down there; Nashville is a Mecca for all genres and is a perfect place to record. We headed there in April and went to Oceanway, where Joe has been working for a few years. The album came about with me and Joe. I’ve always wanted to do a Blues covers album but was waiting until my voice was stronger. It felt I could play it but not sing it. Blues songs come from the vocals. If you look at BB King, Muddy Waters and Albert King; each were great singers as well as being great guitar players. It’s alright doing a guitar solo that sounds authentic, you have to sell it with the vocals. My voice is mature enough now and well rested because of being unemployed in the pandemic! All my friends were off the road, we started Skyping each other more. Every Friday I would have a glass of wine with Joe, and he asked what songs I would like to do. I sent him songs and we shared his suggestions. He agreed to produce the album, it worked out alright!”

On the new album, they are all covers of probably lesser-known songs, including the Little Richard ballad ‘I Don’t Know What You’ve Got.’ Joanne is a big fan of his music. “Reese Wynans is also on this album: “I didn’t know he had done a Little Richard album and was very unaware of Little Richards’ ballads.” This is the one song the album revolves around: “I wanted that, not quite a duet but more a backing vocal, as if the person he’s singing to is in the room back to hm. I tasked Joe to find that person. He got Mike Farris, I hold him in such esteem, he’s a wonderful singer and a great guy. He did a cracking job of this song.”

Joanne chose half the songs on the album, ‘Stop

WORDS: Colin Campbell PICTURES: Christie Goodwin

Messin’ Around;’ ‘If You Gotta Make A Fool Of Somebody;’ ‘Keep On Lovin’ Me’; ‘ Can’t You See What You’re Doing To Me’ and ‘Let Me Down Easy.’

On the album Joanne’s vocals appear to have got stronger and vocals are maturing but she has never really had vocal lessons. But that has now changed. The reason she is getting them now is about preserving her voice: “That is a priority as it is a muscle,” she offers as an explanation.

‘If You Gotta Make A Fool Of Somebody’ was suggested by Joe Bonamassa. He sent her the Bonnie Raitt version. Bonnie sounds like she has a deep voice but not on this. The only other person she had heard singing this was Aretha Franklin, but it sounds so authentic.

‘top Messin’ Around’ was Joanne’s choice and she believes, “It has a nod to the British guys; Joe played it Texas style; it came out good. I set out to do a blues album, but I’ve always been blues/soul, so it’s good the soul side is being appreciated also. I look more to Tina Turner, Aretha and Mavis Staples vocally. As a guitar player, it’s gender neutral but vocals are different, especially when you are British! I was never going to sound like Howlin’ Wolf! My mum listened to Northern soul and Tina when I was growing up. It’s a rare day when she doesn’t listen to either Aretha or Ella Fitzgerald.”

There’s also funky blues on the instrumental

‘Scraps Vignette,’ influenced by her two favourite guitarists, Freddie King and Albert Collins. Her favourite blues albums include, Albert Collins-‘Ice Pickin’, Albert King-‘Blues Power,’ BB King- ‘Live At The Regal,’ Jimmy Vaughan‘Strange Pleasure’ and The Paladins-‘The Mile High Club.’

There’s also a different choice track by Little Village, ‘Don’t Go Away Mad’ . “We were doing the pre-production at Joe’s apartment with Josh Smith as well. I didn’t know Little Village but think it’s a perfect choice. We stepped away from the blues and made it more a standout track. Me and Joe are very loud obnoxious rock guitarists, on this song we duetted, I got to sing in a feminine way, Joe sang the aggressive part. The change in background of the solos meant we could do something different.”

Josh’s pick was the Fabulous Thunderbirds track ‘Two Time Lovin.’ “I always loved this song and the T-Birds, so we gave it a go. It worked out well.”

On working with her best friend Joe Bonamassa, Joanne had reservations at first, more in a self-conscious way: “It didn’t help when I first asked him, expecting him to be difficult, he mentioned this so many times and I was to go home with this guy and pretend I still like him. He was great to work with, as was Josh. Joe was in the control room running things and Josh was the Musical director in the room with you. When you listen to this album, we want you to

LIVE SHOTS: JAN VENNING

“No one can sing like Howlin’ Wolf”

feel you are in the room with us. This is bluesbased music and that goes for all my albums. The band comes in, we cut live and get the band and all the guitars done in the first four days. Then we go onto vocals, then add horns!

Regarding other band members: “Steve Mackey on bass was great to work with. Greg Morrow was on my album, ‘Wild,’ so I knew he was as well, a great rhythm section”.

September is the start of a new touring season, including a US tour, over to the UK and blues cruises, very hectic: “We’ve had to rearrange our UK tour three times. Everything is changing. It’ll be another year until things get nearer normal. That and touring with Brexit should be interesting. Touring musicians are tough people! International touring will be difficult logistically for the foreseeable future. In terms of fans, they are missing live music and are understanding. Hopefully there will be a renewed appreciation for live music. I work from 9 to 11.30 pm but I have to be away from home for six weeks. Maybe if we tour for half a year then do some live streaming, I’d be up for that but who knows!”

“The music industry is moving so frequently, Joe and Roy are next going to sell a song and the rights on auction. They are great publicity people. Joe picks people that he wants to work with or people who deserve to do better than they are doing. They understand what it’s like to be in this genre, so they want to give something back to the artists. The blues for me it’s something I’ve built my whole world around. I wouldn’t be who I am if I didn’t discover it for myself. Learning to play blues guitar has influenced my personality. In terms of the music, that is the soundtrack to my life. I don’t know why really, something about the emotion. Whether it’s listening to ‘mokestack Lightning,’ making me want to be a bad ass today or when I’m in a breakup I want to listen to Little Richard’s ‘I Don’t Know What

You’ve Got.’ It’s a support system. Blues is alright! No one can sing like Howlin’ Wolf.

We chat about whether things have changed in the music business looking at it from a female perspective: “I think the major thing after the Me-Too movement is women can speak our minds more and say things like this is not good enough. There’s certainly a feeling in my younger years that if men did something inappropriate, I couldn’t say anything about it, because I’d be a Diva or aggressive. You get to an age when you stop thinking what other people think!”

JST’s philosophy in life is very positive: “To be a good person. Work hard, keep your head up. Also, musically, if you want to be a guitar player, you’ve got to be bloody good. Find your own voice, be professional and be nice to work with.”

As to audiences: “American audiences are more boisterous, whereas in Europe they are more reserved. I seem to get more females in America. That’s cool for me as I always sing from a woman’s perspective. The demographics are men 45-60 and women 18-38. So, it’s interesting to see younger women getting into guitar music and the blues.”

Joanne is a very personal person: “I support Aston Villa, my favourite colour is pink. I love Harry Potter and allergic to kiwi fruit, there you go!”

Looking ahead: “Just making good music and being happy are the things that are most important. It’s the black-country side in me. I like to get to meet people. I like talking! I will try to be more disciplined in life. Be healthy, look after people, try and do something you love to do and go out when your old and grey!”

Last words go to Joanne “Hope you enjoy the album, I love it. Try and stay sane and wash hands. Apparently, people have trouble doing this!”.

www.joanneshawtaylor.com

PICTURE: Eleanor Jane

From the release of his debut album, ‘A New Day Yesterday’, back in 2000, he has recorded some of the most important blues and blues/rock albums of the new millennium. Time Clocks is his 15th solo studio album to go alongside his live albums and also the albums that he has recorded with Beth Hart. I recently had the good fortune to catch up with Joe in Nashville, Tennessee via zoom to chat about his new album and his story so far.

WORDS: Stephen Harrison PICTURES: As credited

From the release of his debut album, ‘A New Day Yesterday’, back in 2000, he has recorded some of the most important blues and blues/ rock albums of the new millennium. Time Clocks is his 15th solo studio album to go alongside his live albums and also the albums that he has recorded with Beth Hart. I recently had the good fortune to catch up with Joe in Nashville, Tennessee via zoom to chat about his new album and his story so far.

“‘Time Clocks’, the song, was written before we recorded ‘Royal Tea at Abbey Road’, and for some reason we never cut it, but it always stuck in my head that it could have been the strongest song on that record. So, I kept that one in the whole, and I started working on ‘Time Clocks’ in November 2020. I wrote with a lot of different people. What started as being a three-piece record in New York turned out to be my most ambitious yet. I’m thrilled with the results”

The new album has a different feel to it than his previous album, ‘Royal Tea’ had. “‘Royal Tea’ was a homage to Joe’s heroes of the British blues/ rock scene of the late sixties and early seventies and had a definite feel of London, and the free spirit of the swinging sixties along with the Abbey Road history within every tune. Having written the majority of the songs on that album with Bernie Marsden, it’s easy to understand where the feeling comes from. ‘Time Clocks’ has a different feel altogether as Joe explains where the recording took place. We recorded the album at The Hit Factory in New York. We wanted the sound of the record to be different rather than an extension of ‘Royal Tea’. We’ve

been doing this stuff, and we’d go to the city, and it’s been working great. It’s one of those things that you get to a city and setting up shop really makes a big difference in the sound of the record. I have a place in New York so I already had the feel of the place, so you start getting more of a feel for the town, and the sound comes through on the record”.

When I sat down to listen to the album before talking to Joe, I’d made notes about each track One track in particular, ‘Hanging On A Loser’ caught my attention. I mentioned that it had a New York gutsy street feel pouring out of it. “That’s kind of the vibe” replied Joe. “We recorded it as a three-piece and thought that if it worked like that then it would work as an orchestra. That was our litmus test. For no other reason than the studio was small, I used little amps and a few guitars and did it like a New York record would be. I’d wanted to do a New York record for a long time, and I wanted to do a record that reminded me of when I used to live there twenty years ago. That was important to me and brought me right back to where I am right now. It wouldn’t sound the same if we had recorded it in any different city. At this stage in my life, I want to try new things, I don’t want to keep repeating myself, try different avenues and different ways of writing”.

Throughout the last few albums that Joe has created, he has retained the nucleus of his live band to record with. But ‘Time Clocks’ is the slight exception to this rule as far as personnel goes… “Anton Figg is the only constant on the album, Steve Mackie plays bass, Michael

Rhodes was unavailable so Steve stepped in, Mahalia, Jade, and Juanita stepped in for the vocal parts, so some of the usual suspects but a lot of new faces, and there are no horns on this record”.

I was keen to take Joe back to where it all began - as a four-year-old picking up the guitar for the first time - the very beginning of the Joe Bonamassa story. “My dad was a guitar player, a blue-collar guy, he gave me a guitar, showed me some stuff. I had a few formal lessons, other than that I was self-taught. The bug struck me right a\way with the guitar, I haven’t really changed much in forty years”.

Joe’s meteoric rise in the blues world has much to do with him being played on the Paul Jones Show on BBC Radio 2 many times and also received airtime with the early inception of Planet Rock Radio, where Joe also had his own show. “It’s gone by so quickly, like in the blink of an eye. I’m a totally different person than I was back then. I was probably more driven back then, I had a chip on both shoulders. Now I have a chip on one shoulder (laughs). That’s the spirit that makes your reputation. I’m still excited to go and play live in front of people once again, but my mindset is different. When you first saw me (Manchester Academy 2 in 2008) I had this chip on my shoulder and was daring people to knock it off. But now it’s like, what do I have to prove?. I’ve proven that it works as a business model, I’ve proven that it works as a career. Now that I’ve had like a year and a half off where I’ve produced a couple of records, I’m going to enjoy it because I didn’t have time to enjoy it when I was on the way up. It was like, it’s all on the line kid - which took all of the fun out of it. At 44 years of age, this is where I am right now. I’m going to have fun with it. I still have things to prove musically, not least to myself. Where I was in 2008, that was before the digital age. It was like the wild west - I like the wild west!”.

gone by so quickly, like in the blink of an I am right now. I’m going to have fun with it. I still have things to prove musically, not least to

tinued

to talk about the early years of Joe Bonamassa and I could not let the subject of opening for BB King at the age of

PICTURE: Eleanor Jane

twelve go by without asking if Joe realized the enormity of what he did at such a young age, or did that sink in years later? “It comes now, wow that was pretty damn cool. I look at footage of John Lee Hooker and go, wow, I played with him too! And I’m like, oh shit I forgot about that (laughs). I played with BB King, John Lee Hooker, Robert Cray, Albert Collins, James Cotton, and of course Eric Clapton. You look back at your life and it’s like, that was crazy. It was an extremely unique time, not everyone can say that and I’m so grateful for it all. I have Albert Collins’ autograph in my house - it’s on a poster and he signed it ‘Dear little Joe, Keep playing, Your Friend, Albert Collins’.”

Joe has been thrilling audiences for thirty-two years. Many artists and bands in the sixties and seventies never got anywhere near that milestone. He has been constantly honing his craft since he first started in 1989. That is hard to believe in today’s musical realms, but Joe Bonamassa takes it in his stride and continues to produce such amazing live shows and record-breaking albums. He understands that he has become a mentor for future generations of guitar players and blues musicians. “I have become that person, they think if he can do it then so can I and it’s a testament of fortitude, sheer drive, and the willingness to work hard. There is no reason to put any governor on yourself when you are on your way up. Your life-changing opportunities come on the day you decide to go to Blackpool and ride the Ferris wheel. You have to grasp the opportunity with both hands. You need to be in a cat-like state to pounce whenever the optimum moment shows itself - otherwise it’ll just pass you by. This has gone way beyond what I thought it would be… way beyond what anyone thought it would be. Next

PICTURES: Kit Wood

year we will play The Royal Albert Hall for the 9th time. Whoever thought that would happen? Right now I’m three blocks away from The Ryman Theatre, which we are about to play for the 9th time”.

Joe has played almost every iconic theatre around the world; Red Rocks, Radio City Music Hall, Carnegie Hall, The Royal Albert Hall and the Sydney Opera House. I wondered if there was a venue that he hadn’t yet played but would love the opportunity to? “No not really… or actually, yeah - The Apollo in New York. I’d love to play The Apollo Theatre! I would love to be involved in a gig there. Not specifically at the top of the bill, but just to stand on stage and say I’ve played guitar on that stage. I have a place about five blocks from Radio City Music Hall and it’s not lost on me when I walk past on my way to dinner that I have played in that famous auditorium”.

For the past few years Joe has been at the forefront of keeping the blues alive, with his own record label Keeping The Blues Alive. What was the motivation behind it, and what drives him on to do as much as possible to bring new artists through, nurturing and supporting them? “Absolutely, we have been doing that with Joanna Connor and with Joanne Shaw Taylor. We did The Sleep Easy’s on there and the Dion album where he is joined by myself and a host of other blues artists, which was in fact our first release on the label. I only take on projects that I’m passionate about, where I know I can move the needle. My friend Josh Smith and I make a really good production team because he knows how to fill in the gaps. I don’t really know how to be a record producer, I just know how to boss people around (laughs). So, we dot each other’s I’s and cross each other’s T’s, and we actually give a shit about other artists and the records that they make. It needs to be different than what they have done before in order to move them forward. I’m proud of every record that I’ve produced. Nobody has heard the new Eric Gales album yet that I’ve produced - that’s going to be a great album! We keep at it, Josh

and I until we are both satisfied that this is the best album that we can produce. It’s our job to move the needle”.

Before we said our goodbyes, I asked Joe one final question that had been on my mind ever since I first heard of Joe Bonamassa: Do you feel that with blues artists such as BB King, Muddy Waters and Robert Johnson, that there is something within your DNA that comes directly from them to make you the blues artist that you are? “Not really, and I’ll tell you why, my hosts were The Jeff Beck Group, Led Zeppelin, John Mayall, Eric Clapton and Rory Gallagher. So my hosts were different. They were my Robert Johnson’s! I got introduced to that music through English bands and there is nothing wrong with that. Let’s clarify that because we live in such sensitive times because they all got here somehow. A) If my father wasn’t into that kind of music, we wouldn’t be having this conversation. B) I may never have discovered the blues in the first place, and would not have been a consumer of it”

Before Joe left for another call, I told him the same thing that I said to Beth Hart a couple of years ago when I had the pleasure of interviewing her - That the performance of ‘I’d Rather Go Blind’ that they did on the Live In Amsterdam DVD was the single greatest performance by any artist I’ve ever seen. “Wow, when she’s on it there is nobody better. That was our job to serve up the kind of band that makes her flourish, that raises her bar as high as possible. We have a special connection and it works”.

So, maybe my thoughts on that one performance of an iconic song are not far off the mark. With that, we said our goodbyes and brought to an end one of the most memorable interviews that I’ve ever had the privilege of conducting.

Joe Bonamassa’s new album

“Time Clocks” is released by Provogue/Mascot Label Group on October 15th. Further info: www.mascotlabelgroup.com and www.jbonamassa.com

ROBERT JON WR C AND THE E

Since the release of ‘Last Light on the Highway’ during the summer of 2020, you could say that the band’s touring plans were ‘wrecked’ due to the global pandemic - if you will excuse the pun. But with more time at home and fewer miles on the road, the group have been able to put their unplanned downtime to good use and focus on songwriting and making a follow-up to their critically acclaimed last studio album.

WORDS: Adam Kennedy PICTURES: As credited

“I think the whole thing that happened with COVID was an interesting experience for everybody. I feel like some artists latched on to the time that they had to create, and some artists struggled with it,” declares frontman Robert Jon Burrison.

Thankfully for Robert Jon and The Wreck, the group were able to turn adversity into triumph with the completion of their new album ‘Shine A Light on Me Brother’. “It took us a little longer to get there than it normally does for us because we’re not on the road, and we’re not playing live,” explains Burrison. “Those two things for me is what creates all of the inspiration and the creativity, the energy and the vibe. I didn’t have that as my normal thing, so it took me a little bit to get into the mode of, ok we’re doing this record. At least we got through it, and now we have this new record. So, we’re pretty stoked.”

There were pros and cons to being off the road over the last eighteen months. “It was easy to get together because we just had less things going on in general,” said Burrison. However, on the flip side: “You can’t go and try out the song live to test it out or anything. When we write something, we’ll go and play it live at our next gig to see how it goes and see how the crowd responds, and see the reaction we get,” clarifies Burrison. “We didn’t get that this time. Which was probably the biggest difference in this record than records in the past.”

A LIGHT AT THE END OF THE TUNNEL

The first single from the group’s latest album is their uplifting title track, ‘Shine A Light on Me Brother’. This is a song inspired by the dark times we’ve all endured during the pandemic and lockdown era. “It’s about finding the light throughout all of the darkness because a lot of people were in really dark places this past year,” said Burrison. “It’s a metaphor for getting out of the darkness and shining the light and being reborn - if you will. It’s using the same kind of metaphors that religion has in the way of just getting out of the darkness and getting back to what we’re hoping for.”

PICTURE: Bryan Greenberg

When the group were in the studio recording the title track, they knew they were on to something special from the off. “We felt it in the room when we first recorded it. We just felt like it was going to be big, or at least big sounding,” said Burrison. “Once it was recorded and we added the horns and the background vocals, it brought it up to a different level, and kind of made this big impact. So, we chose that for the single.”

VARIETY IS THE SPICE OF LIFE

The Wreck’s latest output covers a large cross-section of the root’s music spectrum. With ‘Shine A Light on Me Brother’, Robert Jon and The Wreck transcend genre. “We’ve always played rock festivals, but we’ve also always played the blues festivals. We’ve opened for major country artists. We have the ability to do those things,” explains Burrison. “We

could put together a whole set of just heavy hitting rock tunes if we were opening up for Motley Crue or something. So, we always have had that side of us.”

Having more time to write and record during the pandemic allowed the group to showcase their diversity and their wide range of musical influences. “Because of the pandemic, we were writing in a tonne of different ways,” confirms Burrison. “All of these different kinds of aspects came out, and they’re all portions of what we listened to and who we are. I think it’s pretty apparent on this record how diverse we are as musicians and as people.”

THE ROAD TO NOWHERE

Despite their success in the studio, touring has been a miss for Robert Jon and the Wreck. “Being out on the road is something that we’ve we missed for I don’t even know how long it’s been,” said Burrison. “I feel like part of us are missing that portion of what we do. So, getting back on the road is incredibly exciting. And we can’t wait.”

getting hit album.

Fortunately, the time to hit the road will soon be upon the band, as the group cross the Atlantic for a UK tour during September in support of their new album. This will be the groups eagerly anticipated first full UK tour. “We’re really stoked to be given that opportunity and our chance to finally get out there and tour around the UK. We played London once, and then Ramblin’ Man Fair - that’s it for the UK. So, we got a little taste of it and how amazing it was.”

chance

Although Robert Jon and the Wreck are relative newcomers to the UK from a touring perspective, they have some difficult choices when picking a setlist for their

spective, they have some difficult

PICTURES: Matt Morgan

forthcoming run. “Not only do we have two new records for this tour, but we also have the five before that,” said Burrison. “It’s a delicate line to make sure everyone’s happy because the reason why we go out is for people to come and enjoy themselves. We wouldn’t want someone to drive two hours to a show, and then we don’t play the song that they’re really hoping to see. Obviously, we can’t do that for everyone, but we can tell which ones we should be playing and which ones we shouldn’t.”

