Blues Matters Issue 139 - July 2024

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Cover image by STACIE HUCKEBA

MARCUS KING

CHRIS CAIN

FABULOUS THUNDERBIRDS

JOANNE SHAW TAYLOR

SUGARAY RAYFORD

ROBERT JON & THE WRECK

BLIND LEMON PLEDGE

BLUESICOLOGY WITH DANI

MCKINLEY JAMES

THE 45TH BLUES MUSIC AWARDS

DEB RYDER

PATTI PARKS

CORBERA BLUES FESTIVAL

ALEX VOYSEY

BIG BLUES REVIEWS

MARCUS KING

MOOD SWINGS

Marcus King has come a long way. A leading international bluesman, his guitar mastery, voice and songwriting delivery has gained global attention with concert sell-outs now a norm. We grabbed the chance to catch up with him for a chat about where he’s at and what he’s planning. With a new album, Mood Swings, he was eager to explain everything.

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Despite challenges, music remains a unifying force. Influences run deep, from Merle Haggard and George Jones to James Brown and Aretha Franklin, as Marcus explains:

“I spent hours with my grandfather listening to early Lynyrd Skynyrd, Allman Brothers Band, Hendrix. I kind of got onto it myself. I got really into James Brown, Otis Redding, and Sam Cooke.” And, he adds, “I was really influenced by the Temptations, and groups like Smokey Robinson and the Miracles and Tina Turner,” he recalls, revealing a diverse musical education. From country to soul, his eclectic tastes mirror a lifelong journey shaped by the timeless classics and legendary icons that defined generations.

Reflecting on childhood, Marcus reminisces about family gatherings filled with music: “Seeing the joy, it brought and letting everybody’s worries vanish” he recalls, longing for that sense of unity. “I learned the guitar at an early age, it became my constant companion, a solace during solitary times. Music became my language and connection.”

of producers Dan Auerbach and Robin: “Dan’s a little bit more efficient, like Henry Ford’s assembly line,” he explains with a laugh, while contrasting Rick’s more laid-back approach: “The album, marked by honesty, was therapeutic. I was going to either write about it or it was not going to do anybody any good,” Marcus reflects.

We talk about some of the tracks:

Fuck My Life Up Again: “This was sparked by a ‘stagnant kind of chord’ on the piano. Despite initial hesitation over using the F word, the song just kind of jumped up out of me. My songwriting process involves a fluid interplay between music and lyrics. This one, I had a cool idea and came back to it. I’m glad I did because it’s one of my favourites on the record.”

“It’s transcendental. A state where the music is really taking priority over everything else.”

From a young age, I was immersed in music, playing with my father’s group, and later forming my own band, Simultaneous Move. We hustled, playing skate parks and competitions. Booking gigs and learning stagecraft, I was mentored by older musicians, navigating the pub circuit. It was a formative journey. Playing in those venues was a great boot camp. It’s where I built self-awareness and skill. People weren’t always there for music; you had to make them want to listen. It taught me a lot!”

“The best advice I’ve had in my career is probably from Producer Rick Rubin. It’s just about putting yourself first and being as honest and open with your music as possible and making sure that it pleases you first.”

Discussing the new album, Marcus contrasts the styles

Bipolar Love: “I first got a call from Rick Rubin; I was out on the road, and they said he was going to call. It was divine timing! I was in the middle of trying to find a new publishing house and in the middle of a label deal. He kind of just swooped me up, we talked about mental health at great length. We talked about how it doesn’t have to be an inhibiting factor, it could be like a writing partner. So, after that conversation, I began writing. The interesting thing about this record, too is, it’s all written chronologically. That was a big part of the sequencing for me in writing this song. I wrote that while I was in a relationship. It was kind of on the rocks, it’s one of the first demos I brought to Rick out in Malibu, and we sat and listened to it, and he raised his hands above his head and two fists above his head in a triumphant way and he hit the chorus. Rick listens to music deeply and intensely, more than anyone I know. He just wants to absorb every ounce of it. He was really excited about that song and the honesty of it all. The concept of that song kind of influenced the whole record and everything just kind of flowed after that.”