MOVING FORWARD

Robert Jon and The Wreck had planned to record a live album as part of their 2020 European run. That is until the tour got cancelled because of the global pandemic. Burrison confirms that the concert album will “be on the agenda for 2022”. He goes on to say that: “Our next run out there, we’ll be doing a live record in Brussels.” The positive side of this approach is that: “It gives a chance for more people to

hear our music and more people to get excited for a live record,” said Burrison.

Beyond the album release and the group’s forthcoming UK/European tour, the band’s plan for the rest of 2021 is mapped out. “It’s just playing locally and getting out on the road in September. And with the new record coming out, pushing it as hard as we can and getting it out in everyone’s ears,” confirms Burrison.

Robert Jon and the Wreck’s first full UK tour may have been a long time coming, but we believe it will be worth the wait. The new studio album from Robert Jon and The Wreck ‘Shine A Light on Me Brother’ will be released on Friday, September 3rd. The band will be touring the UK in September 2021 with special guest Troy Redfern.

robertjonandthewreck.com

PICTURE: Bryan Greenberg

BUDDY GUY BORN TO THE BLUES

There are few great bluesmen who can deservedly be called ‘Legendary. ‘ Very few ever make the cut and leave an astonishing legacy of music, a lifetime of contribution and pleasure to the blues canon and world. The late BB King is clearly one who merits the moniker. And his old lifelong friend, the extraordinary Buddy Guy, also readily reaches the heights.

WORDS: Iain Patience PICTURES: Laura Carbone

Blues Matters caught up with Buddy at home in Chicago a few weeks before he turned eightyfive, a remarkable achievement in itself. Buddy was a delight, in great health and planning to keep on keeping on as long as he possibly could. When I mention retirement, he swiftly vetoes the very thought:

“Not yet, not thinking about quitting just yet,”’ he chuckles. “It crosses my mind. You know, you’re getting old. You know my old friend BB King passed away. And I know BB was doing shows, he was singing the same songs maybe three or four times. Well, my memory’s not as good as it was when I was young some years ago. I used to be able to listen to a song, those lyrics maybe once and recall it. But now I have to keep it in my mind more. Sometimes in the studio, I have to read the lyrics while I’m recording. So, retirement comes to your mind at times, though life goes on. I think about maybe relaxing a bit more, letting those young people come through and carry it on.”

And Buddy Guy knows what he’s talking about when he suggests letting others, younger players, come through. Few have extended a helping hand to so many over recent years, than Guy himself, with appearances at his ‘Legends’ club in Chicago often highlighting up and coming, new kids on the blues block: speaking recently with Derek Trucks, he recalls being helped hugely by Buddy Guy, who had him working alongside him when he was just hitting his teens: “Buddy does so much, taking young musicians under his wings and helping everyone so much. He did the same thing with me. I was ten or eleven years old and I was

doing shows with Buddy, playing clubs with him, little blues bars, and the thing I remember most about playing with Buddy is the way he would use the dynamic range. He would get the band just so quiet and when you think he can’t get it any quieter he would get quieter, then look at you and the only way to play in those moments is delicately. It’s such a lesson, such a good lesson early on. Whether you know it or not, you take those things on stage with you every night, those moments when it’s directly influenced by those sit-ins with Buddy! Those lessons stick!” Praise indeed from a man who knows the business back-to-front.

Others to benefit from Guy’s tutelage include the likes of Quinn Sullivan – Guy had him onstage aged eight! – and current Alligator artist and jaw-dropping bluesman, Christone ‘Kingfish’ Ingram.

But for now, Guy remains at the top of his game, turning out new albums that are rooted in tradition but always have a spark of modernity and more than a hint of sheer class and quality running through them. Anyone with a doubt should give his last album, launched in 2019, ‘The Blues is Alive and Well,’ a listen, a genuine tour-de-force of inspired picking, remarkable lyricism and pure blues music at its very best. And he marvels at times at the sheer ability of many now breaking through:

“I see young players coming up, you know, young enough to be my grandchildren but they’re playing guitars! And I think, ‘How can they do that? How come I wasn’t that good at that age?! Guy laughs at the very thought. “I listen to them young guys and I think, ‘if they’re

good enough, let’s get them out there, give them that chance. Eric Clapton came to New York a while back. I said to him ‘let’s get out and see this young guy. Let’s see this one, this guy can play some!’ Eric listened, he was amazed. ‘Where did you find him?’ he asked. I replied: “’I didn’t find him, I don’t think I found him. He found me!’ We all laughed.”

Moving away from any thoughts of quitting or retiring, Buddy seems truly surprised that he’s still around playing music and simply enjoying life: “Every day I just pinch myself or slap myself that I’m still here, that I’m still alive. I never thought I’d still be here, still be around now making music, doing this! I still remember being on the farm as a nine or ten-year-old. We’d no running water till I was around fourteen, not wanting to go to school, just wanting to play around. Being here as a musician now, I just never even dreamed of that!’

Guy started out like many others with the sound of Gospel music ringing in his ears and a developing interest in the music itself: “You went to church in those days. Listened to those great singers there. We’d work the farm six days a week then go to church on Sunday, listen to the gospel.”

With tales abounding of how he kicked-off playing a primitive Diddley Bo arrangement, I ask about this as his introduction to musicianship and picking. Guy quickly debunks the myth surrounding this one: “ I didn’t start with no Diddley Bo. My first guitar was a rubber band on nails attached to my mother’s house wall. And a piece of wire that I could move my fingers on to make sounds. So she could hear me play. I remember thinking then, ‘I can manage this!’ Some people made that story about me and a Diddley Bo. But it was never my thing. I got a guitar and I started to learn real fast. I listened to Arthur Cruddup, Robert Johnson, and those guys. I

worked real hard, always listening and learning,” he explains.

Guy goes on to explain how he left home and moved to Chicago, telling his mother he was off to get a steady job but secretly hoping to play music whenever the chance arose, a detail that leads to the surprising story behind his now famous polka-dot guitars and gear generally: “I left Louisiana in around 1957. I mostly lied to get away. I lied to my mother. I ain’t proud but I told her I was going to get a good job, to make some money to send to her. Then when she passed away, I remembered what I’d promised her. I was the oldest boy and when I left I looked her in the eye and told her I’d drive back down there in a polka-dot Cadillac. Well, that just stuck in my mind. I remembered her and how I’d lied! So, I came up with the idea of polka-dot guitars, shirts, ties and a whole lot of stuff. Then a lot of other people got that polka-dot thing too; they come to the club, maybe women with polka-dot bags, guys with shirts and ties. And that’s all because of me!” Again, Guy laughs at the thought.

Of course, much of the Buddy Guy legend and background revolves around his time with Chess Records in Chicago, so I ask how he feels about those years and what he remembers most: “Well, I was listening to all those guys, people I was learning stuff off. Muddy Waters, Howlin’ Wolf, Willie Dixon, Sonny Boy, Little Walter. Those guys would work in the studio, I’d be there too. Sometimes they’d ring me real early in the morning, before even the milk-rounds. They used to call me and ask me to go over to the studios. They’d say, ‘We’ve been here all night! Trying to get a sound. You got to get over here right now.’ I’d have to get out my bed and run over to the studio. I remember one morning it was Howlin’ Wolf. He wanted me to get there and play, to help put it all together. I told him, ‘Well, if you’ve been

“I love the blues so much, I don’t want it to die!”

there all night and don’t have it, how am I to get it? But you tell me what you want me to do and I’ll be there to do it!’ How I see it was, I was there to learn from those guys. I could just be there and watch and listen, learning all the time. I always felt like I should listen to them, not that they should listen to me.”

Guy remembers the Rolling Stones coming to visit the studio one day while he was busy, working and recording: “These guys walked in. Four or five of them. Long hair and high-heel boots. I thought, ‘What’s this then?’ I didn’t want them there in the studio, with me working. I was told they were looking for a record deal. Musta been around 1964 or 65, I guess.” With so much ground, an entire life in blues music to cover, Guy is happy to relax and run

Guy warms to the theme, adding: “They had to work to live, to eat and live. They lived to work and worked to eat. That’s really all it was back then. If you want to dig down, dig down deep enough, that’s what you call the blues, you know. Always just wondering what tomorrow might bring!”

Asked if he thinks the blues remains relevant and strong, Guy doesn’t hesitate with his encouraging response: “Here in the US, we had AM Radio Stations that used to play all the old blues guys. Now, it’s all FM stations. They don’t play no Muddy or Wolf. They play stuff by all those young guys, rap, hip-hop. I wish they’d play the old guys, I like to hear them all. It’s what I listen to at home. I still learn from them now. People like Eric Clapton and Jeff Beck do

does so much, taking young musicians under his wings and helping everyone so much”

through much of his personal thinking and beliefs: “These days, if you think you’re the best then you’re in for a surprise! There’s always so much more out there. If you don’t listen, you just don’t learn nothing. You know, my mom and dad used to tell me, ‘Whatever you do, don’t be the best in town. Just be the best till the best comes around.’ I still feel I gotta dream more. I still listen to all those guys, Muddy, Wolf, Sonny Boy, Junior (Wells), Larry Johnson, Arthur Cruddup, Lightnin’ Hopkins and Robert Johnson. There is just so much going on. I was able to learn from all those guys. I was born to the blues, a perfect title for me. That was how it was, me and my family. We grew up that way. We didn’t have no technology for farming not the way it is now. They always worked and struggled. They never had the right rain or the right sunshine!”

better on those stations. I remember the British Blues Explosion in the 1960s. When I tell Eric or Jeff we all listened to them, they laugh and think that’s crazy, cos they were all listening to us! Eric told me, ‘You know, we didn’t play no blues, till we heard you!’ Nowadays, we all laugh about it.”

With a recently aired US TV special documentary about the man himself, ‘Blues Chased the Blues Away,’ just behind him on public broadcasting/ PBS in the States, Guy’s place as a true blues legend seems assured. So, his last words have an optimistic streak we can probably all relate to: “I love the blues so much, I don’t want it to die!”

“Buddy

BRAD VICKERS learned on the job playing, recording, and touring with America’s blues and roots masters: Pinetop Perkins, Jimmy Rogers, Hubert Sumlin, Bo Diddley, Chuck Berry, Odetta, Sleepy LaBeef, and Rosco Gordon— to name only a few. Now his own group, The Vestapolitans, offers a good-time, crowd-pleasing mix of blues, jump, and great American roots 'n' roll. Back out touring they were warmly received at the 2021 Blues Bash at the Ranch Festival. All their CDs have met with terrific reviews (Downbeat gives them ****½ stars)! They’ve been inclued on many “Best Of ” lists, and enjoyed great radio play. But most important, audiences love them!

www.BradVickers.com

Turn back the clocks to 2019, and blueslady Samantha Fish was midway through an extensive European tour in support of her last album, ‘Kill or Be Kind,’ when the pandemic struck. An imminent closure of the US border meant that the artist and her band had to return home at the drop of a hat.

“It was 2 am on a Thursday morning, and we’re watching this press conference from back home, and the whole band were freaking out. I called my manager, the tour manager, and the travel agent, and it was like, hey - pull us out of here,” recollects Fish.

Of course, many artists found themselves in a similar situation, but to have to transport your entire band and crew from one continent to another at a moment’s notice at a time where flights to the USA were like gold dust was no easy task. “We were in Leuven, Belgium. And the closest airport was in Amsterdam. The only flight that we could make in time flew us from Amsterdam all the way to Moscow, where we sat for eight hours. And then all the way to New York, where we sat for eight hours. Finally, we got back to our respective homes, mine being New Orleans. I think we were in the air for 42 hours,” she recalls.

Certainly, an unprecedented situation to find herrself in: “I’ve never cancelled a tour in my life,” proclaims Fish. “For that to happen, it was like - is this real? It took me a while to wrap my head around it. It was super strange.”

Samantha Fish is an in-demand artist on both sides of the pond. Once the pandemic struck, this forced slowdown gave the artist time to pause, regroup and plan her next move. The unplanned downtime permitted Fish to work on her forthcoming album ‘Faster’. “I was kind of forced to reconnect with myself and my music and what I wanted to do next and really plan it out. And that’s how this record came

about,” she explains. “I just started writing furiously. I wrote a bunch of songs and met with a producer [Martin Kierszenbaum] remotely. He reached out to me through a mutual friend in Kansas City, and we just got to talking. After cultivating a friendship, we decided we wanted to do this record together. So that was the majority of my year.”

Fish proclaims that “there’s always an album on the cards”. So maybe if the pandemic hadn’t happened, her new album would have still come to fruition. However, the big difference being this time around was that the album wasn’t born on the road. “This was the first time that I wasn’t writing the record from a hotel room in the middle of a tour,” insists Samantha. “Some days were more productive than others. Sometimes it was like, I don’t know how I can be inspired by the same old four walls again. But there was a lot of emotions to pull from.”

At the same time, having a break from life on the road to focus on the album certainly had its benefits. “I definitely felt more prepared going into the studio for this record than I ever have in my entire career. I credit a lot of that to Martin, his approach, and his production style. He’s very keen on having the details hammered out before we got in there. That left it so open for me to enjoy it, not stress and to enjoy the process,” explains Samantha.

If you look back throughout Samantha Fish’s discography, you will notice that she is not afraid to explore new avenues with each release. The Americana tinged ‘Belle of the West’

WORDS: Adam Kennedy PICTURES: Kevin & King

and Motown fuelled ‘Chills and Fever’ being a testament to this. “It’s not like I set out to completely change the parameters of the record, but the circumstances around how the album is created completely change every time. From the writing process to the production process, to where we record the album, to who plays on it,” explains Fish. “It’s a completely unique experience.” Of course, there is no point in trying to recreate the same album with each release. “It’s going to be different from the last record. Where I’m at as a person and as an artist, when

I’m writing - I’m two years removed from that last process. So, things have happened; I have changed. I’m on to different things, I’m listening to different things, I’ve had some new experiences, I want to take it in a different direction,” concludes Samantha. Despite this, the songwriting process starts from the same point each time. “My process always starts with me and my guitar. So, it’s kind of birthed from the same place, just it’s all those surrounding things that we try to set up around it that I feel colour it and shift it in different ways,” elaborates Fish.

With ‘Faster’ Samantha had a strong view of where she wanted to go with this release. “When I was writing this album, I wanted to come at it from a perspective of empowerment, confidence and like sexiness/sassiness. I wanted people who listen to it to have fun with it. I want them to feel that. I wanted to come out a little bit rougher this time. A little rawer, aggressive and rock and roll,” exudes Fish. “It’s like you’re straddling this line of being who you are and bringing in these new elements.”

The first song to be released from Samantha’s new album ‘Faster’ is the lead single “Twisted Ambition”. “That one - it’s all attitude and angst. It’s about flipping the roles of power. It’s about taking control and being confident, owning it and breaking the old and coming in with something new,” explains Samantha. “It’s sort of an

anthem of self-confidence.”

For Fish’s new album, she teamed up with producer Martin Kierszenbaum (Lady Gaga/Sting). The latter not only produced the album but also co-wrote several tracks on the release. “Martin is incredibly positive, and he brings a great energy into the room. He’s really uplifting to be around. Very much like a positive force for me going into this process,” confirms Samantha. “It’s always scary working with somebody new, and we just got along great. We have good chemistry, like a friendship. But watching him work and how he approaches things; he really puts the work in before we ever go into the

puts the work in before we ever go into the studio.”

For the remainder of the year, Samantha Fish

will be aiming to return to some sem-

blance of normality with a reprise to touring life wherever possible. “We are busy. As you release a record, they leave a little bit open for whatever opportunities surround the release of a record. But I’m seeing a sizable tour coming up. Our Fall is looking very busy, and that’s exciting for me,” says Samantha. “It’s a little scary too. There’s a little anxiety about leaving for that long again because, God, it’s been so long. I’m happy about it, though. It feels nice to get to go back and see everybody again.”

Following the release of ‘Faster,’ Samantha Fish will be returning to the UK at the start of 2022 to pick up from where she left off back in 2019. “Two years at that point is going to be like a distant memory. We’re just going to pick up where we left off. So, it’s going to put a punctuation on this experience, in a way,” said Samantha.

With each return visit to the UK, Fish observes an increase in support from her overseas fanbase. “I love playing in the UK. I love going overseas. I love playing in Europe, and I feel like we don’t get to tour as heavily over there as we do in the States. But when we do go, I always feel this growth. I always feel this massive amount of support and love,” declares Samantha. “I’m always excited to hear what everybody in the UK is saying about the record. You guys are discerning music fans - I mean that in the most positive, respectful way. It’s true, though. How the UK receives the record and what you’re doing is important. So, I’m excited to come back and put on a show for our people over there.” The feeling is mutual amongst Samantha’s UK fanbase. If only next year’s tour would arrive ‘Faster’ - if you’lll excuse the pun.

Samantha Fish tours the UK from January 30th until February 8th 2022. Special guest: Wille & The Bandits. Tickets available from www.alttickets.com. Her new album “Faster” is out now.

from www.alttickets.com. Her new album “Faster” is out now.

www.samanthafish.com

MELISSA ETHERIDGE ONE WAY OUT

There’s no escaping Melissa Etheridge’s voice - the powerful impact is like Alcatraz. It instantaneously captures the listener’s attention. And as the keeper of the emotional keys that unlock the passions in her most ardent of fans, there’s a fortified power and a maze of soulful layers to her smoky delivery that detains for good those who fall under her spell on record and in concert.

WORDS: Paul Davies PICTURES: Elizabeth Miranda

Looking the picture of cool contentment behind her brown shaded aviator sunglasses on our zoom call from her Los Angeles home, Melissa is clearly happy with this back to the future total recall record. Relighting an old musical flame from her past, Melissa’s new album, ‘One Way Out’ burns brightly with re-heated songs from a previous project as she reveals: “Well, it’s sort of a look back in time. I was going through all my old stuff from when I was considering making a box set with Island Records.” she says. “But then I ended up getting off Island Records and changing my management and everything. But at that time, I was collecting all this old stuff and listening to these old demos, and I was like, that’s a good song!”.

She adds: “I started thinking ‘Wow, what was wrong with me? Why didn’t I want to do that song? I got some great songs here!’” She continues: “And I thought, what if I went in and got the original band together that I first played with?” She elaborates: “Then that whole experience became special in its own way because I hadn’t seen some of them for 20 years, or so, then having to then shelve it and go away and then come back eight years later and go: ‘Oh, look at this special little piece of the history from that time,’ so it’s sort of this time machine of recordings and, man, it just felt so good and I just wanted it to be in the same spirit like my first and second album. Just go in and make it.”

A striking element to this recording is the pure power of Melissa’s voice. She says that she trains her voice to be in top condition and pumps her fists at my compliments to the power and quality of her voice she serves up on this

ace of an album. Melissa enthuses: “That’s because I really looked at athletes like Billie Jean King and Martina Navratilova. These athletes that go into their later years and they’re still in health and shape and I thought ‘I can be like an athlete and train’.” Exploring her sporting simile further: “I can eat right, sleep right, all these things that you need for your body to do what you want it to do. I’ve just been doing that and getting healthier in the last 10-20 years. And it’s just that I’m better. It’s funny. And I love it!”

The weight of her work, musical and political, and especially her lyrical pursuits concern themselves with the freedom for people to be who they want to be. To rise above opinions and be true to themselves. In this, she succeeds in being backed by the public vote in shifting massive numbers in record sales. Five platinum albums prove as much! Nevertheless, she has never lost her musical roots. She says: “Well, rock ‘n’ roll has always had its roots in blues. I listened to Bessie Smith and Muddy Waters. I’ve just been listening to blues forever. She declares: “I’ve listened to the artists that listened to the blues like Delbert McClinton these people have influenced me and their influences, too. That’s just what rock ‘n’ roll is.”

There’s a classy vintage feel to these songs culled from her aborted box set that reveals a high artistic streak on the go at the time. ‘They say you can run but you can’t hide’ asserts the opening lyric to the title song, ‘One Way Out’, and you know that you’re in for a ride on the wild side and Melissa is itching to play these new songs live: “I can’t wait to perform that live. I was listening to that when I was working

out this morning and I like that song; I’m glad that I got that out of me. It’s just really rockin’! As a consummate live artist, she can’t wait to re-engage with her audience: “I can’t wait to get up and perform them live and I think my fans are really gonna like ‘I’m No Angel Myself’. I think that’s going to remind them of 1990s Melissa. She explains how the Covid pandemic motivated her to release these songs: “BMG wanted something and I couldn’t get in the studio. So, I thought ‘wait a minute, yeah, I have something. I have eight songs that I’ve been going back to’. Then we put on the two live songs, and I love that all these songs

kind of relationship where a lot of stuff came out from my early 30s. I was writing a lot of this before I had kids so a lot of it was very much of the same era.” She chuckles: “The last two songs, the live songs, were after that rela-

are finally seeing the light of day. And I have more! So, if this goes well, I’m hoping I can do this again.”

This trip down memory lane has Melissa firing on all cylinders as she opens up about their beginnings: “They’re all kind of that late 80s early 90s sort of world I was in. There’s one

tionship so they’re a bit more fun. They’re like emotional postcards from the past that don’t quite hurt as much as they did. Time heals.”