Mood Swings: “So, a big part of the time I spent in Tuscany finishing the record off with Rick. He’d come in and we

Colin Campbell  Live: Andy Hawkes

would listen to music together, and we’d spend like, 3 to 5 hours every day, making critiques and notes. One night, I was playing around with the idea of having samples on the record. I’m working with a legendary hip hop producer so why not use some samples! I wanted to find was I wanted to find footage of inmate interviews. people struggling with psychosis. I found all sorts of different clips and interviews. It was one of these nights where I was doing some research, and I came across this documentary called The Faces of Depression. What struck me the most about it was, how relevant the interview is today, as it was then. Also, how poignant, and how truthful the interviewee was able to describe depression. We put it on the intro to this song it just felt right. This was my first-time doing samples, I never had to wait for samples to clear before. That was the one sample that we couldn’t get clearance for on the record. I took it upon myself to write a letter to the fellow who conducted all that research. His son was the comptroller of the estate, and he didn’t allow me to use it because he wanted it to only be for educational purposes and not for entertainment. So, because this record was just as much about mental health advocacy and, uh, teaching that it was for entertainment purposes. He was gracious enough to allow us to use the sample. I just really was taken by the honesty and the true nature this guy had in answering all of his questions. So, he was being honest, like you would with your doctor. I was like, I could just do that with the public because it seems pretty healing to do it. We just stumbled across this, this new way to work, which is just like, you know, over the top honesty and just breaking down any sort of metaphor. There’s that vulnerability about some of the lyrics as well. You’re really opening yourself up. You know, when you go to heal a wound, a lot of times you just got to open it up before you can cauterize it. So that was kind of my thought there.”

Is there a theme through the release, I suggest:

“Oh, man, I’m always just trying to create a space for

everyone to feel that they can be their freest and truest version of themselves. Trying to create a level playing ground for everyone in attendance to reach that space that I’m always striving to reach, it’s transcendental. A state where the music is really taking priority over everything else. I’m also hopeful that people can walk away with a sense of, feeling heard! I know a lot of the things I talk about are things that other people struggle with.”

How did you feel when you released this album?

“It’s a great feeling because I wasn’t worried about what kind of response it was going to get, by publications or by the fans. I was just thankful to put it out for me, you know? The feeling I felt after putting it out was just relief and getting such encouragement working with Rick.”

What was the production process like compared to the last album?:

“It’s like building a house and then taking away all the walls and windows and doors. The only thing that would remain would be what you absolutely needed to have structural integrity on the building. So, to use this building analogy, it’s like we built a home that had beautiful shutters and windowsills and beautiful furniture and whatnot. Then we just took it all away. We knocked down all the walls, and we just stripped it down to nothing to where it was completely open.”

We close with a thought on any future projects:

“We have a major European tour coming up. I just got back out of the studio. We’ve got the majority of that record ready to roll. It’s the first time me and the band have been in the studio together since 2018, we’re all excited. We’ve got some new material, all primed and ready to go. We’ve got a lot of miles ahead of us and a lot of smiles.”

For further info see website: marcuskingofficial.com

JUST BE THANKFUL AN INTERVIEW WITH CHRIS CAIN

Blues Matters had the pleasure of interviewing the illustrious Chris Cain, a virtuoso of blues guitar whose soulful performances and masterful musicianship have captivated audiences worldwide. With a career spanning over four decades, Chris has earned a reputation for his emotive playing, rich vocals, and a style that seamlessly blends the roots of traditional blues with contemporary influences. We chat about his musical journey, inspirations and influences behind his music and much more besides. He has a new release, Good Intentions Gone Bad, we also talk about that.

Chris Cain’s music career began with his father’s influence, as he outlines: “My father had all the great records,” he recalls, mentioning artists like B.B. King and Ray Charles. They attended concerts in San Jose annually, which ignited his love for music. At eight, his father taught him guitar, starting with “Baby Please Don’t Go.” This early exposure to music and hands-on experience with the guitar sparked his musical journey:

“That was really the start, my dad and his records and his guitar. His musical roots trace back to his family, particularly his dad. Although his dad was a truck driver, his passion for blues led him to buy a guitar and teach himself a set of tunes. “On Sunday, he would put his tie on and play his set in the garage.”

His mother also nurtured his musical interests, taking him to see the Beatles on a school day. Chris acknowledges, “They were more apt to take me to see something musical than just about anything else. Of all his records and just the things that he took me to see... it was wonderful for me.”

His dad even arranged for him to watch concerts from the light booth, enhancing his appreciation for live music. Initially, the outings were exciting for the promise of pancakes afterward, but eventually, he fell in love with the musicians and their performances. His musical journey felt natural. “It was really the only thing that I really could figure out, and I gravitated to that strongly.” He describes being “under the spell” of music, spending every day after school

playing along to records and practicing solos on his guitar, cementing his path as a musician.

“If somebody tells you they like your music, you just say thank you.” He struggled with accepting compliments as a child but found this guidance invaluable. He describes playing guitar as therapeutic; “I just love the process of figuring out how to play the guitar.” For him, it was an immersive experience: “The whole day would just go by, I wouldn’t even really notice I loved it that much.”

His first band was the Chris Cain Band, formed in 1987 when he released, Late Night City Blues. He recalls: “That was the first band I had, and we went and travelled around the world.” Transitioning from playing guitar alone in his room to touring was a significant change: “It was like the adult dose for sure for me.” Initially, his goal was modest: “I made the record, just so I could get dates around the town that I lived in, San Jose.” However, the project quickly gained momentum: “Next thing you know, we were in Memphis then were in Belgium.” The early days were a learning experience. “I did everything wrong you could possibly do at first,” he admits. He was so focused on his music that he often played with his eyes closed, missing the opportunity to connect with his audience: “I would just play with my eyes closed, I wasn’t even really connecting with the audience.” It took him about ten years to realise the importance of interacting with the crowd; “It would be better, but it was just all trial and error with me at first.” Despite the initial challenges, he found the experience “beautiful” and “wonderful.”

 Colin Campbell  Laura Carbone

HUSH MONEY TOO MANY PROB...

BORN TO PLAY

What were the clubs and life on the road then like, I query?

“In the 70s and early 80s, San Jose had a lot of great clubs,” he confirms before going into detail adding that although fewer by the 80s. Chris initially managed his own bookings, learning through ‘trial and error.’ He found it ‘very exciting’ to connect with audiences, describing it as ‘a wonderful thing in my life.’

Talking to fans, shines a lot of light on what I should be concentrating on as Chris warms to the subject, talking about differences between American and European audiences:

“In some European countries, they really know a lot of things about really listening to music [blues or jazz]. In the U.S., people enjoy music more generally: If they like it, they come and listen.”

He values all audience feedback. He finds joy in playing guitar, saying, “As soon as I started playing, I just felt happier.” Regardless of his mood, playing music uplifts him: “As soon as I pick the guitar up, I feel much better.”

Influences and reminiscences

Jamming with Albert King was unforgettable for Chris, who described King as ‘one of my all-time favourites.’ Initially intimidated, Kane felt honoured when King allowed him to sit in, even saying ‘nice things on the

microphone’ about him. King’s encouragement and presence at Kane’s gigs in Memphis made Kane feel special, calling it: “The greatest thing that could ever happen to me. One time I was playing at Memphis in May, and he came to the gig. I didn’t know he was coming, but he came up on the stage and he sat down on the Twin Reverb I was playing through. I turned around and I saw him, and I put my guitar down, I hugged him, we took pictures and just had a wonderful day that day. It was beautiful by the river, and he had a Lincoln Continental!”

When Albert King came to the States, Chris found it invaluable; ‘Just knowledge and learning on the job.’ He admired King’s guitar sound, attending his performances for three consecutive days at the Bodega in San Jose. he recalls, “By the third day I lost my voice for like about a month, just sitting in front of his amp screaming.” Chris fondly remembers B.B. King: “He would just come up and talk to you and look you right in the face like you were a grown person.” Chris was struck by King’s guitar sound, calling it ‘something very special and unbelievable.’

That place is like if Stax and the Smithsonian got together and made a studio. He knows how to record you so that it sounds like what you want it to sound like.” Andersen’s creativity and encouragement have been invaluable; “He comes up with ideas when I’m just empty, he’s really wonderful.” Chris values the studio’s environment; “I’ve had some of my greatest recording experiences in that building.” Andersen’s feedback is crucial; “I gauge it on his response, he’s my barometer. If he’s getting into it, then I know it’s happening.”

Songwriting Process

“Sometimes when I’m not getting ready to make a record, ideas just come, and I just get them in a jar before they get away from me.” He collects ideas and later sorts out which ones are strong for songs. Initially, he improvised music and lyrics, but sometimes verses would come to him naturally. He values capturing ideas when they appear; “It’s a fleeting process, ideas come and go.” He appreciates the eclectic sound of his latest album, noting, “These ideas just started coming to me, I just try to capture whatever the idea is. The whole album is quite upbeat. I tried to get some up-tempo ones in there!”

King’s demeanour left an impression: “He was never really surly or grumpy. He was always kind and sweet to people. One time he played a slow blues and there were tears coming down his cheeks. It took my breath away because I knew that it made me feel a certain feeling when I heard him play the guitar like that. I had no idea how deep he went when he played that thing. It was something I’ll never forget seeing him crying like that and playing this beautiful stuff. I mean, he took my breath away, if blues is a feeling, then that’s it, isn’t it? My father would tell me, ‘No, baby, if you feel it, play it. But if you don’t feel it, don’t do it.’” He embraced this approach, going ‘all in’ when playing music. Chris believes ‘it was some really great advice.’

Good Intentions Gone Bad

We discussed his newest release his sixteenth album, Good Intentions Gone Bad. Chris continues; “The fact that it’s ever come to sixteen different records is almost mind-boggling to me because it doesn’t seem like I’ve been alive that long.” He’s excited about his new record with Alligator Records, feeling blessed for their support; “I really feel like it’s a blessing that they like what I do, and they let me do it on that label.” He appreciates the tour and label support he’s receiving, calling it “fantastic” to have people interested in his work.” Chris praises Greaseland Studios and producer Kid Andersen; “It was recorded at Greaseland and produced by Kid Andersen.