The calibre of the songwriting and performance of these songs is up there with the best that Melissa has ever recorded. The strutting riff to ‘Cool As You Try’ drives a truckload of blue emotions straight to the heart and ‘I’m No Angel’s’ semi-autobiographical lament to past regrets, plus ‘For The Last Time’ and ‘Save Myself’, reveal a strong independent streak from this artist. There’s also a hell of a lot of harmonicas at play on these tracks: “Little Walter is my dream of how I’d like to play the harmonica. He’s got that amazing sound and ability.” Melissa loves listening to the blues sisters: “When it comes to blues women it’s Bonnie Raitt all the way back to Memphis Minnie and everybody in between.”

Melissa recalls the first time she heard music that inspired her on her yellow brick road out of Kansas to where she is today as a musical icon herself. She says: “I grew up in Kansas and my music came from the late 60s and 70s. I was in high school in the late 70s. We had one radio station and they played everything. I could hear Conway Twitty, then I could hear Elvis Presley, then Marvin Gaye and Led Zeppelin. I heard everything on that one station.” She absorbed this free range of music into her psyche to pour out later in her own compositions. She recalls: “So I was just getting all this great music and then 70s FM came which was deep

rock ‘n’ roll. That’s when I started going ‘wow, who’s this’? That’s when I started hearing The Amboy Dukes and all these groups coming out of San Francisco; finding Bruce Springsteen and Midwest rockers like Bob Seger. I just ate up all kinds of music and I was playing in bands. So, I was starting to play all this music, too. The 70s was just an incredible music time for me.”

Relishing her return to treading the boards, Melissa has booked an upcoming US tour, with UK dates expected in 2022. Talking about her set-list she reveals: “I’ve learned over the years that people have their favourite songs. And I know that people sometimes come to see me once. And that’s it. So, you gotta do the hits. There are five or six songs I must do every night and I build each show around that. I’ll do a couple from ‘One Way Out’, then do some deep tracks for the crazy fans that are like, ‘Oh, my God, she played that song’, I’ll create a different show every night.”

Melissa also loves her guitars as she opens up: “I’ve got a couple of old Gibsons. I’ve got a Gibson Hummingbird and a 56 Gibson - it’s a little cutaway and they just have so much life in them. I believe a guitar holds energy in the wood. You know, every guitar has a song in it, you pick up a guitar and there’s at least one song but my Hummingbird’s they’re old stuff that you just can’t beat.” Enjoying this topic: “I’ve also have a lead Les Paul that I love It’s a 1982 Custom. I find one that sings, and you just stay with it. It just holds well in the hands.”

Melissa’s musical vocabulary certainly challenges stereotypes and rigid patterns of inherited societal behaviour. Much like her many musical idols, she’s a lightning rod for empowering people and the causes close to her heart. As she proves with her inimitable voice and tunes on this beautifully realised album, ‘One Way Out’, Melissa Etheridge is the embodiment of power and grace.

melissaetheridge.com

MARCIA BALL A Fertile Heart and Soul

Marcia Ball is described in USA Today as “a sensation, saucy singer and superb pianist... where Texas stomp-rock and Louisiana blues-swamp meet.” The Boston Globe describes her music as “an irresistible celebratory blend of rollicking, two-fisted New Orleans piano, Louisiana swamp rock and smoldering Texas blues from a contemporary storyteller.”

WORDS: Tim Arnold PICTURES: Mary Bruton

And they’re right. But there’s more. Much more. Here’s this 72-year-old grandma, a touch of highlighted grey hair falling down around her white motherly face while she gathers her hammering heart and deep-seated soul behind an 88, crosses one leg over the other so she can keep time with one foot and work a couple of pedals with the other one. And here it comes. Some of the richest delta blues around. Solid, groovin left-hand bass rhythms topped with engaging high notes, the chocolate frosting on her Mississippi Mud Cake. And ‘bout the time you’re immersed in those keys here comes an assured, resonant voice, ready to tell it like it is.

Marcia Ball’s multiple Grammys, Blues Music Awards and Living Blues nominations and awards, attest to it all. So do her Kennedy Center performances and appearance in Clint Eastwood’s Piano Blues, part of Martin Scorsese’s The Blues PBS series. And a role in the independent film Angels Sing starring Harry Connick, Jr., Lyle Lovett, and Willie Nelson. Many national television appearances.

She’s a storyteller, evident in the tales she spins in her original music, the melodic notes that capture an imagination and a feeling ‘of the wheels rollin, pullin’ the people along with us, wherever we take them,’ as she describes it. Born in Orange, Texas, Marcia’s lived most of her adult life 13 miles across the border in Vinton, Louisiana, growing up with a lot of Cajun music and spending a lot of time down in New Orleans, with her grandmother. And influenced by music from “way west of San Antonio and all the way to the other side of Mobile, all along the Gulf Coast,” she tells me in a recent conver-

sation. Along the way she was inducted into the Louisiana Music Hall of Fame.

Spent a lot of time in Austin, too, where she landed in 1970 when her car broke down on the way to San Francisco. Owned her own club with her husband, and had enough club dates, appearances, and recordings to be inducted into The Austin Music Hall of Fame in 2018. No wonder the Texas state legislature named their native daughter ‘the Official 2018 Texas State Musician.’

Her grandmother, and her mother, were both pianists, and Marcia started taking piano lessons when she was five, playing Tin Pan Alley and popular tunes from her grandmother’s record collection. At the ripe age of 13 she’s back in New Orleans and sees Irma Thomas live, “who to this day is my strongest influence as a singer.” Soon she was seeing key board stompers like Fats Domino, Ray Charles, Little Richard, Jerry Lee Lewis.

And especially Professor Longhair. “Once I found out about Professor Longhair, I knew I had found my direction. He remains my man, my inspiration,” says Marcia.

In 1998 she comes full circle and records an album with Irma Thomas: “Sing It,” Rounder Records, Marcia Ball, Irma Thomas, Tracy Nelson,” her first trio record. Recorded at Ultrasonic Studio in New Orleans, it’s a true collaboration, each lady doing some solo singing – most all of it energized by Marcia’s piano playing.

In 2001 Bruce Iglauer signs Marcia to Alligator, his label that’s recorded genuine blues boppers

since 1971, when he founded it. (Earlier she had an opportunity to sign on with Jerry Wexler and didn’t. “It was stupid, but Jerry and I stayed friends for the rest of his life. He’d tease me about it …,” she tells me, with laughter).

Marcia’s first disc for Alligator was Presumed Innocent, which she recorded in Austin. On that one, for “You Make it Hard,” Marcia teamed up with Delbert McClinton, a fellow Texas native (see Blues Matters! Issue 104, Oct/Nov 2018, by this columnist) on vocals. “We’ve known each other forever, since the ‘70’s. I used to go dance to his music in Austin clubs way before I knew him. What broke the ice for me and Delbert was one night when I heard him do a song called Going Back to Louisiana, and I went up and told him after the gig that I was going to steal that song.”

She nailed it. Lights it on fire in many of her gigs. Now she owns it. There’s a song on there she wrote called Luella that’s up there with Jerry Lee, and Fats … kicks off with a solo piano riff that leaps out of the speakers and jumps right down in ya. It’s the rhythmic essence of her foot-stompin’ blues: “I was at a friend’s house one day and picked up an old song book, all crispy and brown, and I opened it up to a page that somebody had written in the margin, ‘Why in the devil did you want to tell Luella everything?’ And you know, that’s the first line of the song. That’s what I do, rhythm and blues – with the emphasis on rhythm. It’s where I came from,” she tells me.

And you ride it with her in most every cut on every album she’s done since then: So Many Rivers, Live! Down the Road, Peace, Love & BBQ, Roadside Attractions, The Tattooed Lady and the Alligator Man and, most recently, Shine Bright (2018).

Now it’s 2003 and she gets next to Professor Longhair, too. “My husband Gordon and I were sitting in this Mexican restaurant in Austin, Texas, after a gig at our own club there in town, and

this guy walks over and introduces himself and says, ‘Hi … sorry … but Clint Eastwood asked me to talk to you’. Got my attention!” Soon Marcia plays the Monterey Blues Festival, where Eastwood is shooting his documentary, Piano Blues, part of Martin Scorsese’s PBS series, The Blues: “So they pick me up and take me over to Carmel, to Eastwood’s studio. We walk in the door, and without so much as, you know, being able to smear on some lipstick, there I am, on-camera, sitting at his piano with Clint right there next to me. And there’s Jay McShann and Pinetop Perkins, watching us – and raising the intimidation factor way up there.”

The documentary includes bits by Ray Charles, Dr. John, Dave Brubeck, McShann, Perkins and others, and archival footage of Fats Domino, Cab Calloway, Willie Dixon …and Professor Longhair.

Marcia’s live bit is right behind the Professor’s. ‘Who’s your influence … all in the family?,”’Eastwood asks her. “To start with,” She tells him. “I grew up in blues country and had family members who played piano. First, my grandmother played ragtime piano. My aunt played piano. But it was Professor Longhair … and his New Orleans style … he created that polyrhythmic style that so many of us do, carried through to Dr. John and now a whole new generation.”

“There’s not that many of us out there – women playing off the way I do.”: ‘Well, give us a little shot,’ says Clint.

And here comes ‘Red Beans Blues,’ written by Muddy Waters and arranged by Professor Longhair himself. Marcia’s keys cook it, and her vocals add plenty of flavor … ‘got my red beans cookin’, and when they get done I’m gon’ give you some.’”

‘That’s fabulous!’ lauds Eastwood. And he’s dead right. All of which draws Lawrence Wright’s attention. Wright is a Pulitzer Prize and Emmy award-winning author and staff writer for The New Yorker magazine who’s also

written screenplays, including The Siege, (1998) starring Denzel Washington and Bruce Willis. He lives in Austin and even plays some keys for the Austin blues collective, WhoDo. And one of his best-sellers, God Save Texas; a journey into the Soul of the Lone Star State, was described this way: ‘Whether you love Texas or hate Texas, you will likely find God Save Texas a very funny and a very informative book about a place unlike any other on the face of the earth.’

All ripe for some kind of Lone Star state thing. So, he scripts a play about the Texas politics he shines a piercing light on and now he wants to turn it into a musical. So he partners with Marcia and her own Texas roots: “We started a while back and wrote about the first ten songs for it, then it languished for a while – and then we got back on it a couple of years ago. Since then we’ve written about 40 songs for it. It’s just a fun thing and there’s so many great songs in it. I just hope that one day I get to see it!”

Marcia’s telling me.

“My life, personally and professionally, it’s just been a gift to me. You know, I’m successful to a certain extent, but I’m not necessarily a household word (she should be), but I also have a family. I’m married, have children and six grandchildren and in that sense, I feel like I have it all.”

they’re both fabulous. Carolyn just finished touring with John Mayhall for two years, and she just signed with Alligator. Shelly is a powerhouse singer, a smart literary songwriter and has led me into some really fun musical adventures. Wonderland and King were both part of an all-women band we put together with Sarah Brown on bass and Cindy Cashdollar after Cindy got a deal for a Carole King song and called me to ask if her buddies down here would do it. So we did. And I’m hoping we can do another trio record soon. Me and Carolyn and Shelly just recorded two things. One is a HAMM fund raiser. And the other is a get-outthe-vote initiative for south Texas.” All of this, all of it, from the fertile heart and soul of one Marcia Ball.

marciaball.com

affordable health care for low-in-

Marcia is dedicated to two not-for-profits, both benefitting musicians. One is HOME (Housing Opportunities for Musicians and Entertainers (https://homeaustin. networkforgood.com), committed to helping older musicians in the Austin area pay for their housing – which she co-founded; and HAAM (Health Alliance for Austin Musicians (https:// www.myhaam.org), which provides affordable health care for low-income working musicians.

“Now I’m doing a lot of work with Carolyn Wonderland and Shelly King here in Austin, and

KEEPING UP WITH TRADITION

It has been two years since speaking with Christone for Blues Matters. During this time, many things have happened to him both personally and as a working musician. Sadly, he lost his mother during this time, but has also released his sophomore second album, 662, again produced by Grammy winning producer Tom Hambridge.

WORDS: Colin Campbell PICTURES: Laura Carbone

In addition, he has been busy picking up accolades, including five Blues Music Awards in 2020. He plays jaw dropping intricate guitar, infused with soulful vocals, all with unparalleled authenticity. Now getting back on the road touring after such a long time, he talked about the return to live music, his connection with fans and evolving career in the blues genre and more. We chatted via the technology of Zoom calling when he was preparing for a concert in Ohio. It was a very laid-back conversation with a young man not swayed by fame and fortune, just a man playing the blues.

Regarding touring just now, he is picking up a lot of events, Festivals and Clubs. It’s all positive vibes. For a year and a half, like most musicians, he has not played to a live audience: “Covid happened, so we got a bunch of time pretty much to utilize. I got in touch with Tom Hambridge we did a songwriting session from May to September, that’s how ‘662’ started. There were times it got depressing, missed being on stage. For us musicians the stage is our art canvas, that’s something we need”.

Kingfish covered some live stream events but it’s the connection with the live audience that is paramount in his performing as an artist. We talk about live streaming and how this will keep fitting in with live music in the future: “It was kind of cool. I got the chance to see the fellas again. It was good to knock the dust off once and a while. I think they’ll continue, especially for folks that are not mobile, they can see the shows in their own house.”

Looking towards the new release, ‘662,’ it appears to have been an easier release to make

for Christone, but he wanted the feel to be different from his debut: “I had all these personal growth stories I wanted to tell. The rock music is prevalent on it, everyone knows me for that, we wanted something a bit different. We got some smooth cool tones and stuff that’s not so in your face. I wanted to showcase a gumbo of an album!”

Our conversation followed about the tracks. ‘Another Time Gone By’ had been written a couple of years back. This is about current times we live in. He says it shouldn’t be, but because of topics like George Floyd it is: “People have a narrow view of what the blues is. It was originally protest music. This is something I had to do.”

“The title track ‘662’ came from the roots of the song ‘Outside Of this Town.’ We wanted to do a song about my own town. Blues culture involves the way people walk, talk and cook in Mississippi. In Clarksdale there’s a church on every corner, I wanted to write all about that. On my mum’s side of the family, that’s where my singing comes from. My mum was a great influence in my life.”

‘Too Young To Remember’ talks about a time when Christone has been handed down the blues legacy: “I’m old enough to listen to their music and learn from it and see videos and know about this legacy. Trying to keep the blues alive.”

I ask what guitars he used for this record: two Fender Stratocastors. He also used a Mike Chertoff custom built Tele-Paul and a PVCD

The vocals on the release seem more mature; his range and style has changed from the debut album. This may have had something to do with the free time he had during these uncertain times. Laughing, he says his manager’s wife had the same opinion but he felt it was because he had more time, even on the ‘rough tracks.’ ‘Your

Already Gone’ is an example of his soulful vocal tones. He is influenced by singers like Sam Cooke, Luther Vandross, Pati LaBelle and modern R&B female vocalists like Fantasia: ”I like

vocalists who showcase their vocal structure, I’m like crooning sometimes on this record!.” Surely a young man should be singing contemporary music and not the blues, oh no not for Christone!: “My music is all blues based.”

Finding his way, he has an approach to actual songwriting, it’s the riff that comes first in his tunes. Different timing can lead into a different song also. ‘Something In The Dirt,’ he likens to ‘Key To The Highway’ with its eight bar blues chords. “The lyric in the third yard, I got cotton in my backyard.’ I got that from Marquise Knox. He came to my house to pick me up and said this. No-one needs to tell you what the blues is. It’s a personal showcase song!”

60, the type Johnny Copeland used, a favourite sound and model.

INTERVIEW | KINGFISH

He believes he has benefitted greatly from working with Tom Hambridge: “It’s the same as I learned from Keb Mo, about telling the story in a song and the vocal structure. I used to just go and sing but you have to put a melody to the lyrics to make it catchy. I wouldn’t mind being a producer in the future, writing for different artists. Still interested in playing with Santana and some rappers.”

On ‘My Bad’ there is a great bassline. Tom and Christone arranged this. Being proficient on both bass and drums Christone

had a ZZ Top vibe-feel for this track, it’s one of his favourite tracks: ”It’s a stand out track for sure ‘Long Distance Woman,’ also has a great riff,

Christone explains: “I had this riff in my head. It was one of the first songs me and Tom had written together during the pandemic. I wanted to write about dealing with women and dating and long distance. That can mean, me being on the road.” He talked about the poignant track ‘Rock & Roll’: “This was a track, a tribute to my late mum who passed away in December 2019, she was my biggest supporter and number one fan. That song was recorded in Memphis, I dug it, even though it was bit leftfield for some folks!” The new release has been getting a lot of play at his live shows: “Everybody’s been getting into the new record, to me everything sounds better live!”.

There are more young people going to his live shows than ever now, a good mix of ages, fathers with their sons, Christone seems pleased at this upsurge and is taking the blues to another generation. At a recent Festival in Kentucky, The W.C Handy Blues and Barbecue Festival, he headlined, and this was such a great experience. It’s a Blues Festival!, for the past year and a half we’ve been starved of live music, it was fun.” Last time, Christone hinted at evolving his music by fusing other styles such as hip hop. He has some songs left over for another release…” One of the songs from this present record will be remixed, we are going to be working with a rapper. It’s the more, no can’t tell you what song it is! Rap is the blues great-grandchild, we should be getting into this. It’s one way of getting the young people interested, that’s for sure. When I was at school people asked me why I played all that sad stuff. I felt it came from what I listen to, this is our history and culture. The people I listened to , the likes of T-Model Ford, all of them are gone. It’s up to us to keep it going, that’s for sure.”

He admires contemporary blues artists like Toronzo Cannon,, Marquise Knox, Sean MacDonald and Fantasia in the R&B style. Christone’s musical style cannot be truly pigeonholed, allowing him free reign to play most musical Festivals: “That’s the goal, we make music

everyone enjoys, I get people saying I don’t like the blues but I like what you play! Blues is still importan,t especially in today’s world with this Covid 19. We have to preserve it.” With plaudits and awards a plenty, this may affect an artists’ psyche, not Christone: “The thing about success, is to get out there and show the world what I can do. The awards are cool, it shows gratitude, but I try and focus on the important things, because all that can be taken away from you. The pandemic makes you appreciate life more! We’re not meeting people after the shows just now. We are all vaccinated but we don’t want to risk spreading, we take precautions. You’ve got to think and be smart, that’s my thinking on the matter.”

As he was preparing for tonight’s event at the Rose Theatre, we talk about preparing to get on stage and face the public. He’ll play some Otis Rush if his adrenalin is low before going on stage and getting him ‘into the zone.’ Personally, I got the feeling there might be a live release coming out sometime but for now he is focusing on touring this one and putting down tracks for a third studio release.

Anything about Christone that no one knows about, but he just might tell Blues Matters? I venture: “I’m into video games, getting the tour together, that’s what we’re all doing. Top of next year we’re coming to the UK and Europe, first time in London and Glasgow, always wanted to go there. I want to thank the Blues Matters readers for continued support. I appreciate that! Thank you much appreciated, hopefully see you all soon and keep the ball rolling!” The last words go to Kingfish…”Thank you, speak to you in the future, BLUES MATTERS, that’s a fact!”

For further information see website: www.christonekingfishingram.com

CASTRO

CASTRO

A Classic Hero’s Journey

When you look back through music history, there have been many successful concept albums, particularly in the rock genre. The mind immediately turns to the likes of Tommy and Quadrophenia by The Who, The Wall by Pink Floyd and Jeff Wayne’s Musical Version of The War of The Worlds, to name but a few. But in the blues world, the concept album is not such a common occurrence. That is until now, thanks to US-based artist Tommy Castro and his latest release, ‘A Bluesman Came To Town’.

A BLUES OPERA

The pandemic may have taken artists off the road, but it did create opportunities and most importantly time for bands and musicians alike to work on some of their more ambitious plans and projects. For Alligator recording artist Tommy Castro, that was developing his forthcoming concept album.

The beauty of Tommy’s approach to making his latest record was that not only was it an original idea, but it allowed the Californian-based artist to do something a bit different this time around. Thus, keeping things interesting for both himself and his fans alike. “I’ve made a lot of records over the years. It’s harder each time to think of

WORDS: Adam Kennedy

PICTURES: KathleenHarrison

something to do that is different,” elaborates Castro. “But you can’t be too different.”

Castro goes on to say that: “I just wanted to remain who I am and do something fresh for the audience. They don’t want you to do the same old thing. I don’t want to do the same old thing. So how do you do something different and remain true to yourself and your art? And that was the challenge.” Quite a difficult conundrum, perhaps you will agree. However, one which Tommy Castro embraced, thanks to a close friend who came up with a thought-provoking idea. “She said - ‘Do a Blues Opera’. I said, now wait a minute, I think that might be a good idea. We don’t want to call it a Blues Opera, but that was the idea.”

WRITING A BLUES STORY

Castro’s story of the bluesman got the ball rolling for the album. “I had this concept before I had any of the songs,” explains Tommy. “I wrote out the storyline and then I told Tom Hambridge about it. I got one song under my belt, which is track number one.” But despite getting the project off the ground, the pandemic stopped them both in their tracks. Castro goes on to say that: “Eventually I got together with Tom. By the time I got to him in Nashville to write, this was just before the pandemic, we started on these songs and then got stopped.”