Track Talk

Blues For My Dad: “This is a very personal song and at first, I did not want to do it. But Kid persuaded me. After changing the demo and listening back to it, I cried. He took this song all the way to the finishing line. It’s about more than my dad’s guitar, one of the hardest songs I’ve written.”

Too Little Too Late: “When I write tunes and they don’t work out on a record or something, I’ll keep the ideas in these folders. I needed some up-tempo tunes on this thing because all these people were passing away at this point in my life, and so everything I was writing was kind of gloomy! when I was writing tunes for my record, Late Night City Blues, I had this idea, and I had the first couple of verses, and so then I was stuck. So, I took it to Kid, and he liked it. We went ahead and finished it up, and I’m happy that we did!”

Chris on Tour

Chris expressed his enthusiasm for visiting the UK; “I would love that, that’s one of the places where many of the people that I end up loving musically were from, like Chicken Shack, Fleetwood Mac, Savoy Brown, and the Keef Hartley Band that influenced me and blew my mind.”

JOANNE SHAW TAYLOR RELEASES NEW ALBUM “HEAVY SOUL” – OUT NOW!

Celebrated blues-rock guitarist and singer-songwriter Joanne Shaw Taylor has just announced the release of her new studio album, Heavy Soul, now available through Journeyman Records. This latest addition to Taylor’s discography was recorded at the historic RCA Studios, just before its closure, adding a touch of nostalgia and history to its creation. Taylor shares, “I love the history –it seemed like the natural place to come back to. It’s been a wonderful album to make.”

JOE BONAMASSA RELEASES NEW LIVE ALBUM”

Blues-rock superstar Joe Bonamassa announces the release of his latest live album and film, Live at the Hollywood Bowl With Orchestra, out TODAY via his own J&R Adventures label. This stunning collection captures Bonamassa’s monumental performance at the legendary Hollywood Bowl, where he was joined by a 40-piece orchestra to deliver an unforgettable musical experience.

QUINN SULLIVAN EXPLORES ‘SALVATION’ ON NEW ALBUM

Singer-songwriter and guitarist Quinn Sullivan has unveiled his deeply personal and musically expansive new studio album, Salvation, available today via Provogue/Mascot Label Group. This release marks a significant evolution in Quinn’s career, showcasing his growth as an artist. To celebrate, Quinn has also released a lyric video for “Once Upon A Lie,” a breezy track he considers his favorite on the album. “I’ve had this song for 6 years but just never finished it until now,” Quinn shares. “Turn it up!”

THORBJØRN RISAGER & THE BLACK TORNADO RELEASE ELECTRIFYING NEW SINGLE “ALREADY GONE”

Danish roots-rock sensation Thorbjørn Risager & The Black Tornado have unveiled the official video for their latest single, “Already Gone.” This release marks the band’s first new music since their 2022 album, Navigation Blues. As they tour Europe, their euphoric blend of Blues ‘n Roll continues to captivate audiences, adding to the excitement surrounding this new single.

BLUES MATTERS 

PODCAST

Listen to some amazing interviews with the artists we’ve been lucky enough to speak to for the magazine.

In this episode, join host Paul Davies for an exclusive interview with legendary guitarist Slash who has carved out a legendary career steeped in blues and rock.

This episode features a very special guest, Amigo The Devil, the acclaimed dark folk singer-songwriter known for his haunting melodies and compelling lyrics.

SLASH AMIGO THE DEVIL TROY REDFERN

In this exclusive interview, Paul Davies sits down with Troy Redfern to explore the inspiration behind his electrifying new album, Invocation.

THE FABULOUS STRUCK DOWN

Kim Wilson, the charismatic frontman and harmonica virtuoso of the Fabulous Thunderbirds, has been a driving force in the blues and rock scenes for now fifty years. Known for his dynamic stage presence and soulful, gritty voice, he has not only led the T-Birds to international acclaim but has also carved out a distinguished solo career. His dedication to preserving the blues tradition while infusing it with contemporary energy has earned him a reputation as one of the genre’s most influential and respected figures. Blues Matters caught up with him at his home in California via technology to discuss his career and the new T-Birds release, Struck Down.

“I was a musician when I was nine years old a trombone player and a kind of a guitarist. I didn’t ever enjoy reading music unfortunately. But I had a good sound on the trombone, and my parents encouraged me to take music lessons. I was in third grade and then I wanted to be an

athlete, so that kind of went out the window! I remember taking private lessons when I was in fifth grade, then I had this fantastic teacher. He got me into sports, and I was into sports until I was seventeen. Then I picked up the harmonica and started getting into blues music with all of my friends in high school and, that was it, I was hooked.”

“I started playing with all the old guys, Eddie Taylor, Pee Wee Crayton. Johnny Shines and Albert Collins to name but a few. There was a guy named High Tide Harris. Eddie Taylor was a big influence and friend. I knew Eddie back up until he died, he was really a wonderful person. I remember this guy booked this show, thinking I was

 Colin Cambell  Doug Avery

played with me for about a year in Minnesota. It didn’t last long because he was away from his family, it all got a bit crazy…”

THUNDERBIRDS BY THE BLUES

going to not play, and that was going to be the end of my career. It was early on, I was nineteen years old, maybe twenty. Eddie Taylor liked me, he called off all these songs that I kind of knew already, I think it impressed him. The next time Eddie came back, the guy didn’t hire me, so I went in. I had my amp in the car. I went in and said, hey, Eddie, how you doing? He said Where’s your stuff. I said I’m not on this show. He said, oh, yes, you are, that was the beginning just like they were all kind of beginnings. Albert Collins was a dear, dear friend of mine, and, uh. Hi. Tide Harris, I knew him. I don’t even know if he’s alive anymore. He would be in Japan and, Luther Tucker, he came to Austin, we had a band back in the early 70s.He

So, I query, did life on the road take a toll?:

“Everybody was imbibing to the max at that time! We had fun, you know! But I had to give up the booze ,it was killing me, I’ve been sober for thirty-six years. I was tired and I already had mine and yours and everybody else’s drink! I did some stupid stuff, I remember falling off the stage with Big Walter, Eddie, Sunnyland Slim and Hubert Sumlin. Eddie was one of those guys that would carry on a conversation that had left off six months ago in Chicago. So were in Austin, and he started up again. So, I said I’m just gonna drink and listen to you guys. So, I guess Big Walter saw me out there, messed up, and he called me up. So, first thing that happened was I ran into his amp, the

beer went into the amp up in smoke. So, Keith the bass man goes, just go over there. So, I’m on the other side of the stage. I’m behind Eddie, he’s sitting down, I’ve got Big Walter’s microphone and I’m playing. I had drunk 22 highball glasses full of Jack Daniels straight. Now that’s enough to kill you, right? and somebody had given me a Valium, I took that like an idiot, so I didn’t know what I was doing. I get up there and I’m playing pretty well, then I guess the Valium kicked in. They gave me a solo and I went back and BOOM, I went through the curtains and my butt got stuck in between the stage and this plywood and my feet are sticking out from under the curtain but I’m still playing. Big Walter is out there going, where is that motherfucker? I hear him, but I can’t see him! So that was the beginning of an incredible night, let me tell you. It’s a long story, but that was just the beginning of it. I woke up the next day and I went, oh, I got to call Eddie right now. So, I called Eddie, and I said, man, I got to apologise for last night. He goes, why? What happened? I explained to him the situation. He went, oh, you got to have fun sometime!”

“Nowadays, it’s more about the gig than the party, and as soon as I got sober, two or three months after that, that’s when I started recording the Jimmy Rogers record, Ludella for Antone’s. I didn’t even know what I was doing. I mean really, you’re in a fog. So, it took me about a year to come out of the fog. But I had played on this record, and I remember driving in California visiting my folks as I was still in Texas at that time. I was listening to this live stuff and wasn’t liking it very much. then one set came on that was like, wow, that’s pretty good because I already had the studio stuff, but I didn’t have enough of it. So, I said, I’m going to do like Junior Wells did with It’s My Life Baby. I’m going to have a party, because that was my favourite record back in the day that, the James Cotton Blues Band, and Hate to See You Go by Little Walter, and those are my three favourite records. I mean, they were about the only three records that I owned. So, I said, okay, I’m going to do that, the rest is history. I mean, people loved that record, but I really wasn’t anywhere near the musician that I became. Jimmy Rogers was very excited about that record, and I was happy to be able to kind of pay back but, there’s no way I can pay back what those guys have given me. People like Muddy Waters, who really was encouraging and very generous.”

Antones, legendary blues veue played its part on Wilson’s career development, as he says:

“I would go to Antone’s every night. I remember seeing people like Earl King, and I’d go back there in the dressing room, and he would tell me Smiley Lewis stories. I remember watching Otis Rush play a 50-minute slow blues without opening his mouth to sing, and I was on the edge of my seat for that whole fucking song. Muddy Waters loved me, and I could really back Muddy up. There was a time when we didn’t have a drummer, so I go to Willie Smith (Muddy’s drummer) and we’re supposed to open for Muddy at Antone’s I went up to Willie and I said, look, go up to the old man and ask him if you can play with us for our sets. He goes up, comes back down, he said everything’s cool. So, we get out there and we play, and it was great, and the crowd went crazy. I go upstairs, there’s Muddy, he’s got his pipes and a couple of girls around. I say, Pops, how you doing, man? I’m, I’m very happy, and he’s like, oh, you motherfucker! I go, hey Pops, what’s going on? I go, you’re not pissed off because I used Willie, are you? And he went, you go fuck yourself. I told Buddy Guy that story and it’s still written on his guitar picks today!”