The story behind the album is one that a lot of artists will relate to in some way. The tale tells of a “Kid living in rural America somewhere. His life is laid out for him, it seems like he can’t imagine anything else that’s going to happen. He lives in this small town. He’s got his sweetheart and his family, and he works on the farm. He dreams at night about doing something else. And then a bluesman comes to his town, and he hears the guitar, and that changed everything,” explains Tommy. “Just like it has happened to a lot of us, once we heard the blues guitar sound, some of us just went - wow, I must follow this. I don’t know what it is, but I must go with it. So that was the story.”

It goes without saying that there are twists and turns in the plotline of the story. “Of course, he’s going to head out there, and he’s going to run into trouble. Things are going to happen to him along the way. And then he’s going to realise that at the end of the day that everything that he really thought he wanted, he already had. The treasure, the fame, the fortune, and all the riches that he was trying to claim was inside of him in a spiritual sort of way,” outlines Castro. The artist refers to the story as the “Classic hero’s journey”. Of course, “It’s a story that’s been told a thousand times, and I just thought it would be cool to stick to that format and make a blues story out of it,” he says.

Although the story itself is not autobiographical, there are points in the storyline that Tommy Castro relates to the most. “Almost all of it has a little bit of me in it, except growing up in the country,” explains Tommy. “I relate to the Bluesman Came To Town from the feeling that the kid gets when he finds out about the music. So that’s a little bit of me there. And then getting out on the road, being kind of green.”

BLUES IS UNDER A HUGE UMBRELLA

However, did recording an album set to a strong storyline and genre-specific title limit the artist musically? “I was a little nervous about it because when you have a story like that to stick to, it limits the songs a little bit, as the song must be a part of that story. I have all these different kinds of sounds that I like. The traditional blues, rock and roll, R&B, soul, and funk. All the little elements of music that I always put into a record. I thought to myself, all of that can still be in this story, even though it says A Bluesman Came To Town,” concludes Castro.

Throughout the album, Castro perfectly illustrates the storyline with his vast musical pallet of blues-based flavours and textures. The artist is not afraid of pushing boundaries within the blues genre. “In today’s world, blues is under a huge umbrella. All different kinds of variations

of blues are under it, and that’s what people consider blues now,” said Tommy. “A large portion of our fans are following all different kinds of blues acts. So, I think we’re in good shape.”

TOM HAMBRIDGETHE MAN FOR THE JOB

Grammy Award-winning producer, songwriter, musician, and vocalist Tom Hambridge was pivotal to the project. The pair had talked about working together for many years, but with ‘A Bluesman Came To Town’ the timing was right. “I remember many conversations just in passing or short little conversations, where we talked about doing a record together. The next project would come up, and something else was going on, and someone else was in the picture,” said Tommy. “Well, at the end of the day, the timing was right. I felt that for this project that he was the man for the job.”

Having Tom Hambridge involved helped to steer the direction of Tommy Castro’s latest album. “Overall, I just put myself in Tom’s hands, and that was my intention. I didn’t want to go in there and say, let’s make another Tommy Castro record the way I do it, and you can help me. It was more like, I want to basically do a Tom

Hambridge project, and I will speak up if there’s something that doesn’t seem right,” concludes Castro.

ALBUMS ARE BECOMING A THING OF THE PAST

With regards to the great rock operas and concept albums of the Seventies, the difference in the present day is how fans consume music. This is something that Tommy Castro is looking to change with ‘A Bluesman Came To Town’.

“Albums are becoming a thing of the past, in a way. People are making albums - but they’re only really listening to songs, individual tracks; they get added on a playlist - it’s not connected to any record. Most people are listening to streaming channels, radio stations, on their streaming service and stuff like that. But listening to a record from top to bottom is not what it used to be - that’s all we had at one time. You could put the record on at the beginning, and you would listen to a side; you turn it over and play the other side. Or listen to a CD, or cassette, whatever,” says Tommy. “I want to really encourage people to listen, at least once from top to bottom. Make 45 minutes or 50 minutes, whatever it is, while you’re driving in your car from one place to another or when you’re going to be able to sit in your room and listen on your good stereo. Listen to it from top to bottom - then it really makes sense.” Perhaps the notion that albums are becoming a thing of the past is open for debate. But one thing is for sure, in whatever shape or form, blues music is here to stay.

Tommy Castro presents ‘A Bluesman Came To Town’, will be released on 17th September via Alligator Records.

www.tommycastro.com

BERNIE MARSDENSignaturesound

Bernie Marsden has enjoyed a career as a guitarist that is as varied as it is long. Back in the early days, he held down the six-string end of things in UFO, a band that was to become a legend for the calibre of the guitarists that followed, but Bernie Marsden was the original.

WORDS: Andy Hughes PICTURES: Supplied

He became a prominent figure on the scene after joining Deep Purple’s Jon Lord in the Paice Ashton Lord project following a hiatus in Deep Purple’s long career.

But it is as guitarist and writer for blues rock supremos Whitesnake that Bernie Marsden is best known. The band became a global phenomenon with a massively successful catalogue of albums and hit singles around the world.

Such is his esteem in guitar circles that Bernie Marsden has Signature models from two major guitar companies – Gibson and PRS. His latest project is an album called Kings, a reverent look at the legendary King guitarists BB, Albert and Freddie King, recently reviewed in this magazine.

That seemed a good place to start a conversation with Bernie – what was his take on the influence of the Kings on blues music? “They were all big men, big characters, and they made big sounds. I believe that anyone who plays blues music has a connection with one or more of them somewhere. They were all entertainers, especially Freddie King, he was awesome on stage. He used to come over to the UK in the early days, but he could never afford to bring a band over, so he would play with a pick-up band, local musicians he’d source when he got here.”

“I have played with Deacon Jones who played Hammond with Freddie King, so at least I could pretend to play like Freddie King while I had his sound in my ears. Deacon told me some great stories, and he told me that Freddie would have

loved me, which was a really touching thing for him to say.”

What got you interested in blues music? “Well, I had a relative who played in an R & B band in Liverpool in the early sixties, and let’s face it, everyone in Liverpool in the sixties played in an R&B band, there were masses of them. I was listening to bands like The Searchers and The Swinging Blue Jeans, and learning how to play their songs on guitar, and he told me that if I could play songs like those, I could play songs like he had, and he gave me some EP’s by Muddy Waters, Howlin’ Wolf and Sonny Boy Williamson.

“He was there at the Cavern in Liverpool when Sonny Boy played a gig, and Sonny Boy asked him to go out and get him a bottle of whiskey so he could have a couple before he went on stage. My relative did, and when he came back and gave the bottle to Sonny Boy Williamson, Sonny Boy thanked him and gave him a harmonica, and I’ve been trying to get my hands on that harmonica ever since!”

I said in my album review that there is a difference between being a man who plays the blues, and a bluesman, and clearly you are in the latter category, would you agree with that assessment? “Well thank you for saying that, and I would agree because you are pointing out what no lesser a person than BB King said in in an interview. He was asked if he thought white men can play the blues, and he said yes, of course they can, but can they feel the blues? That’s the question. And he went through a list of people who, for him, qualified as white musicians who

can feel the blues. And at the end of his list, he said “And don’t forget that guy Bernie from Whitesnake, he got it.” That was his phrase, ‘He got it’. I was so proud of that!”

Some guitarists learn their instrument quickly, they have an instinctive knack for it, and progress comes easily, some have to work harder to get to a reasonable level. Bernie was, not surprisingly, one of the first category of players. “I did pick it up pretty quickly once I got the basics down. Of course, when I was learning, there was no Internet, there were no books to teach you things, and I lived in a tiny town in the south of England so it’s doubtful if I could have found a guitar teacher even if I had wanted one. I did want everyone did in those days, I listened to records over and over and over again and played along and figured out how things worked, and when guitarists in bands came to town, I went along and got as near to the front as I could and watcher their hands and again picked up how things were done. That was the way everyone learned back then.”

Bernie’s days of criss-crossing the planet on tour are behind him now, but just because he no longer works with a regular band does not mean that he doesn’t play often, and of course, the last eighteen months have put paid to that, as Bernie explains. “I have been at home for the longest period of time since I left school! My hands have softened up quite a lot – I do play every day, but I don’t think anyone plays at home on their own in the same way that the play on the road.

“Soundchecks and me have never been friends, or the long drive home after a gig if home is within reach, but to be honest, I absolutely can’t wait to get out there and do a soundcheck and play a gig, and then drive home again. I know I am not alone when I say that I will never take playing a gig for granted ever again.”

Any musician who has written a song that was popular enough to be played on the radio has

experienced that amazing thrill when they hear their music aired. Bernie would never be so blasé as to not care when a song he has written is played – especially one of the less familiar ones. “It’s true, I do like hearing songs I have been involved with, but I like it more if it’s something that is not played that often. It’s weird, as soon as I hear something I have played on, I am transported right back, I can remember the session, and I can even remember what the weather was like when I was walking from the

car into the studio. It’s all there in my mind, so it’s great when the memory is prompted again by hearing a song like that.”

It’s a serious mark of prestige for a guitarist when a major company offers to design and build a Signature Model guitar – usually the musician involved has a say in the design that is going to bear his or her name. Bernie Marsden is sufficiently revered to have had two Signature Models made by two of the biggest guitar

builders in the world – Gibson and PRS. Does Bernie feel validated as a musician by those accolades? “I do, absolutely.” he confirms. “I was buying every guitar catalogue I could get my hands on when I was fourteen, and I never ever dreamed in my wildest dreams that one day I would see a catalogue with a guitar with my name on it for sale.

“I was so proud that my parents got to see my name in a guitar catalogue, I think that made

them realise that I was doing ok with my chosen career. “I actually have another Signature Model made by a German luthier called Nik Huber. It’s a lot more expensive that the models before, but it is a gorgeous guitar.”

Being such a diverse and successful musician, Bernie Marsden has been in many recording studios over his long career, but even though putting music down for posterity is an essential part of the guitarist’s career path, not everyone finds the experience enjoyable. “I got to like it more as I got older.” Bernie confirms. “I didn’t record properly with either UFO or Cold Turkey the first two bands I was in. We did BBC sessions, but we never made an album, so my first time in the studio was with Cozy Powell, working with Mickey Most who was a big producer back in the day.“I did a load of sessions for Mickey, often putting down backing tracks and I usually had no idea which band’s records I was going to finish up on. I did some Hot Chocolate sessions, and some of Racey’s records, some Suzie Quatro demos. And because Mickey liked the way I used a wah wah pedal, he’d get me in if ever that was needed. Being a musician is all about keeping your eyes and ears open for opportunities and making sure you try things. Don’t be close-minded to things you might like, that’s a lesson I learned.”

I can’t imagine you being closed minded musically, I suggest: “I was, I definitely was. For instance, I never listened to Deep Purple, not one song. Why? Because they wore loud shirts and trousers! I was all for being authentic and dressing down, as a blues guitarist, and they were all flash and dressed up, so I ignored them. “It did play a part in getting me the Paice Ashton Lord gig though. When I spoke to Jon Lord, he asked me in that wonderful cultured voice of his, he said ‘Have you ever heard any Deep Purple music dear boy?’ and I said I know that one that everyone plays in guitar shops, that Dance On The Water one. ‘I think you mean Smoke On The Water’ Jon said and he laughed his head off, and decided that I was the guy for them.”

For all his huge success as a writer and as a musician, even Bernie Marsden still has unrealised dreams. “To play like Peter Green! That’s one of them!” said Bernie with a huge laugh. “I used to go over quite often and drunk tea with Peter, and talk about guitars, and he was so funny, so genuinely modest, he would never accept how good he was, and how much of an influence he was on so many guitarists. I found a Fleetwood Mac bootleg and took it over and played it to him, and of course, he said ‘Whose that then?’ and I told him it was Fleetwood Mac, and when he played a particularly fine riff, I asked him what he thought about it, and he looked me in the eye and shook his head and said ‘Very messy …’and I told him, if only I could be as ‘messy’ as that I’d be really happy!”

What about anyone you’d still like to play with?

“I’d like to play with Eric Clapton, I still haven’t managed to get to do that, and it’s on my tick list. I can’t moan, I’ve played the Beacon Theatre with The Allman Brothers, I’ve played with George and with Ringo, but it never ends, there is always something else you want to do.”

Of course, and talking of things you want to do, what’s the next project Bernie? “It’s an album of material from the Chess label. It’s already recorded, we did two albums over two weekends, and the Chess one was actually done first, and the Kings album was done the weekend after. If you liked the Kings album, you will like the Chess album. There is some very interesting stuff on it, with a great harmonica player as a second lead instrument.

“Hopefully I will be able to get out on the road and play some of the material from both albums before long. It’s been far too long, I can’t wait!”

berniemarsden.com

One of the best contemporary blues rock albums in recent years

Joan Armatrading

Joan Armatrading has been a UK singer-songwriter now for around half-a-century, a fact that seems to come as a bit of a surprise to both of us when we hook up for a chat about her career and her latest chart-topping album, ‘Consequences.’

WORDS: Iain Patience PICTURES: Joel Anderson

Armatrading is the first UK female singer-songwriter to receive a Grammy Nomination. She is clearly extremely proud of this and when I venture to express an expectation that it must have been an extraordinary thing for a black woman to achieve, back in 1980 when it first happened, (she’s been nominated three times, so far) she swiftly puts me in my place: “It’s nothing to do with being ‘black.’ That’s never been an issue for me. I’ve never felt any pressure or stress because of that, or because I’m a woman. I’m a writer. I never played covers though my first label did ask if I was going to do some covers of others’ songs. That was a short conversation. I don’t do that. It’s just not going to happen. I’m very self-assured. I have a confidence in what I do, what I write, record and how I work.”

“I released my first album, ‘Whatever’s for Us,’ in 1972. But looking back, I worked on it, recorded it in 1971, I think. So that’s now fifty years ago!” She laughs at the idea so much time has passed. “It feels great. You know, you don’t think when you’re young. You just think you can just do it for as long as you want to do it! Back when I started out, somebody said to me, ‘I’ll give you five years!’ An underestimate, fifty years later, I’m still here. I think I’ve done alright,” she adds again with a rippling laugh.

Originally from St Kitts, Armatrading’s mother was from the island while her father came from neighbouring Antigua. She recalls arriving in England aged seven, travelling over herself, as her parents had flown ahead earlier. The story of how she first came to play guitar is well known, and Armatrading confirms its veracity, explaining the overall circumstances that led to

her becoming a musician:

“My father played guitar, so we always had one at home. But I was never allowed to even touch it! That just made me want to play it all the more. Well, my mother got a piano, because she liked it as a piece of furniture. So, I could hit the notes, but I still wanted a guitar. My mother then swapped two prams in exchange for a guitar for me. I still have that same guitar!”

When I express surprise that her father never let her play or touch his guitar, she laughs, telling me: “Yea, he never taught me chords or any of that. He never let me near it. But when I got my own guitar, he did teach me, show me how to tune it. Probably the most important thing to get when you first learn guitar. But he tuned it in a way I’ve never seen anybody else do either since or before.” Again, my curiosity risen, I ask how he tuned it: “I can’t explain. It’s a funny little tune thing. And it’s still how I tune a guitar now.”

These days, after around twenty albums and numerous Grammy nominations, Armatrading is relaxed about fame and success but grateful for the support of her peers and the awards circuit: “I get asked what’s my personal proudest achievement. Well, I’ve got an MBE and a CBE, other awards, but getting my BA Honours degree means most. I had to work, do the essays, sit the exams. Honorary degrees are good but that still is most important” And, I suggest, the Ivor Novello Award for Outstanding Contemporary Song Collection in 1996, must also mean a lot, as she first and foremost considers herself to be a writer: “Yea, of course. I’m a writer, it’s what I do. It’s how it is and how I am. I can never

see myself retiring because as long as I can still write, I will. I don’t have to perform, I can just write.”

Turning to the latest album, ‘Consequences,’ it’s soon evident that Armatrading is pleased with progress. Within a week or two of its launch in July, it shot into the top ten in the album charts, a well-deserved accolade for what is truly a wonderful release: “It’s gone so well,” she says. “My last album hit the top thirty in the charts. But ‘Consequences’ went straight into the top ten. So, I’m improving,” she adds, with another laugh.

These are songs I’ve written, so it’s for me to do them. I know normally a producer or a band member would get the sound needed, but these are my songs, so it’s for me to get them done. I always like to know what’s going on. I don’t go in hoping something will happen when I get there. I know what’s going on. That’s my job, it’s what I do. I go into the studio with the shape already there.”

Asked about the recording process, she confirms she is something of a perfectionist, but shies away from any suggestion that she likes to have control: “I like to go into the studio with it all ready. I don’t go in hoping I’ll have an idea. If I have written, say, ten songs on an album, then I go in with those ten songs. I have it in my mind, how it will sound. For many years, since around 2002, I’ve played all my instruments. When you hear drums, I’ve programmed that.

Known for her use of Ovation guitars, Armatrading admits to using a Martin on the latest recording but also confirms she still loves Ovations, both six and twelve-strings, and generally plays them most: “I love playing guitar. It’s such a challenging instrument.” A little bit more portable than a piano, I add, and she laughs yet again and agrees: “Yea, a bit more portable. I still play Ovations, though on this album it’s a Martin. I have Gibson too. But it depends on the sound, on what the song needs,” she explains. ”I can hit them very hard at times, punish them.” Again, her laughter rings out.

Armatrading has a reputation for guarding her personal life, privacy is always an important strand to her. And although it’s always tempting to assume that song lyrics are always deeply personal and possibly ultimately revealing, she is happy to outline her thinking on the subject generally: “‘Consequences’ is maybe the most intimate album I’ve ever made. But the songs are not all about me. I like my privacy. With that in mind, why would I suddenly throw all of it out with my songs? Why would I just sort of open up my private life like that? I read somewhere recently that I’d never written a song about me, but that’s also nonsense. How can that be pos-

After so long at the top of the music business, Armatrading can glance back and seems delighted by her extraordinary success and global position: “I recall the excitement back when I started out with my career. I never felt that I had to address any real issues. In 1976 with ‘Joan Armatrading’ then in 1980 with ‘Me, Myself, I,’ people did take notice. And that was great. But, you know, every album that comes out all have that same excitement for me. I’m excited about my new album (‘Consequences’). Almost every album feels like that first album in 1972. Taking it back a bit, I remember being super-excited by my first album. And I feel genuinely super-excited again about this one too. I felt the same about my last one too, so that’s a constant.”

sible? We all write about life, what we see, hear, feel, experience. Take the song, ‘Better Life,’ that’s very much me, very much how I think. It’s important to recognise yourself, be proud of yourself, be optimistic, not to always compare yourself to other people. That’s all very much me. You can always tell the songs that are me, cos they have that positive, optimistic thing about them.”

The Pandemic has made little impact on Armatrading and her music. Save for missing out on meeting friends, eating out and shopping – the normal things of life – she says she has hardly been affected: “I didn’t plan any tours this year, when the new album launched, or next year. I did a Livestream gig in July to support the launch of ‘Consequences,’ but I’ve been using technology more and more anyway in recent years. So, I can honestly say that the pandemic has had virtually no effect on me, save for going out with friends, eating out at a restaurant or shopping. I have my own studio where I work, so I just get on with it. I’ve been doing it so long now, it’s just normal for me.”

www.joanarmatrading.com

QUATRO

WHEN YOU CAN

WORDS: Iain Patience PICTURES: Supplied

Suzi Quatro is a lady with passion, purpose and power. Never one to shirk publicity, she has been a leading female music icon for longer than she cares to remember, around half-a-century and still counting. When the opportunity arose to chat with her by Zoom call at her home in England, it was something to grasp and enjoy. For the first time, Blues Matters! had the pleasure of her company. As one of my colleagues and writers here said about chatting with Suzi, ‘When you can, you can!’

Quatro hails from the USA, a fact often seemingly overlooked because of her huge, popular success as a band-leader and

YOU CAN!

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rocker in the UK. Surprisingly, perhaps, she achieved outstanding success in the UK, Europe and Australia before also bursting into the US rock charts in the 1970s. With album sales estimated in the fifty million mark, this is clearly a lady who knows what she’s dong. Quatro says her career really kicked off when she was a kid in Detroit around 1964. At that point, she had musical nous and knowledge. With piano lessons behind her, however, she was no bass player at the time. Her sister, Patti, impressed by the Beatles, had started a family band, The Pleasure Seekers. Quatro could see the need for a bass player. Determined to join the fun, she persuaded

her father, a semi-professional musician, to gift her a 1957 Fender Precision bass guitar, and set to work, mastering the instrument and chasing a career. Looking back on those days, she says:

“I was always a tom-boy, I guess. When my siblings set up the band, I so wanted to be part of it. When my dad gave me the bass guitar, things changed. I was able to play pretty quickly. I was given the bass for the band because nobody wanted it! I already played percussion and piano but someone else played those, so they

said, ‘You play bass.’ I said, ‘Okay.’ That’s how that happened. I’d had formal piano lessons; I still play keys and piano pretty well. I was trained properly in classical piano and percussion. So, I already had a sure grasp of music theory and how things worked.”