What’s the best advice you’ve had in your music career?:

“Lowell Fulson told me. Hey, listen, you don’t have to play over all that stuff and that really got me into the accompanying thing. It was very important because by the time I got to Muddy, he would always tell people, you listen to Kim, he knows how to get in and out of there. There’s no better, that’s a fantastic way to put it, getting in that’s what you do. My advice to young singers is pick somebody that you love and emulate that style. I learned about improvising through my voice. I was walking down the street one day in Santa Barbara, and I was singing to myself, and I go, wow, that’s pretty good. If I could just play harmonica like that. So, I went and bought a boombox, sang and whistled and hummed into the boombox. Then I copied that on the harmonica and that got me into the whole improvisation thing.”

50 years of the Fabulous Thunderbirds, how did that happen, I ask?:

“I didn’t think I was going to live past 30, so this is huge for me, it’s been a journey. We went a little bit off for a little while. Now we’re back to what we should be. We can play a lot of blues. We can play rock and roll. We can play rock and roll and all the traditional T-Bird stuff.”

Track talk

Don’t Make No Sense: “It’s kind of a rock and roll kind of groove. Struck Down: The title track has more of an Albert King(ish) feel and a definite groove.”

Payback Time: “This is more of a contemporary kind of thing, but very low down at the same time.”

I’ve Got Eyes: “This is kind of like a two beat, like the song The Hunter kind of thing, but a little faster.”

What You Do To Me: “That’s like a classic T-Bird track. We push the envelope a bit.”

“The beautiful thing about this CD album is the sound. Shelly Yakus, the mixer, is ‘the guy.’ My manager, Glen Parrish, knew him and insisted, ‘I gotta call this guy.’ Shelly emphasized mixing with emotion, transforming my all-analogue experience into a stunning modern digital recording. It’s really the best record we’ve ever made, in my opinion, especially as far as the modern stuff goes. I collaborated with Steve Strongman for this record. That was a stipulation of the record label Stony Plain Records, a Canadian label. I brought him down here from Canada. We were in my house for three days writing, we got five songs in three days. He came back for another three days. We got twelve. So, I guess there was a chemistry between us, we ended up writing seventeen songs. We kept ten. The only cover is, Memphis Minnie’s, Nothing In Rambling. That’s the one with myself, Bonnie Rait, Keb Mo, and Mick Fleetwood on.”

Do you have a songwriting process?:

“We both came in prepared, right, I have a bunch of stuff. He had a bunch of stuff, and we both kind of buffed out what the other guy had. I had the song Struck Down already and Payback Time. I had done a couple of versions of that. I recorded it one time on a self-released record. But, you know, no one ever heard it! He came in with a bunch of stuff, like the song. Don’t Make No Sense.

LISTEN STATION

STRUCK DOWN

TUFF ENUFF

WRAP IT UP

It was very much a collaboration. I was very thrilled that he enjoyed working with me and I enjoyed working with him. I’ve written with Steve Jordan and Danny Kortchmar, who are great writers. You know, it’s when you can bounce something off somebody else, that’s when you really get the best out of yourself. Bob Welch was a huge part of this he played piano, he played organ, he played guitar. All these guys are just unbelievable musicians. Johnny Moeller, incredible guitarist. Rudy Albin, he played with Brother Jack McDuff for six years. The young guy on the bass, Steve Kirsty just unbelievable musicianship. Unbelievable. The beautiful thing about them is that they’re happy to be there. You know, there’s not any kind of egos.”

Any future hopes?:

“Just keep doing what I’m doing. Just keep writing and recording a lot of different stuff. I may do some traditional stuff again and more original songs. Maybe even bring a horn section sometime.”

For further info see website: fabulousthunderbirds.com

JOANNE SHAW TAYLOR SIMPLY THE BEST

“I DON’T THINK I’M REALLY A BLUES WRITER, I’M A BLUES GUITARIST”

Is Joanne Shaw Taylor now the outstanding UK Blues Rock performer on either side of the Atlantic? I think there’s a very good case to say yes, she is. I’ve followed her career path since the release of White Sugar back in 2009 and seen the steady progress made, as with most artists not everything runs smoothly, not every management decision is right, but ultimately JST comes back stronger and grows artistically.

With the release of her new album Heavy Soul, I feel she is at her highest point so far with no reason to doubt her ability to go still higher. She has come through the great young guitarist phase, the brilliant female guitarist phase and is simply now an awesome guitar player who also has evolved into an outstanding songwriter. Like Samantha Fish she doesn’t limit herself in terms of style or expectation and that takes confidence and inner strength.

I caught up with Joanne on her recent short UK tour and she made time to talk to me pre-show ahead of sound check and all the other preparations that required her attention. We start by talking about Heavy Soul, I know that with previous release Nobody’s Fool she had focused on honing her skills as a songwriter, and successfully achieving that. I felt that with Heavy Soul she wants to add to that more soulful blues guitar.

‘’That was really the goal. Nobody’s Fool was really fun for me to do in that it followed The Blues Album and the Live release, so at that point I felt then more than any other time I could sneak in some music that I wanted to fit in because I’d just had two very traditional blues releases. So, I sat down and had fun with it, playing some catchy melodies so without really planning to it did come out maybe a bit poppy. Songs like Figure It Out, I probably would never had done before. I just love that chorus, so it was just good fun. So, the challenge was what to do with this album because I never want them to just sound the same otherwise what’s the point? The albums are all snap shots of me in my career, you know 22 year old Joanne, 32 year old Joanne etc, and they will sound different because I’m in a different stage of my life. I wanted to find a way to go back to more what I am really, a blend of Blues, Soul, Pop. I did have some songs left over from Nobody’s Fool, A Good Goodbye was one for instance, and Wild Love, both of those. I had the bulk of it written but they just needed a bit extra. You know the only way I know how to make music is through my experiences, it’s very much a therapeutic thing for me, so I think being honest and authentic to myself is the best way forward for me. At least that way if I create something nobody

 Steve Yourglivch  Stacie Huckeba & Laurence Harvey

JOANNE SHAW TAYLOR – QMU GLASGOW – FEB 2024 REVIEW

Joanne Shaw Taylor brought a storm of eclectic blues infused flavours to her only Scottish show at Glasgow, igniting the stage with her fiery guitar riffs and soulful vocals. As the lights dimmed and the crowd’s anticipation grew, Taylor emerged with an electric presence, ready to deliver a performance that would resonate long after the final chord had faded.

Throughout the evening, Taylor’s connection with the audience was palpable. She shared stories and anecdotes between songs, inviting the crowd into her world and creating a sense of intimacy in this large venue. By the time she closed the show with an explosive encore a fantastic

powerful version of Going Home that left the audience cheering for more, it was clear that Joanne Shaw Taylor had not only delivered a memorable performance but had also solidified her status as one of the most electrifying talents internationally. In a musical landscape often dominated by trends and gimmicks, Joanne Shaw Taylor stands as a beacon of authenticity and talent. Her performance here was a testament to the enduring power of live music and a reminder of the timeless allure of the blues. As the final notes were sounded the crowd erupted into applause, it was evident that Joanne Shaw Taylor’s legacy would continue to resonate for years to come. A consummate performance, wonderful set, class live act, go and see them.

 Colin Campbell  Ian Potter

likes it’s down to me rather than trying to write in a certain way just to please other people.’’

I wondered if Joanne had ever felt put under pressure by labels etc to produce a certain type of album:

‘’No, I’ve always been very lucky in that way. Through Thomas Ruf and Sony, I just give them the finished product. I’ve got a bit of thing about the number of tracks. I think 10 is perfect for me, I don’t like odd numbers. So, it’ll always be even and 12 is too many so I stick to 10 tracks.’’

It definitely felt that there is a theme of relationships lost but, hey, that’s OK running through Heavy Soul:

‘’Yes, I think that’s true. I’m at a point in my life now where I think I can look back and re-visit maybe something I wrote about on an earlier album and view it from a different perspective. You know, I don’t think I’m really a blues writer, I am a blues guitarist, so I’ll always approach music from that way, so using the instrumentation that I have, plus I love that blues is about anger and heartbreak, real emotions that are great to create great music with. The players I love, like Stevie Ray, Albert Collins and Freddie King were really aggressive players. You know they weren’t wimpy. Even Otis Rush playing a ballad was tough playing. I also really love Luther Allison, that Blue Streak album.’’

For Heavy Soul, Joanne has some heavy hitters on board. As well as Kevin Shirley producing, the core band is Anton Fig on drums, Alison Prestwood on bass and Rob McNally on guitar. Fig is well know for his work with Joe Bonamassa,

of course, but the other two are very highly in demand session players on the Americana Country circuit.