Asked about her thoughts on success and making it in the fiercely competitive UK music world, Quatro grins widely and explains: “I was a tom-boy growing up. And I never do ‘gender.’ I never, ever called myself, or saw myself as being a ‘female musician.’ It’s amazing. I have no blueprint so I had no guarantee that what I was doing was going to be successful. All I could be was who I was. It wasn’t till, believe it or not, in 2019 my documentary came out. Suzi Q had topped all the charts and I went in incognito and watched it, my first premiere. There was a question and answer session at the end, but I sort-of snuck in because I wanted to see it with an audience. To have the same experience as them. I was in tears. I was watching it in tears. And I think it was the first time it dawned on me, what I had done. Because I didn’t have an agenda when I started out. I was just being who I was. But because of the experience, I realised I had given women all over the world the opportunity to be different! I remember calling Cherie Currie, now a good friend, the old lead-singer with the Runaways, the next day and telling her this. She sort of paused and with perfect comic timing replied, ‘And you’ve just got that!’”

Known for her leather-clad stage persona and pouting sensuality, Quatro laughs when she thinks back on her early career. Rumoured to never wear knickers (a subject we don’t broach!) under her skin-tight, leather trousers, she outlines her thinking this way: “I never tried to be hot or sexy. I never tried to be one of the guys. I just did what I did, simply being who I

“I’m not just the girl in the jumpsuit with a bass guitar”

was. I guess I was truly a one-off, I didn’t have a place to fit! Even growing up, I was the same, even with my family. So, when you don’t have a place to fit, you have to find your own place. That’s where it all really comes from. You find your niche; you don’t even know you’re doing it. I remember when I first strapped that bass on, when I was about fourteen, my first actual gig, thinking, ‘That’s me. I’m home!”

Quatro recalls asking her father if he could give her an instrument to play in the Pleasure Seekers with her other siblings: “These days, people go green with envy when I tell them. He just said, ‘sure,’ and gave me, a fourteenyear-old kid, a 1957 Fender Precision bass. Just amazing. So, it was written in the stars, that I’d be a good bass player!” Quatro smiles, nods and roars with laughter, before adding, “You know, it just doesn’t get any better than that, does it? I still have it. My son forced me to use it again. So, I take it with me and use it in the studio I had it on the wall, now it’s on a stand, safe. And alongside it I have an identical looking Mandolin. They did it as a deal with my father way back then, but never made many of them.”

The weight of the bass itself crops up, as we share a laugh: “Many times, later, I’d come off the stage and want to grab something, maybe a drink or something. I’d say to my husband, ‘Here, hold this for me.’ Give him the bass and he’d just go ‘Whow!’ at the sheer weight of it. I guess I must have had just the right height and strength in my back or my shoulders to handle the thing! I’m used to it. Many years of just carrying that thing have given me big muscles and a pretty strong backbone.”

Quatro acknowledges that when she was pushing through the crowd, establishing herself as a global music name, it was difficult at times in a male-dominated industry but adds as an afterthought: “You know, I didn’t really notice it then. I think it’s just the way I’m made! My attitude to it has always sort of been, like: ‘Hi, I’m Suzi. I play bass and I sing rock’n’ roll! So, I

can be one of the boys, but I’ve never lost my femininity by being one of the boys. I do keep my little feminine card in my back-pocket and if any of the boys crosses a line - I’m usually the only woman there with the band - out comes my card! You can be one of the guys but you must always keep the respect.”

Chat turns towards the topic of sex and drugs and rock’n’roll: “I was lucky I was brought up a strict catholic. And I have a real strong work ethic. I’m so pleased with it – my mother for my morals, my dad for that work ethic. He took me aside when I was around sixteen and told me always remember when you step on that stage, whether it’s ten or ten thousand people, you give them everything. Always everything. They’ve pulled money from their wallets to pay to see you play. You owe them all. Never give less than 100%. So, I deliver, never less than 100%.”

Of course, these days, you’re maybe as likely to see Quatro playing a role before film and television cameras as playing a bass guitar on a festival stage, an aspect of her career that she is justly proud and delighted with: “I knew from a very early age that I could hold an audience. You know how it is as a kid, you play a part maybe before family or friends. Well, I knew I could do that and the room would stop and watch me. I knew I could hold an audience. I always knew I could act and almost considered going into that way back but when I chose music as my main thrust I always knew that one day I would branch out. So, when the part came along for ‘Happy Days’ I just grabbed that. I always say to people, ‘Don’t box me in.’ I am an artist. I’m not just a musician or an actor or whatever! I paint, I do radio, I have a talk-show, I write. I’ve written a musical about Tallulah Bankhead. Don’t box me in! I’m not just the girl in the jumpsuit with a bass guitar – it’s a huge part of me – but that’s not who or what I am. I did a play in the West End with Charles Dance and I had a great time on a Midsummer Murder. When something comes along that I like, I do it.”

THE BIG

TIME CLOCKS

Provogue/Mascot

ALBUMS

This latest album by Joe Bonamassa was recorded in New York at The Hit Factory. After the enormous success of his previous album, Royal Tea, Joe wanted a different feel this time around. And boy does he get it. Royal Tea was recorded at Abbey Road Studios in London and was a homage to his British blues/ rock heroes. Time Clocks has a gutsy New York street feel about it. The opening track, Pilgrimage, is a very short guitar intro that leads straight into Notches, the first single to be released off the album. This pins you back into your seat as if you were on a roller-coaster ride. The blues/rock that we have come to expect from Joe Bonamassa shows no sign of abating any time soon. The backing vocals from Mahalia and Juanita are exquisite. By now we are in full Bonamassa mode New York style. The Heart That Never Waits showcases Joe’s vocals perfectly. A slower more gusty delivery, Joe powers through this tune like a knife through butter. A lot of Joe’s solo work lands at the feet of blues/rock, but here you feel the blues from his toes up. One thing is for certain, you can’t take the blues out of this boy. The title track, Time Clocks, starts off quite slowly and melodically then builds into an almost ballad type anthem. It twists and turns between a rock anthem and an epic story. Joe’s voice has never sounded better than it does here, one of Joe’s finest vocal accomplishments to date. Questions And Answers, as with Time Clocks brings out the best in Joe’s vocal range. This is not just an album of searing guitar work, it has a different story to tell. Yes, the guitar work is as good as it ever was, but the vocals and lyrics have stepped up to an even higher level than on previous albums. Hanging On A Loser will be a fantastic song to perform live. So bluesy with the intro of boogie piano, a quick shuffle into funk with a hint of New Orleans, and a streetwise New York gutsy rhythm thrown in for good measure. This is what sets this album apart from previous Joe Bonamassa albums. The sheer diversity of it all. It’s impossible to pick my favourite Joe Bonamassa album, but Time Clocks brings something different to the table. It can easily stand shoulder to shoulder with anything that has gone before. Know Unknowns closes the album in fine style. This album has everything. It is one reason among many others as to why Joe Bonamassa is the king of the blues hill.

STEPHEN HARRISON

ADAM SCHULTZ

SOULFUL DISTANCING

Blue Heart Records

The name may be familiar if you heard Clarence Spady’s recent release Surrender, as Adam contributed to that disc. A protégé of Clarence’s, this is Adam’s debut album. Adam sticks to guitar, vocals being shared between Clarence, Michael Angelo and Ekat Pereyra. The covers start with two familiar tunes, Johnny ‘Guitar’ Watson’s 70’s funk anthem A Real Mother For Ya which is played in a smooth style with bubbling bass and intricate guitar work, and Louis Jordan’s slinky Early In The Morning which opens with Adam’s delicate fingerpicking and space for Tom Hamilton’s sax to shine. Who (Who Told You) was recorded by Little Walter in 1956, piano working well in tandem with the guitars. Clarence puts on his soul shoes for a

great version of Tyrone Davis’ Can I Change My Mind, Adam catching the soul vibe with his fine guitar work, all well supported by organ and horns. Mel London’s Cut You Loose is given an R&B makeover with the organ well to the fore and a spiralling solo, while Roosevelt Sykes’ 44 Blues has both piano and organ on an interesting reinterpretation of the classic blues. The originals start with a song that will be familiar from Surrender, Good Conversation, the difference being that Michael Angelo is on vocals this time, rather than Clarence. It’s an impressive song with gentle lyricism in the music and positive lyrics about the role of talking in a relationship, the whole offering a glimpse of how mature a songwriter Adam is, even at this young age. Michael’s voice is well suited to the funky feel of Cure For The Blues and Harlem Tonight while the slow-paced Toxic Medicine has more of a blues feel. Have Some Faith is sung by Erya and contains some fine guitar exchanges in the middle section. Amazing to think that Adam was only 17 when recording started on this disc which was delayed by Covid (hence the album title). I expect that Adam Schultz is a name we will see more of in the future.

JOHN MITCHELL

“It’s impossible to pick my favourite Joe Bonamassa album, but Time Clocks brings something different to the table.”

“Amazing to think that Adam was only 17 when recording started on this disc”

THE STORY OF JIMMIE VAUGHAN

FIVE ALBUM BOXSET WITH 240 PAGE BOOKLET

The Last Music Company

When you receive a box-set of CDs entitled The Story Of, It can sometimes be just a mishmash of any old stuff that appears to have been thrown together as an afterthought. The Story Of Jimmie Vaughan does not fall into this category. Ninety-six tracks in total spread over five Cds accompanied by a 240-page booklet with many unseen photos charting the life in pictures of one of the blues legends that we are lucky enough to still have with us. Throughout the five CDs, we are treated to collaborations with The Fabulous Thunderbirds, Jimmie’s solo work, and duets with some of the biggest names in blues folklore. The box- set also features previously unheard material and some absolute gems of live tracks. CD1, as you may guess kicks off the early years of Jimmie with The Fabulous Thunderbirds.

The first track, Please Don’t Lie To Me, lets you know exactly what you are in for, in terms of blues music at its finest. From 12-bar blues to boogie, to R n B this band pound out tune after tune of high quality. I have often wondered why The Fabulous Thunderbirds didn’t have an even bigger following than they did. With Kim Wilson on vocals, Keith Ferguson on bass, and of course, Jimmie playing lead guitar, you have the nucleus of a band ready to rule the world. Can’t Tera It Up Enuff, fully encapsulates what this band is all about. True blues with a sprinkling of boogie is so simple but oh so effective. I adore this track. As well as blues and boogie, this band also delves into rockabilly and 50s style Rock n Roll with equal aplomb. How Do You Spell Love? Is probably my all-time favourite Thunderbirds song, so I was pleased to see it included on this box-set. CD2 has more from the Thunderbirds, and also duets between Jimmie and the likes of Albert Collins on Cold, Cold Feeling.

Two giants of the blues combining to produce a wonderful song with guitar playing that quite simply takes your breath away. Add to that the first of many collaborations with long-time friend, Lou Ann Barton on Sugar Coated Love. The last two tracks, Good Texan and D/FW are performed by The Vaughan Brothers. What a way to end CD2. Album 3 sees Jimmie as a solo artist with songs such as Boom Bapa Boom, Cool Lookin’ Woman,

and his version of the classic, Texas Flood. Then there are some of the greatest line-ups of blues legends that have ever made it onto an album, albeit in a live setting. Six Strings Down includes Jimmie, Eric Clapton, Buddy Guy, B B King, Robert Cray, and Dr. John. Now that is a heavyweight line-up to end all line-ups. The song itself is done superbly.

When you get a collection of musicians such as these you can sometimes lose the song in the gathering. But not here. This is one of the finest blues tunes I’ve heard in a long time. That’s what is so special about this box-set. It revives memories that you may have forgotten and brings them back as if it’s the first time that you have heard it. SRV Shuffle contains the same line-up. Oh, what a fitting tribute to a legend. CD4 sees Jimmie paired with John Lee Hooker on the opening track, Boom Boom. Another testament as to a song being given new life with the addition of Jimmie Vaughan. Bad Boy features Charlie Musselwhite on harmonica and vocals.

I’d forgotten just how good this track is. Jimmie and Charlie blend so well together here, that I have to say it’s one of the standout tracks, if that is at all possible, on this amazing box-set. I Hang My Head And Cry, and What Makes You So Tough, highlight just how good Jimmie is as a solo artist. CD5 is mainly taken up with some superb live cuts, some of which have never seen the light of day before. Wine, Wine, Wine with Billy Gibbons sees two of Texas’s blues legends trade-off against each other. Blues/boogie in all its glory. Dirty Work At The Crossroads is almost beyond words. Listening to it gave me goosebumps the like I’ve not had in a very long time. The Pleasure’s All Mine, taken from his latest studio album of the same name released in 2020 sees Jimmie alongside his long-time friend and blues compadre, Bonnie Raitt.

These two people go together like Salt and Pepper. You can feel the mutual admiration that they have for one another on this blistering live track. A couple of tracks that Jimmie has done with the band Storm also appear here, Have You Ever Loved

A Woman being the most famous one. All in all this box-set is so well produced and put together. You delve into the world of a guitarist, singer/songwriter, and bona fide band leader in equal measure. The 240-page booklet is one of the best that I have ever seen to accompany any compilation album.

STEPHEN HARRISON

GUY DAVIS BE READY WHEN I CALL YOU

M.C. Records

Guy Davis mixes smooth and bright melodies with social observations about life in an uncertain world on his latest stunning release. One of the world’s greatest exponents of acoustic folk blues, here he mixes Americana along with great storytelling. He wrote twelve of the thirteen tracks and is joined by Professor Louie on keyboards, John Platania guitars, Christopher James mandolin, guitar, banjo, Mark Murphy cello and upright bass and Gary Burke on drums. Badnonkadonk Train is raw stripped-down blues, referencing sex addiction. Got Your Letter In My Pocket is melodic, but subject matter is harrowing. Welcome To My World, is a political song relating to a previous government, electric guitar on this adds to the visceral language. I Thought I Heard the Devil Call My Name is a dark ragtime song sung with a gruffness that suits the song. Every Now And Then, lightens the tone, a great story. God’s Gonna Make Things Over references the Black Wall Street massacre in Tulsa 1921, poignant and harrowing lyrics. The title track is a

ERIK TRAUNER I HAD THE WRONG MOJO

Styx Records

Solo acoustic blues from seasoned Austrian blues traveller Erik Trauner with a wide-ranging mix of original songs plus a few well-chosen covers. Opening track, It’s My Own Fault kicks in with fine slashing slide guitar and heartfelt vocals. Johnny Littlejohn’s Bloody Tears features that familiar Elmo’ slide riff which still sounds so great! A cover of the Son House classic Country Blues is followed by the original Don’t Talk About The Blues as Trauner states the blues “have followed me all through the years”.

Big Bill Broonzy’s wistful and oft covered Just A Dream is followed by the humorous Piggin’ Out as Trauner tucks into “pork chop fried and greezy

ballad condemning social policies, with a melodic backdrop which flows with next tune, Flint River Blues. Palestine, Oh Palestine, deals with world conflict. I Got A Job In The City has a real bluesy shuffle. I’ve Looked Around is a ballad about being an immigrant. 200 Days is about the closing of a Mill, sung with such passion. Willie Dixon’s Spoonful is the only cover, a laid-back spiky take to this.

greens”. MMM, tasty! Jimmy Oden’s Goin’ Down Slow features greater slide guitar and then Trauner switches to harp for Keep On Walkin’ a talking blues tribute to Sonny Boy Williamson. This is authentic blues that would sound right at home in the Mississippi Delta. The comical and sprightly Junk In Her Trunk finds Trauner serenading his lady as he boasts of her “big brown fanny so shapely and round” - I think he’s referring to her bottom! Jimmy Rogers old chestnut That’s Alright comes up as fresh as a daisy and then the original Hang Ups From The Past trawls through Trauner’s troubled life and times. Closing track Goin’ Home Tomorrow is an upbeat ragtime romp as Trauner moans “I’ve been away too long” and then looks forward to falling into “my sweet lovin’ baby’s arms. Amen to that. If you enjoy old-time acoustic blues, then this could be just the album for you. Thoroughly enjoyable. DAVE

COLIN CAMPBELL

“authentic blues that would sound right at home in the Mississippi Delta”

“One of the world’s greatest exponents of acoustic folk blues, here he mixes Americana along with great storytelling”

JOANNE SHAW TAYLOR

THE BLUES ALBUM

KTBA Records

This is Joanne’s sixth studio album and for this one she has gone to Nashville Studios to record. She even got her friend and mentor Joe Bonamassa to help produce along with Josh Smith. The result is eleven tracks of differing styles and genres; play this on repeat, it just puts a smile on the listeners’ face. The interpretation of these lesser-known covers is authentic, true and the production, well it just feels like a live album.

Joanne still gets a chance to exhibit some stunning guitar licks, but it’s her vocals that are the centre point to this album and delivery of such songs like the opener Stop Messin’ Round proves this. She chose other songs, Can’t You See What You’re Doing To Me, Keep Lovin Me and I Don’t Know What You’ve Got featuring Mike Farris. Others were

MICK PINI BACKTRACK

Independent

Mick Pini has been plying his trade within the blues for fifty-plus years. He was born in Leicester, England but now resides in Germany. This album is a collection of his work that has been put together by DJ Pete Feenstra. Jumping Blues kicks off the album in some fine style. The title describes the song very well indeed. Straight out the gate, Pini hits you with the blues as if his very life depends on it. This just goes to show what happens when you have been around the blues for so long. Blues For Peter Green is a fine instrumental lament that makes you imagine Peter playing Albatross. The playing and craftsmanship of Pini shines through in a way that I’m sure Peter Green would be so delighted with. This collection has been so well thought out by everyone concerned, it makes listening to it even more enjoyable.

chosen by Joe Bonamassa and Josh Smith. These are stellar recordings, other band members include, Reese Wynans, Steve Mackey, Greg Morrow, as well as a wonderful horn section. It was always going to be a great blues album, it’s more than that, it mixes soul with a Muscle Shoals vibe, especially on If You Gotta Make A Fool Of Somebody. There are just so many musical layers here. A different choice is Little Village’s Don’t Go Away Mad, a duet from Joanne and Joe with a yin and yan vocal delivery. There is even some funky rhythm to Scraps Vignette, a short instrumental. Smoky vocals, pulsating rhythms, tight band, a superb release.

COLIN CAMPBELL

Blues Is Cheap showcases, Mick Pini, on the slide guitar. It’s such a sweet sound, one that few could match. Every song is so good, so full of the blues, that you wait with bated breath for the next track. During his long and illustrious career, Pini has had a few people that have influenced him greatly. Peter Green, Luther Allison, and Eric Clapton who claimed that Pini would have made a great substitute for Green when he left The Bluesbreakers. Standing In The Rain continues this journey down memory lane. This particular track by Pini could easily fit onto any blues album that has been around for as long as Pini has. It is that good.

The phrasing, the playing, and the overall feeling of getting lost in a blues moment that seems to last forever. As good as that song is, Got It Bad, is the standout track on the album. Not that there is a poor track, but this goes to another level blues-wise. This whole album is a lasting testament to a living blues icon. I await his next release with as much vigour as this fine album’

STEPHEN HARRISON

“Smoky vocals, pulsating rhythms, tight band, a superb release!”

BRANDON ISAAC MODERN PRIMITIVE Independent

Recorded in Vancouver, which seems to be the epicenter of downhome music in Canada, here’s an authentic, rewarding blues artist who hails from a Yukon family of blues club owners. I liked this album before I’d heard it because the rugged artwork on the smartly designed sleeve perfectly matches the aural contents.

There’s an earthy shuffling Chicago sound to the opening track, Lost Loves and Loose Women. Talk about multi-instrumentalists, Isaak has a fine, gritty blues vocal style and plays harmonica, guitar, piano and drums, banjo, lap steel and vocals. He’s assisted here by just one other player, Keith Picot on bass and backing vocals. Isaac wrote all the 11 songs. Valentine Blues is a jazzy, swinging item, and there’s some truly ethereal guitar and banjo on the moody I Wish I Did What I Said. His lyrics are both pointed and poignant, and his voice covers a range of blues emotion.

SAMANTHA FISH

FASTER

Rounder Records

Well, there’s no holding back on this album, Samantha rips up the rule book and does what she loves to do, defying genre pigeon holing. Here on these twelve tracks, there is something for any music lover. She mixes, blues with a hard rock tinge, but also funks things up with a bit of popular culture. She has collaborated with producer Martin Kierszenbaum who has collaborated with Lady Gaga, he co-wrote eight songs and certainly has lifted the power to maximum throughout this release.

There is a theme of empowerment throughout. Faster, kicks things off, what a stomping tune, grabs the listener from the start and never let’s go. All Ice No Whiskey is a powerful pop tune with subtle nuances. Together Forever keeps the up-tempo vibe. Hypnotic slows the vibe with a great bass line and haunting vocals. Twisted Ambition is about taking control and is a rocky blues tune with attitude. The inclusion of a cover of Peter Gabriel’s Sledgehammer

For example, the easy paced Walk That Road Alone, with its slide guitar blending perfectly with the percussive banjo notes, has a fine gospel feel and terrific lyrics. The final track, I Wanna Swing for Christmas is a truly happy swinging blues which could have been written at any time over the past century. All in all, this is a really satisfying CD, deceptively simple in approach but satisfyingly complex as modern blues. Canada has a lot to be proud of, and that certainly includes Brandon Isaac.

seems odd but has a funky tone. Crowd Control is a highlight, the dreamy sonic musical take just makes it special. Loud, starts slowly and then erupts to guitar drenched riffs, this features rapper Tech N9ne, well delivered, powerful song.

So Called Lover is a fast-paced tune with visceral sugar sweet lyrics and anthemic chorus, capturing a live feel. Like A Classic slows the pace with every lyric delivered sweetly with a sting though.

Another evolutionary step in her musical journey, a modern classic.

COLIN CAMPBELL

ROY BAINTON

“Samantha rips up the rule book and does what she loves to do, defying genre pigeon holing”

“Canada has a lot to be proud of, and that certainly includes Brandon Isaac”

SEAN CHAMBERS

Quarto Valley Records

Hubert Sumlin (1931 – 2011) is fondly remembered as the long-time guitarist for Howling Wolf. Sean Chambers played with Hubert Sumlin for four years between 1998 - 2002 and describes that period as his “college education in the blues”. I recall seeing Sean with Hubert in Newcastle around the turn of the millennium and this fine tribute to his old mentor is clearly heartfelt; it is also the last album produced by Ben Elliott who died soon afterwards, so a double tribute. The title is a phrase that Hubert often used when talking with Sean. Sean handles the guitar and vocals, well supported by Bruce Katz (and John Ginty on two tracks) on keys and a rhythm section. Of the 11 tracks 9 come from the Howling Wolf repertoire (Rockin’ Daddy, Louise, Forty-Four, Sittin’ On Top Of The World, Goin’ Down Slow, Do The Do, Hidden Charms, Taildragger, Howlin’ For My Darling), the last four written by Willie Dixon. The two excep-

CHRIS CORCORAN INFERNO

Shack Records

tions are Hubert’s instrumental Chunky and Sean’s own Hubert’s Song which recounts the story of how Sean came to play with Hubert and just how he felt about his mentor: “Thank you Hubert, you taught me how to play the blues, now we sure had fun”. Sean’s muscular guitar is all over this album and guitar fans will love all those riffs and searing leads, but his gruff vocals also suit these songs perfectly, making a very satisfying listen throughout. Highlights include the slow blues Taildragger on which Sean unleashes some searing licks on guitar, a barnstorming version of Hidden Charms with Katz’s organ solo the icing on the cake, Sean’s wild slide on Do The Do and a compelling Howling For My Darling, this time with Ginty on organ over Sean’s insistent rhythm work. This is one of Sean’s best albums to date and anyone who enjoys Howling Wolf material should enjoy Sean’s interpretation of these classic tunes in tribute to the man whose guitar was an integral part of the Wolf sound.

JOHN MITCHELL

Inferno is the latest release from the finalist for ‘Blues Instrumentalist of the Year’ in the UK Blues Awards 2021, Chris Corcoran and is, as you could reasonably expect, an instrumental album of guitar-based tracks around that lesser visited theme in the blues world, Dante’s Inferno. This sounds like a heavy philosophical academic topic, which might head towards self-indulgent, introspective noodling, but, fear not dear reader, the album is a collection of original tunes with a sixties quirky feel to it. The musicians featuring on the album are Chris on guitar, accompanied by various artists on bass, drums, keys and percussion with Claudio Corona on Hammond organ, which lends its distinctive sound to several of the tracks, all of which were written/co-written by Chris. The opener, Made To Move has the feel of a mid-sixties theme-tune to a hip trip in an open top sports car along a French Mediterranean coastal road; in fact, the whole album has a very 60’s feel to it. This could be the Hammond organ, which provides the background to a lot of the guitarwork. (Think Cherry Wainer playing Peter Gunn in 1966. If you haven’t seen this, why not?) Lost Souls has a rumba beat and the sixties-style Hammond organ sound is further enhanced by the cheesy drumbeat, keeping an upbeat rhythm. Dark Tones dispenses with the organ, but maintains a hollow, suspenseful atmosphere with some jazzy style guitar. Twang of Rage starts off like an early Animals/Rolling Stones track with a hint of Walking the Dog and maintains the groove with the twang of the guitar competing nicely with the keyboards in a jolly little bluesy number. Future Time is a slightly hypnotic/robotic tune, which marches inexorably towards its conclusion. Headstrong conjures up a vision of hip chicks and cool guys doing strange dancing in a London cellar bar in 1966. The whole album has captured a cool 60’s vibe and would create the perfect ambience for a 60’s themed soirée or just nice, easy to listen to guitar & organ bluesyjazzy music.

Steve Banks

THAT’S WHAT I’M TALKIN’ ABOUT –TRIBUTE TO HUBERT SUMLIN

“This is one of Sean’s best albums to date”

GUY VERLINDE STANDING IN THE LIGHT OF A BRAND NEW DAY

R & S Music

Famous for an endearing and enduring fictional detective, exquisite chocolate, and outstanding architecture, Belgium also finds itself as a country placed on the blues map by its native son Guy Verlinde. Guy’s latest waxing could have been recorded anywhere in the southern states and at any time over the past 50-60 years such is its authentic resonance. There’s a bordello of sounds arranging themselves here that will strike a chord and bang a drum with blues aficionados. The smoky Tom Waits ‘Closing Time’ album period feel to Caroline Brings and the New Orleans style brass and rhythms on I’m Your Man also add depth and range to this accomplished release. The roots elements also flourish across this crowdfunded release with flowing banjo on Up On A Mountain and a heady blend of African

DWAYNE DOPSIE SET ME FREE

Louisiana Hot Records

Dwayne Dopsies’ roots are embedded in Zydeco music. He belongs to one of the world’s most influential families from Louisiana. He’s the youngest son of Rockin’ Dopsie and has helped evolve Zydeco with his own twist of seasoning, there’s blues, soul and Zydeco on this newest release with his band The Zydeco Hellraisers. This has a nonstop Louisiana party feel. This was recorded in Fat Tone Studio, Luling, Louisiana, get your dancing shoes on and join the fun, this is full on toe tapping music. All the music and lyrics were composed by

rhythms and blues slide guitar coming together on Both Sides Of The Blues. Guy’s voice also adds a gravitas of emotion to the well thought out and informative lyrics. There’s even a putative dance track as Surrender To The Groove blindsides the listener and works well among the overall sonic picture Verlinde colours in blue sound. Yet it’s the pull of New Orleans and the jazz blues hybrid arrangements that Verlinde clearly loves. As much is evidenced on the eye-catching titled Karma’s Gonna Kick Your Ass containing piano and slide guitar interplay that has the last laugh both musically and existentially on this charmingly crafted cool recording.

Higher

Me a great groove to this one. I Give It To You exemplifies Creole crossover release for these uncertain times, just magical.

Dwayne, aka Dwayne Rubin, except for one. Dwayne plays toxic accordion and vocals; Paul Lafleur on washboard; guitarist Brandon David; Tim McFatter on saxophone; bassist Dion Pierre; Kevin Minor on drums. His brothers Tiger, Anthony and Rockin’ Dopsie Jr. appear as special guests on several tracks including a cover of the Guitar Slim classic The Things I Used To Do in tribute to their father. He wants to take Zydeco and try to put it in the mainstream. With heartfelt songs like the title track Set Me Free and swampy blues tunes like Take It Higher and Louisiana Girl he’s keeping the rhythm going through this release. Shake Shake Shake is evocative of the old juke joints and a doft to tradition. Nobody Gonna Love Me is a highlight, a styles. A feelgood COLIN

PAUL DAVIES

“A feelgood release for these uncertain times, just magical”

“Guy’s voice also adds a gravitas of emotion ”

KEITH SCOTT WORLD BLUES SOCIETY

Independent

The sixteen tracks on this album are all written by Keith Scott. I’ve had the pleasure of listening to Keith’s stuff before so I knew that I would enjoy this album. What I didn’t realize was when I started to listen to this album was just how much I’d enjoy it. This is one of those pure blues albums that you have been waiting to hear for a long time. The opening track, Down That Road, certainly sets you on the right path. Based in Chicago, Keith Scott has the blues coursing through his veins and this is so evident even from the first track. Lonesome Blues is a lovely acoustic song. Acoustic blues the way they should be played. Simple but effective, with feeling. That’s what you get right here. Ain’t Got To Suffer is the longest track on The musicians that Keith has got with him for this album are top-notch. I hope that if there are tour dates to accompany this album that they can all go out and

MEDICINE HEAD WARRIORS OF LOVE

Living Room Records

Upon the first play of this album, I had to do a double take on the album cover, because I could almost swear that I was listening to a Tom Petty album. Of course, that isn’t the case, but comparisons are going to be inevitable, if a little unfair. For a start, there’s not so much emphasis on the rock side of things, giving a purer blues experience, which is no bad thing. All songs are written by John Fiddler, who is the driving force behind the project, inviting a host of musicians to help

play with him. They are so tight and on it. Used To Be would not be out of place on a John Lee Hooker or Skip James album. In my opinion, it is the stand-out track on the album. That’s slightly remiss of me to say so, as the whole album is so high-quality in blues terms. The group of musicians that Keith has around him on here is top-notch. I just hope that if there are any gigs to accompany the release of the album that they can all go to play with Keith. They are such a tight band. Shoreline Blues is a short instrumental. It kind of reminds me of a mountain stream in wideopen spaces and no one for miles around. A very laid-back easy feel sort of track. The feel that Keith has burst through lyrically and musically. A guy who understands the blues and what they are all about. All in all, this is a magnificent album. It will adorn any blues lover’s collection. Just buy it.

STEPHEN HARRISON

with the recording, and the result is a realisation of the vision he had from the beginning. Guitar-wise, there’s a variation of clean and dirty tone across the board, all played with feeling, and every guitar solo is beautifully crafted, and caresses your ears as well they should. Musically, there’s a whole lot of talent on show, and with the vocals laid over the top, it rounds out the whole package. When I first played the album I liked it a lot, but after several listens I loved it, because the more you listen, the more you discover. To put it quite simply, this is a stunning blues album that is worthy of anyone’s time.

JON SEYMOUR

“It will adorn any blues lover’s collection”

“To put it quite simply, this is a stunning blues album that is worthy of anyone’s time”

THE BARDOGS SOUTHERN SOUL

Bad Reputation

I’m guessing like most of you I had never heard of The Bardogs. In big print at the top of the press release it says ‘The Indonesian Allman Brothers’. Mmm…we’ll see I thought. Well, this is a damn good release from a very talented band. They started life as a 3-piece band in West Sumatra before re-locating to Bali two years later which exposed them to a wider international audience. Along the way they grew into a 5-piece band and honed their skills as performers and writers. I believe this album was originally released in 2019 and now made available globally by French label Bad Reputation. No expense spared of the plush artwork and sixteen-page booklet. First track Sail Away sets the tone, super clear production, crisp vocals, great Hammond Organ, As expected steeped in Southern vibe, of the USA kind. Step Back opens with a kind of prime Eagles intro, dripping melody and harmony. Reality is next, twin guitars leading into a lazy feel-good song, wind, oceans, beaches and waves. Sounds corny but the band pull it off and it doesn’t sound smaltzy. It’s Over one of the longer songs, over six minutes, and the musicianship gets more serious too. Some super guitar and keys interplay throughout. Ain’t Gonna Look Back is a road trip song, nicely executed with lots happening musically. Colorado is apparently a big live favourite with fans, and it has a super Southern pace and feel about it. Corona is beautifully laid back, all reflective and plaintive. Misunderstood is another of the long tracks, Aulia Rahman proving a top-notch vocalist, as he does all through the album. There’s lots of light and shade, keys and guitars come to the fore at different points. After Midnight is perhaps the most Allman sounding piece, apart from the production it is timeless, simply good music that could be from the 60’s, 70’s or now. Loving You is listed as a bonus track so might be an indication of new material, if so, I look forward to hearing it.

STEVE YOURGLIVCH

TOMMY CASTRO PRESENTS:A BLUESMAN COMES TO TOWN

Alligator Records

Tommy Castro’s seventh album on the Alligator label is his most authentic blues one to date. This is a blues odyssey of thirteen stunning tracks composed by Tommy and his producer and drummer Tom Hambridge. It tells the story of a young man influenced by the blues genre who learns guitar and goes on the road seeking his fortune.

Each song is delivered with an honesty and passion. A stellar tight band comprising also of Rob McNelly on guitar, Tommy MacDonald on bass and some astounding keyboard work from Kevin McKendree. It opens and closes with the song, Somewhere, setting and closing the story, Jimmy Hall on harmonica blending with the snarling slide guitar riffs. It’s the soul blues vocals that are the focus through this release. Title track is a blistering tune with great rhythm and harmonies. Child Don’t Go has Terrie Odabi duetting on vocals on a rocky blues tune with Gospel tones. You To Hold On To slows the pace

down. Hustle, sees funk coming in and fine horn arrangement by Keith Crossan, great groove. I Got Burned is a shuffling blues tune. Blues Prisoner is a highlight, slow blues with passionate vocals. Another is Women, Drugs And Alcohol a hard driven blues rock tune with heavy bass.

Draw The Line has steady guitar riffs. I Want to Go Back Home infuses soul throughout. Bring It Back is full of swampy slide and gritty blues tones.

TOMMY CASTRO

COLIN CAMPBELL

“Each song is delivered with an honesty and passion. A stellar tight band!”

MELISSA ETHERIDGE ONE WAY OUT

BMG

“Well, they say you can run but you can’t hide. I’d like to see how far I’d get, baby, if I tried” exclaims the opening lines of the title song

One Way Out on this time capsule of a time capsule new release of ‘oven-ready’ unreleased songs from an aborted box set project. Melissa Etheridge has been running slap-bang into superstardom for a considerable time since she left her native Kansas and she’s never hidden or shied away from taking a stand and making one hell of a melodious noise for what she believes in. The hard-rockin’, floor-shakin’ opener finds her laying down her musical aces on the table from the off as Cool As You Try unfolds an infectious bluesy riff that earworms with its hip-shaking vibe. Although originally recorded in 2013 for an Island Records box set, these songs were written in the late 80s and early 90s and I’m No Angel particularly reminds of Melissa’s early albums with its astute relationship observations singed by the flame of destructive romantic entanglements.

The spoken word intro and John Lee style stomp on For The Last Time grooves and grinds with a classic blues-rock feel with Melissa blowing harmonica as though possessed by the spirit of Little Walter. There’s also a truckload of poignancy at play on this recording as Melissa got her band back together that originally recorded these tunes at Henson Studios in LA back in 2013 and Fritz Lewack, John Shanks, and Kevin McCormack pay her back in spades. Creating a song about her febrile attitude to life, the passionate That Would Be Me reveals Etheridge in confessional mode with more keening mouth organ and howls than a musical pack of wolves. The ballad Wild Wild Wild closes this selection of studio cuts with a country-rock number that possesses a big personality. Etheridge’s voice has never sounded so good on this redux of new numbers and her band back her up to the hilt with superb and innate musicianship. To round off this turning of the rear-view mirror record, the two closing live tracks You Have No Idea and the personal and apposite Life Goes On completes a simply stunning gift of songs to the world.

PAUL DAVIES

BRAD VICKERS & HIS VESTAPOLITANS THE MUSIC GETS US THRU Man Hat Tone

Dumb Like A Fox is the opening number on the album. For me, it has a 50’s style vibe around it. Sort of in-between rockabilly and 12-bar blues. A very enjoyable mish-mash of styles to gently ease you into the album. Take It Slow, is an old Jimmy Reed number that is brilliantly executed here. The subtle harmonies of the vocals, guitar, and harmonica creep up on you. Brad’s voice is like velvet. Distinctive with a smooth mellow tone. After just a couple of tracks, this album is appealing to me on every level. What makes this album different is the twists and turns that it takes musically without losing direction. The introduction of sax and tenor sax adds something that some albums are sadly lacking. A jazz/ blues swing album with a huge amount of master lyrics. This whole band ooze charisma. Big Wind features Margey Peters on vocals, she also wrote the song. This is a marvelous tune that includes a wonderful piece of violin from Charlie Burnham. The whole album is so warm and friendly. Nothing harsh or brash, just a fine bunch of musicians that are tight and on the same wavelength. Title-track, The Music Gets You Thru, is lively, get up and boogie tune. Not only does Vickers have an outstanding vocal in his repertoire, but he’s also very adept with the guitar. There is nothing not to like about this album. Nothing. Grab My Car Keys, is another Margey Peters tune with her taking over the vocals again. Brad Vickers accompanies her with an exquisite bottleneck guitar solo that oozes over you like a warm blanket. This is not your typical blues album as such. It’s impossible to pigeonhole this album. It has blues, jazz, swing, and everything in-between. What it does have is class, in spades. When I Am Drinking is a nod and a wink to the blues legend that is J.B Lenoir. He wrote this tune, and I’m certain that he would be very happy with the version that adorns this fine album. The Music Gets You Thru has hit the right note here.

STEPHEN HARRISON

TOBACCO ROAD BLUES BAND PAPA LEGBA South End Music

This is a band that I would very much like to see live, I ‘m pretty sure they would play up a storm. On record they are tasty as well. They describe themselves as Blues/Country Rock and most of the tracks fall into one side or the other but there is less crossover that you might expect. Based in Austria they are successful on the European circuit and, as you might expect, especially in Austria. This album had its fair share of problems in its development. The drum, bass and Hammond parts were recorded in the studio before Covid struck and threw the project into disarray and that forced the band to become creative, recording in home studios and using the internet to link the various parts together.

Considering the number of guest artists from as far away as Nashville, Dallas, Berlin and Trieste the work needed to piece this together deserves kudos, especially as you really cannot hear the joins. Where, for me, his is less than totally successful is in the songwriting. All the tracks were written by the band and there are some gems here, especially Ten Nights In A Bar Room which rocks well but songs such as Maybellene and Hurdy Gurdy come over in a fairly generic rock & roll manner which works really well in a live environment but less well in a domestic setting. The quality of the playing is generally excellent, and Mike Diwald and Peter Prammerforfer share vocals very well as well as sharing guitar duties. The rhythm section of Christian Egger (bass) & Klaus Sauli (drums & percussion) is fine, driving the songs forward well. There are a few tracks I really did like, Lay Your Burden Down has a classic early blues/rock groove while Count Me In has a tight and funky feel to it. The title track, Papa Legba Cross My Way, has an intense darkness to it and probably the best guitar work on the album. Overall, a good album, well worth getting a listen to and one you would almost certainly buy at a gig.

ANDY SNIPPER

ROBBEN FORD PURE

Ear Music Label

This is Robben Ford’s first fully instrumental studio release since Tiger Walk in 1997. Here, the guitar virtuoso blends jazz, rock blues and more. He is joined by some noted guests Nate Smith and Shannon Forest included. It was recorded in co-producer’s Casey Warner’s Purple House, ironically the title of Robben Ford’s last release. This starts with a short introduction to the title track Pure, full of sonic guitar and drum takes. White Rock Beer…8 Cents, is a blues shuffle in the Freddie King style.

Additional saxophone interplay from Jeff Coffin and Bill Evans adds something special. Balafon is amazing and has blues, soul and Latino influences, crisp delicate tones. Milam Palmo has sweet ethereal jazzy blues tones to it, a pure delight to hear. Go, has a sophisticated song structure with hypnotic trance interludes and melting bass line adding to the mix, the style changes throughout this track. Blues For Lonnie Johnson, is a true homage to

a fellow virtuoso guitarist and has a real intricacy of chord changes, again saxophone backing lift this to different levels. A Dragon’s Tail is just so complicated in style, it has so many layers, suffice to say the solo part is breathtaking and the bassline is the driver. Pure, the title track continues the intricate nuances and is a rocking tune. Final track, If You Want Me To, has a funky blues vibe. Masterful guitar work, this is the essence of Robben Ford the musician, purely mesmerizing.

COLIN CAMPBELL

“Masterful guitar work, this is the essence of Robben Ford the musician, purely mesmerizing”

T BELLY I NEVER WANT TO SEE ME AGAIN

Independent

It’s not very often that you get sent a CD to review that has been written and recorded by a guy who is currently the lead singer/keyboard player with a glam-rock group that has been performing for over fifty years, but this is exactly what I have here. The glam-rock band is Slade, and the person in question is Russell Keefe, singer/songwriter, and producer of T Belly. This is not a typical blues album as you would normally expect. It has blues, blues/rock, and a couple of easy listening ballads. Never Me Crawl is the opening track; the gravelly vocals of Keefe emanate from the speakers as a man possessed. But they are very bluesy, as are the lyrics. Throw in a violin and a cello, and you see what I mean by it not being a typical blues album. Tired Of Listening Bone, kicks you in the groin from the first note. Keefe’s vocals bring the blues to this blues/rock tune, and the addition of the

JOHNNY TUCKER & THE KID RAMOS ALLSTARS

75 AND ALIVE

Blueheart Records / Highjohn Records CD

We need never worry about the durability of the blues when we have line-ups like this. Forget the ‘75’ element; Johnny Tucker has one of the most agelessly energetic, powerful blues voices, the kind of vocal pipes you’d experience on great late 40s records by giants like T-Bone Walker or Bobby Bland. Just listen to him pour his massive heart out on There’s A Time for Love and the big, meaty and bouncy What’s The Matter and

harmonica courtesy of Will Wilde backs up Keefe’s blues growl with subsequent fervour. The harmonica tears through this tune like an Italian Supercar on the Autobahn. Freaky Boys And Freaky Girls brings out such a stunning vocal performance from Russell Keefe. It reminds me so much of the late great Louis Armstrong. I mean that with all sincerity and adoration. His work on piano/Hammond blends so well with the vocals and lyrics. It has a jazz/blues feel that is so invigorating. Wonderful tune. The title track, I Never Want To See Me Again has Dennis Dunaway, of Alice Cooper fame guesting on bass. The backing vocals from, Annie, Liva, and Arielle are brilliant. What You Gonna Do brings to an end this fascinating album. Not strictly blues or strictly blues/rock, more of a bit of both with subtlety and bravado. Think outside the box. Great blues vocals, great rock vocals, and an all-around brilliant album. This blues purist is impressed.

STEPHEN HARRISON

you’ll get a real buzz, because on this album you also have some of the finest musicians in the business , all of whom deserve to be listed, Kid Ramos on guitar, Carl Sonny Leyland, piano, John Bazz, standup bass, Jason Lozano, drums, and on harmonica the legendary Bob Corritore, who brightens up my Facebook surfing every week with his collections of terrific blues archive photography. The brass section is arranged with rugged soul efficiency by Ron Dziubla. Kid Ramos gives us a fine homage to Earl Hooker on Hookline, and another nod of respect to Albert Collins on Snowplow. Recorded on Johnny’s 75th birthday on October 17, 2020, this is a fine blues album with something for everyone. You want Memphis Soul? It’s here with Gotta Do It One Time, and Ramos sparring with Corritore on the Texas blues Dance Like I Should encompasses everything a true blues fan could wish for. In addition, the artwork for the CD and the informative 12 pages of liner notes makes this a precious package. 75 and still alive? Just proves the adage that ‘age is just a number’. Terrific stuff.

ROY BAINTON

“Great blues vocals, great rock vocals, and an all-around brilliant album”

“75 and still alive? Just proves the adage that ‘age is just a number’”

ALTERED FIVE BLUES BAND HOLLER IF YOU HEAR ME Blind Pig

This is the sixth album by this Milwaukee band and the second produced by Tom Hambridge. The quintet is based round the strong, soulful vocals of Jeff Taylor and the album is all-original, guitarist Jeff Schroedl being the main writer, contributing to all 13 tracks: Jason Ricci guests on harmonica on five tracks. The band offers a full package of styles, Taylor demonstrating his strengths as a singer throughout, not least on the slow blues Holding On With One Hand, with rolling piano from Raymond Tevich, aching guitar from Schroedl and harp counterpoints from Ricci. In contrast Full Moon, Half Crazy is a pounding rocker with swirling organ and bluesrock guitar and If You Go Away (She Might Come Back) is a fast-paced, slide-driven piece with Ricci and the rhythm section of Mark Solveson (bass) and Alan Arber (drums) working overtime. The title track swings like crazy as Taylor offers his services to anyone who has had a tough week at work, so people may well be Guilty Of A Good Time, a swampy feel to this one as Taylor sings of “dice, Jim Beam and ice”.

The fat cats are criticised in All Suit, No Soul, a co-write between Solveson, whose funky bass is central to this one, and Schroedl who lets loose on guitar mid-tune; the same pair combine on the final track which gives a Big Shout Out to some of those “who built the blues, they all paved the way for me and you”, Ricci again stealing the show with a fine solo. Taylor suggests that he is far from reliable on the soulful Leave Before I Let You Down, also suggesting that we should all “live it up sometimes, all In The Name Of No Good” and is cynical about his love life: “Women like my love, I tell ‘em all they’re the one for me. I got a Clear Conscience, Bad Memory”! With no weak tracks this is a solid album to enjoy.

LOVE ON THE ROCKS

BMI

From the opening, Accapella Keep On, Lauren Anderson shows that she is a talent to listen to. With a voice redolent of Janis Joplin, Joss Stone, and Nina Simone, with the raw vocal power of the best blues shouters, and the vocal ability of jazz singers, Anderson has gathered around her a fine band, that do the nine songs on Love on the Rocks justice. Track two borrows heavily from Feelin’ Good but adds some pathos to the power, and Back To Chicago blends rock sounds with some driving bass and drums. Lead guitarist Jimi Greene leads from the front but doesn’t get in the way of the vocals or the rhythm, and the strings of Jon and Liz Estes add colour to many of the tracks, whilst guest guitarist Mike Zito adds his patented sound to Back To Chicago. The Way I Want is an upbeat raver, with rhythm guitar and keyboard dancing closely with each other. Slower, softer songs, such as Holdin’ Me Down, add a Middle Eastern flavour, and a dance beat, a subtle blend of old attitudes and new sounds. I’m Done takes dancefloor funk wah-wah guitar and bass and adds in Stax rhythms. Stand Still is the slowest song on the album, with elements of Curtis Mayfield, and the lowest and most gravelly vocal performance, with a moodily empathetic acoustic guitar, and album closer Your Turn is a piano-led ballad. This is a great little album, which skips through many different moods.

BEN MACNAIR

JOHN MITCHELL

“a subtle blend of old attitudes and new sounds”

THE CHILKATS CHILKAT NIGHT OUT

Timezone

Back in the 80s, the sound of jiving, jumping blues really took off after decades of neglect and California’s harp players merged it with the sound of more mainstream blues too. A four-piece outfit from Hamburg in Germany, The Chilkats seem to be well aware of this, as ‘Early In the Morning’ has that classic West Coast swing, with wailing harp by Jol adding to the fun. These guys not only look the part with their suits and ties - but they also certainly sound it. Take a listen to the opening (and title) track as the band announce their intention to give us all a good

RODD BLAND AND THE MEMBERS ONLY BAND LIVE ON BEALE STREET: A TRIBUTE TO BOBBY ‘BLUE’ BLAND

Nola Blue

If I were asked to name the finest male vocalist black America ever produced, the late Bobby Bland would be my unhesitating and instant choice. Normally categorised as simply a ‘blues singer’, he was in truth more than that, as demonstrated by his foray’s soul, jazz and gospel, readily available on cheap reissues. Rodd Bland does his old dad proud with this tribute CD, capturing the spirit his father’s work in a live performance at BB King’s famous club in Memphis while eschewing slavish imitation. A drummer by trade, Bland junior leads the band from behind the kit, as three guests recreate his father’s magic. Interestingly, the big hits, from Farther Up The

time and front man Hendrik Frommhold takes off on one of those patented swinging blues-jazz guitar solos, then there is ’Take The Elevator’, nicely poised on the half-way line between swing-blues and early rock and roll. ‘I Feel Fine’ has something of that film noir feel to it, listen to it and you’ll know what I mean - and it leads into the rather fine shuffle of ‘Come On Home’, richly laden with swing-blues guitar licks again. ‘Dancing With My Baby’ is a slow blues with hints of vintage Otis Rush and Buddy Guy, which reminds me to note that Boris Borisov on drums and bass player Giancarlo Pace can swing, rock, or get low-down, as required. The set finishes with the authentic jazz-blues of ‘Still Madly In Love With You’, very T-Bone Walker-ish in the guitar work! The album was laid down live in the studio, but at times I had to check I was only listening to a quartet. This is generally a joyful and supremely swinging set that certainly deserves a wide audience.

Road from the 1950s to 1970s standard Ain’t No Love In The Heart Of The City, are given a miss in favour of lesser-known material. Best vocal performances to my ears were from Jerome Chism with his renditions of I Wouldn’t Treat A Dog (The Way You Treated Me) and Get Your Money Where You Spend Your Time. Chris Stephenson perhaps comes closest to Bobby in timbre on his reading of Up And Down World, while Ashton Riker takes on jazz standard St James Infirmary. None of the musicians put a foot wrong, although Marc Franklin and Scott Thompson on trumpets and Kirk Smothers on sax deserve a shoutout for being the perfect kick ass brass section.

DAVID OSLER

NORMAN DARWEN

“Rodd Bland does his old dad proud with this tribute CD”

“This is generally a joyful and supremely swinging set that certainly deserves a wide audience”

RAPHAEL WRESSNIG & IGOR PRADO

GROOVE AND GOOD TIMES

Austrian born Raphael Wressnig is a superb and renowned B-3 Hammond Organ player who has released in excess of twenty albums across Europe either as a solo artist or jointly with other musicians. On this album he is joined by Brazilian Guitarist Igor Prado and percussionist Yuri Prado (Prado Blues band). Between them they have released an album full of funky soul and blues

GRAVELY JAMES FROM STEVE’S SHED

Gravely James Music

I always like to listen to the entire album before I read the written introduction to it, I like to see how my version of what I am listening to mirrors or differs from the actual idea behind the concept of the album and the sound the album is striving to achieve.

All the words matched this time around and I found myself listening to a 10-track album that incorporates blues, rock, soul and took me back to a time when the lyrics were a story and each individual musician was accomplished and confident, a stripped down story telling set of songs with their roots firmly placed in the blues. Previously awarded Blues Artist of the Year and

material which is predominately instrumental, the only exception being Johnny Guitar Watson’s You Bring Love which includes guest vocalist Jenni Rocha, which is an excellent version. Hearing instrumental versions of classic blues, r&b and soul songs is strange but the duo do bring the songs alive particularly on Bobby Blue’s Ain’t No Love (in the heart of the city) which benefits from the heavy and earthy B-3 sound that interplays with the subtle but sharp guitar hums that Igor creates. Their version of Bob Marley’s Soul Shakedown Party highlights the value percussionist Yuri brings to the party as his “thinner” drum playing contrasts perfectly with the deeper sound of the organ. I am astonished to find that Raphael received no formal musical training, he handles the Hammond superbly making it virtually talk and is able to lay down the classic New Orleans Soul and Blues vibe with ease. His partnership with Igor is dynamic, they push each other to their limits, the only surprising element is the lack of original material on the album with just one self-written track from Raphael. This album provides a different perspective on the blues with its jazz undertones and is a refreshing listen.

a finalist in the Toronto Blues New Talent Search Gravely James, his stage persona, has a wealth of talents from the passionate song writing/storytelling to incredible trumpet playing to teaching himself to play guitar, this guy can hold the stage in an acoustic set as well as front an array of confident and talented musicians.

With steady airplay throughout North American and a lot of great publicity so far this will be one to watch, limited for performance in 2020 and returning to the roots of old-style blues the title track From Steve’s Shed, sums up the feel behind the entire set of 10 songs. If you like your blues with slide guitar, stripped down but smooth, a clean, clear vocal where the lyrics tell a story, and the music lends the depth try this one for size

JEAN KNAPPITT

Pepper Cake Records

ADRIAN BLACKLEE

“and took me back to a time when the lyrics were a story and each individual musician was accomplished and confident”

“he handles the Hammond superbly making it virtually talk ”

Bert Dievert

I AIN’T LEAVIN’

Hard Danger Records

Bert Deivert is a deep-rooted acoustic bluesman from the USA, though he has now lived in Sweden for the better part of forty years. Widely admired for his Yank Rachell-style blues Mandolin work, Dievert is also a very fine guitar picker, singer and song-writer of class and quality. Here, with his fourteenth release, he delivers a ten-track beauty that positively highlights his strengths to the full. From working with the likes of Eric Bibb, with whom he recorded many years ago, Tom Paley, Peter Case, T-Model Ford and Charlie Musselwhite to being an integral part of the Scandinavian blues scene, Dievert has delivered a couple of equally impressive discs with Kid Man Blues in 2007, Blood In My Eyes For

BIG DADDY WILSON

HARD TIME BLUES

Continental Blue Heaven

You, 2019, and She Can Shimmy, with Libby Rae Watson, in 2020. All are outstanding examples of his talent and musicianship in the blues genre. With I Ain’t Leavin’, he is joined by his wife, Eva, a Swedish traditional fiddle player of renown and widely admired Scandinavian roots musician. Deivert’s daughter, Emmy, also lends a hand with support vocals at times – another roots musician in the Nordic region. I Ain’t Leavin’ is a truly excellent offering, full of clever lyricism, absolutely top-end picking and acoustic blues insight and quality. This is nothing short of a genuine blues gem, an album that simply delivers at every level. Fabulous stuff!

Born in North Carolina, Big Daddy Wilson (real name Wilson Blount) has lived in Germany for some years. He came to UK blues fans’ attention when he was part of the Ruf Blues Caravan in 2017 and this latest project, like so many, was started before Covid and completed by contributions from across the globe; studios in Denmark, Germany, Italy and the UK are credited. Wilson’s voice is perfect for the blend of blues, gospel and soul influences in his music, and he is well supported by sympathetic musicians, providing warm and gentle backing. Wilson pays tribute to Eric Bibb’s influence on him in the sleeve notes and Eric wrote two songs here, the impressive title track and opener Yazoo City. Both those songs sound autobiographical, but so do many of the songs here, the rest of the material mainly penned by Wilson and producer Glenn Scott who plays many of the instruments you hear, as on the title track where Glenn plays everything except slide guitar, even adding the high register backing vocals. Wilson’s faith shows in songs like Poor Black Children with its refrain of “all God’s children come from the same old tree”, A Letter in which people are encouraged to “get on your knees and pray” and He Cares For Me which appears in two very different versions. The quiet Maybe It’s Time is a reinterpretation of Mississippi Fred McDowell’s You Gotta Move (famously covered by the Stones) and it works brilliantly as Wilson testifies over acoustic and electric slide guitars. Wilson offers several songs about the healing power of love: Testimony is a lovely tune, horns subtly adding to the soulful feel and New Born reflects the wonder of a man seeing a new-born baby for the first time. Whilst most of the lyrics are serious, backing vocalist Shaneeka Simon steps into the role of Wilson’s woman who declares that she has no time to make his preferred dinner, so it’s just Meatballs in this fun duet. A thoughtful and thoroughly rewarding album.

JOHN MITCHELL

IAIN PATIENCE

“nothing short of a genuine blues gem, an album that simply delivers at every level”

POLLY O’KEARY AND THE RHYTHM METHOD 50 Independent

Some pretty big birthdays for Ms O’Keary and her pals this year, it seems, with all three of the power trio hitting the big five-o. Hence the particularly succinct title for this, the Seattle-based outfit’s sixth album.

What you get for your money is 11 original tracks, all sitting squarely within the blues and blues rock space and written to a high standard without particularly venturing outside the conventions of the genre. Band leader Polly O’Keary stands out for packing an impressively powerful

MOJO BLUES BAND SHUTDOWN

Styx Records

Highly experienced and much travelled Austrian band led by Erik Trauner on vocals, guitar and harp with their latest album featuring a mix of originals and cover versions. The album kicks off with an original retro sounding swing number Flim, Flam featuring lovely jazzy guitar licks and Trauner’s jaunty vocals. Next up is a cover of Magic Slim & The Teardrops steady rocking I’m Mad with the band playing up a storm and Trauner’s caustic vocals leading the way. We are brought right up to date with Shutdown an observation on the current pandemic situation as Trauner observes “the whole world’s standing still” and punches his point home with tasty slide guitar licks.

voice while simultaneously handling bass duties, while Dave Miller opts for guitar interventions that remain disciplined and on point. Likewise, drummer Tommy Cook keeps time in a deceptively unflashy manner.

There’s no faulting the variety of styles on offer. I particularly liked perhaps the bluesiest number on this collection, ABCs, which lyrically celebrates getting older and wiser over some clever chord and key changes. Can’t Catch Me, a song about release from cocaine addiction, allows Miller to channel his inner Santana, and there’s a nice 1950s rock n roll excursion in the form of You Better Think, with words warning a potential alkie that he needs to sober up. Opener Brand New Day is funk-inflected, while closer American Highways allows the musicians to rock out. This is a collection that needs multiple plays to get the best out of its nuances, but the quality of the work ensures that the effort is worthwhile.

In contrast Steel City Bounce is a toe-tapping, boogie-woogie piano led instrumental featuring Charlie Furthner on the hot 88’s. Eddie Boyd’s classic slow blues Five Long Years gets a lengthy workout with piano, guitar and harp all stretching out on excellent solos. The original heartbreaker Lipstick Traces On My Pillow is followed by Albert King’s rocking Why Are You So Mean To Me featuring splendid punchy guitar work and rolling piano. These guys are a great working band and know how to put the songs across without any histrionics, just classy playing and singing. Jimmy Reed’s sly, chugging Crazy About Oklahoma and oft covered Honest I Do get faithful covers complete with chugging guitar work and squeaky harp. An eerie, atmospheric slide guitar introduces the N’awlins inspired Voodoo Woman and then it’s full speed ahead for a romping cover of Rocket Morgan’s stomping You’re Humbuggin’ Me.

Country style steel guitar lights up the anthemic Walk That Bridge. The album closes with the live bonus track Do Me Up Good with a happy audience clapping along. I thoroughly enjoyed the feelgood factor permeating this fine release.

DAVID OSLER

“Band leader Polly O’Keary stands out for packing an impressively powerful voice”

Roots Music Report’s Blues album chart

EDDIE MARTIN

THE BIRDCAGE SESSIONS

Blueblood

There was a time, not so very long ago, when certain parts of the music industry looked upon “one-man bands” as something of a joke. Thankfully guys like Mike Whellans blew that idea out of the water. Also recording and performance techniques have allowed many, if not all artists,

MIKE ZITO RESURRECTION

Hillside Global

Originally from St. Louis Mike

to layer different sounds together blurring the lines of what is possible for one person to create and perform. I realise that I am in part preaching to the converted but sometimes you must put things in context. So, it is with this new release by long time blues aficionado Eddie Martin. He is a guy who has been on the fringes of my knowledge for a long time, but this is the first album of his I have ever received, and it is very good. As with countless other musicians the Covid pandemic has been a double-edged sword of no gigs but plenty of time to write and be creative at home. So, except for a cello, played by his son, on three tracks everything else is “one man band” on all fourteen tracks. Thirteen are originals plus a haunting instrumental Amazing Grace as the single cover. The songs drip with fine Blues ideas rooted in the legends and styles of McDowell, Patton, House and others. Resonator guitar and harmonica marry lyrics drawing on many events and experiences from 2020/1. Lazy Sunday with Hawaiian overtones is a perfect example of sun-drenched Blues whilst Happy, Broke And Free sums up the plight of many artists thanks to Covid. If you like your Blues as simple back porch, or street corner straightforward in style, then this is right up your alley. Explore and enjoy at your leisure.

GRAEME SCOTT

Zito is an American guitarist, singer, record producer and songwriter. new release Resurrection is an album with eight original tracks and three covers. Zito is backed by band members Zach Zito on acoustic guitar, Matthew Johnson on drums, Doug Byrkit on bass, Lewis Stephens on keyboards, Eric Demmer on Saxophone, Fernando Castillio on trumpet and Lisa Andersen on baking vocals. Opening the album with a mid tempo blues rock cover of JJ Cale’s I’ll Make Love to You, featuring good acoustic/electric guitar interplay and a gorgeous saxophone solo. Up next is Don’t Bring Me Down an anthemic foot tapping funky blues with biting guitar and vocals about social media and all its yuck. Following on is Dreaming Of You, a ballad with soulful vocals and exquisite guitar breaks. My favourite is the catchy In My Blood, with a lilting rhythm and mellow guitar riffs. Zito’s soulful vocals blend well with Lisa’s backing vocals. A rocking cover of Blind Faith’s Presence Of The Lord follows with Zito delivering an intensity to his vocals that match the fiery guitar solo. Up next is When It Rains a drum driven hard luck blues with atmospheric guitar playing and subtle horn riffs. Lifting the pace is You Don’t Have Me a mid tempo rocker that gets the toes tapping, this is followed by the slow blues Dammed If I Do. Anguished vocals are interspersed with stirring guitar breaks and horn bursts. Co-written by Guy Hale, Running Man is a fun toe tapping rocker with piano and horns providing a jaunty backing. The Willie Dixon song Evil, follows, played as a mid tempo blues rocker, a steady rhythm and swirling keys leave room for some expressive guitar playing. Zito closes the album with the title track Resurrection, a wonderful emotional and passionate soulful blues ballad played with angst. Mike Zito and band have put together an excellent album of blues rock, very enjoyable indeed

“like simple back porch, or street corner straightforward in style? Then this is right up your alley”

SWIFT SILVER SWIFT SILVER

Colonel Clay Music

With a style and sound that blends Americana, Gospel, and Bluegrass the music that Swift Silver present on their eponymously named album is a mixed bag. The ensemble of singer Anna Kline on lead, and harmony vocals, and acoustic guitar, and lead guitarist and vocalist John Looney are accompanied on the album by the Miles Brothers, Kenny and Hayden in the Rhythm section, adding colour and motion to the arrangements, all of which are originals, except for the bluegrass favourite The Fields Have Turned Brown which clocks in at more than seven minutes, a marathon effort for the band. Things start with the slow, and moody Belleville Blues, with a steady rolling groove, haunting slide guitar, and bluesy vocals to the fore.

The country like We’ve Given Up on Us has a stately mood, behind the sad vocal. Looking Back is another slow song, and Tonight, Forever Yours is a slower bluesy reflection of life with Baritone guitar pushed to the fore. Come on Home to Yourself blends, quite well elements of blues, country and progressive rock, particularly in the keyboard parts that introduce the song, but it owes more to the Rolling Stones than it does to Yes or Genesis. The only cover, The Fields Have Turned Brown is an epic reading, with soaring slide guitars, vocals, keyboards, and changes in tone, and time signature. There is something of Pink Floyd in the sound mix. We All Get Our Turn is a slow song, with a torch song sensibility. Album closer Ain’t Wrecked Yet has a warm production, and Floyd Kramer like Piano fills. None of the songs on the album are short, with most being around the four-minute mark, and in turns of tempo, a few faster pieces would have provided good contrast, making for a far more varied listening experience. However, this is mature music, made to stand the test of time, rather than to suit fleeting fashion, and is well worth a good listen.

BEN MACNAIR

ANDY LINDQUIST STAND ABIDE ENDURE

Independent

Andy Lindquist is a prolific singer

songwriter and multi-instrumentalist who has released over seventy albums in his career. Here he goes back to his blues roots. This is a stunning release from him amid troubling times for artists, he has brought out a fifteen-track masterpiece. The River Queen just explodes with references to the likes of Koko Taylor and other influences, slide guitar licks aplenty here also, a perfect opening tune. Call Of The Rooster, steadily moves on a pace. Blues Upon The Red, slows the pace with an earthy tone to his guitar playing

mixing with good vocal delivery. Even When The Sun Don’t Shine is steady country blues, Dobro the guitar of choice. No Vacation has a lilting guitar solo on this rocking tune. There’s a horn infused reggae track next, C’mon And Call Me, an interesting addition. The chorus is the thing on the rocky blues number Grey Bones, not for the purists. Swamp Thang has soul and passion throughout. Sinner In The Well has acerbic lyrics that tell a tale. Just Like A Circle has a shuffle feel, quite mellow.

The Price Of Whisky is a powerful song about the consequences of imbibing the nectar. Atlanta Burns, has an Allman Brothers take, he reigns the vocals in for this one. Why Do Flowers Have To Bloom is played on acoustic Dobro, very folky blues tinged. That Funky Soul Mud is a fun tune. Final track Twenty-Nine adds Delta Blues to the mix.

“Here he goes back to his blues roots. This is a stunning release from him!”

MARK CAMERON BACK FROM THE EDGE

COP Records

With a nod to Wolf, Mark’s high energy performance style and a rhythm section that delivers “butt shakin boogie blues” comes straight through this album from track one. Blues that rock with a no-nonsense harmonica that runs like a loose stitch through every track, this is rousing stuff, stadium stuff with the big band feel on some tracks, sexy and moody on others and Dollar For Liquor even a little spooky, each track is individual in feel and every one of those tracks delivered with musical confidence of seasoned and accomplished musicians.

Mark on lead vocals and guitar, Rick Miller on Harmonica and vocals, Scott Lundberg on bass and vocals, Dan Schroeder on drums and the powerhouse that is Sheri Cameron on sax, flute and percussion Mark has ensured his sound has depth and character and surrounded himself with like-minded and equally talented

SOUTHERN AVENUE BE THE LOVE YOU WANT Renew Records

people, With chart success, numerous awards, many album releases and great acclaim Mark Cameron and his band know exactly what they are doing, what they want to do and how to do it. Delivered with a sassy guitar, gritty harmonica, satire laced commentary and the full force of a horn section at times, this album drives home why the right words with the right accompaniment can be enthralling, help you lose yourself whilst being taken on a musical journey.

This is an accomplished album delivered at some points in a smoky nightclub style, others hypnotic slow blues and others again in an infectious groove, something for all people, all occasions, different times or a one sit album that takes you on a different journey with each track.

JEAN KNAPPITT

This is the third release from Memphis-based southern soul powerhouse Southern Avenue, who are a 5-piece soul-blues band, comprising of Tierinii Jackson on lead vocals, Ori Naftaly on guitars, Tikyra Jackson on drums and vocals, Jeremy Powell on keys and Evan Sarver on bass. The album was produced by the multi-grammar winner, Steve Berlin, who has also worked with Los Lobos and Susan Tedeschi. The album “brilliantly brings together the energy of soul power with jam band liberation and gospel blues, with righteous R&B, to craft their own timeless brand of American music” is how the band describes this offering and I’m inclined to agree. The album is given extra depth in parts with the addition of a great horn section. The album shows an impressive range throughout, but the standout feature everywhere is the lead vocal input from Tierinii, who co-wrote all the tracks along with the guitarist, Ori Naftaly. The opening (and title) track, Be The Love You Want, really shows what the band is about from the start, cowbell percussion intro, heavy riff, power drumming, soulful lead vocals, great backing vocals, heavy horn section and a hint of searing guitar work. All this happens within the short space of just over 3 mins, in a track which I’m pretty sure would turn into a brilliant extended live version. The next track, Control, opens with Voodoo Child style guitar and bongos’ intro and is another great vehicle for Tierinii’s super-smooth vocals. (This one has more than a hint of Sade.) Don’t Hesitate is a much more soulful ballad at a slower pace. Push Now is a dancier soul-blues tune, with a catchy beat. Fences is a slower blues style ballad; here again Tierinii’s mellifluent tones do more than justice to the intelligent lyrics. The funkier Let’s get it Together is a common-sense cry for much-needed harmony in the world, very much in the style of Marvin Gaye. Speaking of soul legends, Curtis Mayfield would probably approve of the groove and the sentiment in the final track, Move On. If you like your blues on the funky soul side, this album is worth a listen.

STEVE BANKS

“lose yourself whilst being taken on a musical journey. This is an accomplished album”

MALCOLM HOLCOMBE TRICKS OF THE TRADE

Need To Know

Malcolm Holcombe is one of those artists for whom the description “fine technical singer” can’t be applied. However in a similar way to other non-singers like Tom Waits, Harry Chapin and Kris Kristofferson et al, whose story telling style I personally find beguiling, so it is with Malcolm. He growls his way through this collection of thirteen tracks opening with Money Train which warms up nicely before the lively Country tinged Misery Loves Company. Crazy Man Blues is a

SNAZZBACK IN THE PLACE

Worm Discs

This Bristol based-band has released their second album, In The Place recently, I must admit that I’d not heard of them before. The first track, Alice, features local singer China Bowls. Her voice must have come directly from an angel. This opening track is a jazz lover’s dream. In fact, this whole album is so enthused with jazz, soul, blues, and hip-hop, that you do need to think outside of the box with this album. The horns on the opening track add a New York-style ambiance to the proceedings. I’m immediately enraptured by this band. As the album progresses there are guest appearances from a couple of other local artists such as Soloman B and Soss. As well as the fine vocal performances, the other thing that struck me was how brilliant the percussion was on here.

part answer to Money Train. Maybe I am reading too much into the lyrics of CMB, but there is absolutely no doubt about the direct impact of a certain former President, who was behind the disaster which is the separation of children from parents at border crossings, had and now here addressed with Your Kin. “The cops take away your children, the cops take away your kin”. “Not a chance in a man made hell, for a mother at the border wails, where’s the heart in a white man’s skin?” Brutally insightful. The dreadful events of the 1928 Florida hurricane are tackled in Higher Ground where Mary Gauthier and Jaimee Harris add their vocal talents. The plight of the poor and dispossessed is further approached with On Tennessee Land. A PT Barnum type circus reappears in the album title track. The highly descriptive and evocative Windows Of Amsterdam requires no word from me and the album draws to a close with Shaky Ground. I had previously received an electronic version of this album but so glad to now have the CD. Each listen reveals some new aural delight. For newbie’s to Malcolm’s music please take time to allow his particular skills to wrap themselves throughout your life as the rewards are great.

You automatically get an African rhythm beat pounding away underneath all this wonderful jazz infusion. Reading is another fine example of what this band is all about. If I had one gripe, and it’s a very small gripe, it could have easily used some lyrics to coincide with the magnificent musicianship. I forgot to mention that this album has been sent to me on vinyl as a test pressing.

The audio is wonderful. Vinyl certainly suits this outfit so well. Side B opens with another instrumental that has a sweet soul river coursing through its veins. I can’t think of any other way to describe it. Yum Yum and the final track, BST both feature

China Bowls on vocal duties. I would love to hear a full album with her on vocals alongside this amazing array of musicians. The piano work on BST is to die for. This whole album has made me look at jazz and soul and blues connotations in a different light. That can only be a good thing. I’d love to see this band perform live. Hopefully one day soon.

STEPHEN HARRISON

GRAEME SCOTT

“made me look at jazz and soul and blues connotations in a different light”

“growls his way through this collection ”

ROBERT

J HUNTER

NOTHING BUT RUST Independent

This is the album Robert J Hunter has been threatening to release since his debut. The made for blues voice, the powerful song writing, and the tight road worn band and experiences have all come together with the loving expertise of the Superfly studio team to create one of my faves of the year so far. Suitcase People struts into its stride right from the off, shades of Temperance Movement with hints of Free, prime time Whiskeytown and the best rock n roll bar bands in the galaxy. Robert adds harmonica and a more laid-back delivery on Good People, the perfect balance against the opener, still full of vibe and energy. Little Bit Of Your Love opens with a lone guitar quickly joined by drums and organ to great effect. Some super lyric writing

LEA MCINTOSH BLOOD CASH

Shark Park

With a running time stretching to just a couple of minutes over half an hour, this release is perhaps best described as a CD EP, but it is one that is certainly well worth a listen. Lea is a new name to me, and this is her debut release. She is a strong, distinctive and frequently sassy singer, though not strictly a growler as such, based in the San Francisco Bay area (she is also a celebrity chef), and she has recently worked

here too, as in most of the album, proving as ever it’s the songs that are most important, although for good measure Robert produces a wonderful guitar solo at the mid-point. The Losing Side is kind of a ballad but bouncy and catchy, displaying a different side to the vocal, really good. After Stir All Night, another slow burner, we have Kind Hearted Woman, loads of wonderful organ, bluesy guitar and hot rhythm. Rolling Thunder sits alongside the best Americana, blending the best bits of country, rock and blues. The album closes with Torn Down, bubbling into life with swampy guitar and swirly organ before settling into its killer groove. Robert is a force of nature throughout, but special kudos to the band, Eddy Smith is outstanding on organ, electric piano and bv’s adding real depth to the tracks, and Greg Sheffield (drums) & Joel Mayes (bass) are flawless. If you like good music of any colour buy this and go, see these guys live.

STEVE YOURGLIVCH

with J.P. Soars, honing her blues chops. On this set though she co-writes all seven songs with the excellent blues guitarist Travis Cruse, whose playing is richly varied and impressive throughout. Also showing some sterling work here are the veteran rhythm section of Myron Dove on bass and drummer Deszon Claiborne, keyboards player – particularly the Hammond organ, Eamonn Flynn, and harmonica player Andy Just, the latter on just two tracks. The songs themselves all fall into a blues bag. The title track opens with acoustic slide guitar, but quickly ups the power level, a rather chilling tale with an excellent harp break. From then on, the album ranges across the bluesy funk of ‘Blue Stoned Heart’ and the blue soul of the sexy ‘Fantasy Woman’ to the soultinged blues-rock of ‘The Fire Is Coming’ and the more traditional rhumba-blues approach of the anticipatory ‘Purple Suede Boots’. ‘Soul Stripper’ has something of a jazzy feel to it, whereas ‘Tennessee Hurricane’ is a tightly controlled slab of rock-blues, with just the slightest hint of country-rockers The Eagles. I believe there is a full album due from Lea later in the year, but don’t wait for that, get this rather tasty set now.

NORMAN DARWEN

“She is a strong, distinctive and frequently sassy singer”

“loads of wonderful organ, bluesy guitar and hot rhythm”

MOSE ALLISON

LIFE IN THE POND

Ruf Records

New release Life In The Pond reconnects the veteran with faces from his past including ex-Family multi-instrumentalist John ‘Poli’ Palmer as co-writer and producer with long-term collaborator Geoff Whitehorn guest guitar on three tracks. Life In The Pond features ten original tracks and one cover. Opening with Darkside Of The Stairs a swampy guitar intro with a rolling piano rhythm with stabs of horns and subtle guitar riffs giving off a New Orleans vibe. Next up is The Playtime Is Over, a rootsy blues with a grooving rhythm powerful riffs from piano and guitar keeps this bubbling along nicely. This is followed by Nightmare #5 an hypnotic seven minute epic, the deep pounding rhythm is supported by some good keys and horn breaks. This takes us to Rabbit Got A Gun an upbeat toe tapping piece of grooving soul funk with excellent keys and gritty harp bursts. Having Us A Honeymoon opens with a snatch of Mendelssohn’s Wedding March before barrelhouse piano and fiddle lead into a

THE COMPLETE ATLANTIC / ELEKTRA ALBUMS

1962 – 1983

Strawberry Records

New Orleans style toe tapper. Up next is a cover of the Al Wilson northern soul floor filler Snake, this is slowed down with some cool horns giving this a bluesy Stax feel. On Lavender Heights, a stripped-down beauty with Chapman using little more than his voice with a dash of keys and strings to carry a flash of tenderness. Taking the tempo back up, Green As Guacamole is catchy with some good guitar riffs from Whitehorn. Chapman takes us along a wistful journey of musical memories on the slow burner Naughty Child closing the album in fine style, at 79 Chapman’s voice is in vintage form and his musical radar more receptive than ever, old fans will enjoy this and hopefully new fans too, great stuff!

The format for album reviews is brief, deliberately, because that enables us to cover as many albums as we can, giving a fair shot to as many artists as possible. However, that does mean that a collection like this, with over one hundred tracks, comes along full justice cannot possibly be served. However briefly then, I will attempt to cover the massive breadth of output from this blues master. Allison is quite rightly deeply respected by black blues legends, not only for his deep understanding of the form, but for his unique phrasing and vocal delivery, underpinned by his sublime piano playing. Meet Me At No Special Place is as fine an example of Mose’s early jazz-tinged blues material. Stop This World is clearly blues, but Allison’s smooth vocal style takes all the rough edges off it, and the same smooth delivery makes I Ain’t Got Nothing But The Blues far more cheerful than the title suggests it should be. The third album is a live collection, just to remind us of what most of us missed back in 1965. The stand-out cut is Since I Fell For You, showing that the masterful playing and vocal delivery are as effortless on stage as they are in the studio. From the album I’ve Been Doin’ Some Thinkin’ comes Everybody Cryin’ Mercy, as down-and-dirty blues as you can get, but still given that smooth vocal and cocktail piano style, such an intriguing mix of format and delivery makes Allison so interesting to hear.

Wild Man On The Loose from the Hello There Universe album finds Mose on Hammond with a full band, and the diversity of subject matter and lyrical and vocal dexterity remain unchanged. Mose In Your Ear is another live collection, and Fool’s Paradise is so laid back it’s virtually horizontal, Mose dragging all the inflections out of the words as only he can. This is a superb collection for completists and new arrivals equally, giving the full range of the Mose Allison genius in one fantastic set of CDs.

ANDY HUGHES

SHIRL

“old fans will enjoy this and hopefully new fans too, great stuff”

BOBBY RUSH with HERB POWELL

I AIN’T STUDDIN’ YA (MY AMERICAN BLUES STORY)

BOOK REVIEW: Hachette Books

The new co-written autobiography of Bobby Rush is here. This is written from the heart and covers many life changing issues for Emmett Ellis Junior now in his eighth decade and how he took the moniker Bobby Rush. He would say it has taken him five of these decades to become an overnight sensation! Full of anecdotes of his life as a bluesman, this is a very insightful no holds barred opening of his soul to the reader whether new fan or old. Bobby tells his story in easy-to-read conversational tones that are summed up in three parts and 290 pages with a 15-page index that references people, places, and things like a Rabbit’s Foot Minstrels Show, which later saw him evolve into a favourite on the Chitlin Circuit He also talks about advice he received from fellow musicians like James Brown, Muddy Waters, Big Joe Turner, Rufus Thomas, and Ray Charles. To this reviewer particularly poignant is advice he got from Rufus Thomas in the chapter Chicago, by Way Of Memphis; he writes “Ain’t no shame in doing what you gotta do to get to where you wanna be”. From the start he likes to be clear but keeping to the narrative of not putting up with claptrap and falsehoods. “I started lying about my age when I was 12, becoming 15 overnight… and I ain’t never looked back,” he writes on page one. “If you can’t give me a pass on that, then I ain’t studdin’ Ya.” This is a reference to him gaining access to juke joints when he wore a false moustache to get in and jam with the bands at that time. He doesn’t hide the injustices of growing up in the South; nor does he let prejudices define him as a person. But, like his father and mentor, he sways great dignity that has helped him through the good times and the bad. He seems to have a secular faith in the ever-dynamic part of the American Dream, a faith that justice is worth pursuing, no bad Philosophy. In the chapter Sober Living he opines “Even in my world of the blues joints and bars, nobody ever gave me grief for not drinking and drugging…Don’t Start No Shit-Won’t Be None”.Mostly, to have a chapter named “Benefits Of Being A Bullshitter” you must admire his honesty, that’s the outstanding trait he has. A fascinating insight into the life of arguably one of the best bluesmen still around, highly recommended.

COLIN CAMPBELL

Richard M Ganter

CHESS RECORD CORP – A TRIBUTE

Upfront Publishing

This is a truly welcome arrival, a coffee-table volume, almost 200 pages bursting with wonderful period photos, coupled to brief notes and info, of most of the great bluesmen of the recent past and a few that are still with us, like Buddy Guy. Crammed with many previously unseen photos, the story covers the blues, soul, jazz and gospel years and artists with insight and at times suprising comment.

Based around the years when Marshall and Phil Chess ruled the Chicago recording roost, Chess Record Corp’ is one of those wonderful fun, dip-in-and-out sort of books. At a loose end, just flick through a few pages and your interest will be perked again, and again, and again. Muddy Waters, Howlin’ Wolf, Little Walter, Willie Dixon, Etta James, Chuck Berry, Bo Diddley, all the greats are featured together with interesting notes and comments about their presence and time at Chess Records, then easily the most significant blues-label around. In many ways, Alligator, has taken on the mantle since Chess slipped from view many years ago; featuring a foreword from Marshall Chess, former head of Rolling Stone Records, a division of the label, this is a book that should satisfy most blues-lovers appetites in spades.

ROBERT BILLARD AND THE COLD CALLS STOP Independent

Robert Billard has lived a dual existence for many years as both an award-winning architect and as a folk & blues/rock musician with a CV that includes Barenaked Ladies and Garnet Rodgers. He finally brought both hemispheres together when he designed and built Fifth Chord Studios in 2020 and his album was recorded, in the main, there. All the songs are his and he gathered a stunning group of guest musicians to support him in the recording of it, all of them stars on the Canadian Americana and Roots scene. So, what sets him aside from the dozens of superb blues

STORM WARNING DIFFERENT HORIZONS

Lightnin’ Fingers Records CD

Storm Warning have been one of those thoroughly enjoyable and reliable UK bands who often appear at most UK rock and blues festivals. Sadly, their star guitar player, Bob Moore passed away in 2020.

This album therefore is a fine epitaph to an astute and sensitive musician who knew how to frame a song. Recorded at MARS Studio in Buckinghamshire, it features Stuart Maxwell, vocals and harmonica (and writer of the band’s lyrics), Bob Moore, guitars, Derek White, bass, Ian Salisbury on keyboards and Russ Chaney on drums.

The opening song, Horizons, clocks in at over seven minutes and features Maxwell’s powerful vocals underpinned by a superb recurring guitar riff from Moore. Feeling Something is a reflective, brooding observation and features a moody organ solo from Ian Salisbury.

and blues/rock releases coming out of Canada every year? His songs are deep, touching on some dark themes and troubled emotions. His guitar playing is brilliant but the biggest attribute, for me, is his wonderful voice. His musical origins in Halifax Nova Scotia are as an itinerant folk musician, writing and singing maritime Folk tunes and the resulting voice is steeped in Folk but has an earthy quality that is very much of the blues. The album opens with Road To Nowhere and immediately you see the twin sides of Robert Dillard: his vocal is very much in the style of folk, especially Celtic folk, but it is coupled with superb slide guitar and the track builds an atmosphere that is palpable. Six Ptarmigan continues the theme, but his voice is now taking a rockier style and the track has a strong kick to it, coupled with some excellent piano from Gowan. The guitar screams and the track is an absolute gem. And so, it continues: Billard creates a powerful noise, coupled with his unique vocals and the style switches between blues/rock and more folk oriented from moment to moment. A very different artist and one with real originality.

Come On In is a terrific up-tempo blues with some interesting chord sequences supporting Maxwell’s deft harp playing and punchy vocals. Tell The Truth rides on a panzer tank of a bass and guitar riff, and the lyrical content has never been more apt in the truthless era we’re living in.

Call It Midlife will stir (in some of us older geezers) memories of Paul Kossoff and Free, but musically, with the line ‘You gotta take it easy, you gotta settle down’, this is an angry observation on the nature

of ‘growing old’. Songs such as Can’t Sleep For Dreaming, and Questions are fine examples of lyrical craftsmanship from a band who deserve much more recognition. So, let’s hear it for Storm Warning, great name, fine music. RIP Bob Moore: your legacy is in good hands.

ANDY SNIPPER

“A very different artist and one with real originality”

ROY BAINTON

“So, let’s hear it for Storm Warning, great name, fine music!”