‘’Yes, they are Nashville session players for sure, but Rob’s first love as a guitarist was Stevie Ray Vaughan and Alison has toured with Frampton this year, so you know they are the type of players who can fit into anything. I requested Anton because I’d never played with him although I knew him through Joe and I thought his playing was well suited to me, a bit heavier you know. Rob is just such a professional guy in the studio, I just hand him a couple of ideas and he’s there on it straight away. Alison, I didn’t know of until Kevin suggested her, she was new to me. She was absolutely brilliant as a musician and a person; it was also nice to have that extra feminine energy in the room too. We also had Jimmy Wallace on piano and keys who toured a lot with Kenny Wayne Shepherd who did an amazing job on several tracks. In fact, when we recorded Black Magic he came in the next day and insisted on re-recording it because he felt his parts could be better; turned out the piano was slightly out of key, and although I was happy with the original take he was right, the new version was stunning.’

“It was really nice as well that I did some covers on this album. With All The Way From America, a track I love by Joan Armatrading, I felt I could really put my own feel and

emotion into it. And the Van Morrison song Drowning In A Sea Of Love has such a wonderful melody. I’m not usually into covers but Kevin brought that in and the band played it so well. It was really good to work with Kevin again, we did Wild together in 2016, and were meant to do the follow up but in the meantime, I signed to Sony and it just didn’t happen.”

“I don’t think this album would’ve been created without Kevin. You must let go of a certain amount of control and trust the producer etc. There’s still other producers I’d love to work with out there, Don Was for example, and I’d love to work with a woman producer because I think we approach music in a different way. Thankfully I’m able to plough on with what I want to do and I’m in a position now where I’m taken seriously. I hated the hype in my early days, you know the whole 16-year-old female guitar player thing. Even when I wasn’t a teenager anymore, I was referred to as a female guitar player, so I always shied away from that. It’s frustrating because it makes you sound like you’re just a novelty and you just want to be taken seriously. Looking back, I often think my career might have been different if I had been a

boy. All the players I loved were male but I was never gonna sing like Howlin’ Wolf, or even Johnny Lang. So for vocal inspiration, I had to look outside of the blues - so Tina Turner, Stevie Nicks, Christine McVie and Bonnie and Joni Mitchell, which got me writing in a different way.’’

With that, Joanne was whisked away to sound check with the rather splendid US band that had travelled over with her. The performance I have to say was outstanding and Joanne now has the stage presence and personality to match her undoubted guitar chops. Heavy Soul came out on June 1st and I highly recommend it. She has a couple of European dates before embarking on a massive list of U.S. tour dates, catch her live shows whenever you can, Joanne Shaw Taylor is the real deal.

Joanne Shaw Taylor’s new album “Heavy Soul” is released by Journeyman Records and available from www.joanneshawtaylor.com

EALING BLUES FESTIVAL 2024

LONDON’S LONGEST RUNNING BLUES FESTIVAL, EST. 1987 | JUL 27-28 WALPOLE PARK, MATTOCK LANE, EALING, LONDON, W5

EALING BLUES FESTIVAL IS BACK WITH THE ULTIMATE CELEBRATION OF EALING’S ICONIC MUSIC HERITAGE AND THE ‘NEW WAVE’ OF BLUES MUSICIANS FROM BRITAIN AND THE U.S.A.

The founding of The Ealing Blues Club by Alexis Korner & Cyril Davies on 17 March 1962 is generally acknowledged as the catalyst for British Rock Music. Mojo Magazine called Ealing ‘The Cradle of British Rock’. Founded in 1987, the Ealing Blues Festival has been the event which has carried on Ealing’s Blues/Rock Heritage.

Set in the stunning environs of Walpole Park, Ealing Blues Festival is one of the godfathers of Ealing’s flagship programme of festivals. The line up brings together blues, rock, folk and country to two stages, headlining veterans of the guitar scene alongside emerging talent from across the UK.

For further information on Ealing’s Blues / Rock Heritage www.ealingclub.com

FEATURING IN 2024:

SONS OF CREAM

Celebrating ‘supergroup’ CREAM’s Ealing roots.

SELWYN BIRCHWOOD

From the U.S.A. representing the next generation of blues musicians in the ‘land where the Blues began’.

WHEN RIVERS MEET

The first ‘independent’ Brit Blues Act to have a chart album. The vanguard of the new wave of Blues Acts.

TERRY MARSHALL & FRIENDS, ‘LIVIN’ THE BLUES

MARSHALL AMPLIFICATION is probably the most famous company to come out of the Borough. Terry was there at the beginning, where better to launch his album!

PHIL WIGGINS 1954-2024

We just lost an incredible pioneer musician, harp player in the Blues/roots world.

Piedmont Blues harp player, innovator Phil Wiggins sadly just passed away on May 7th, one day before his 69th birthday.

I was very much aware of Phil’s music and legacy for many years, enchanted by his playing as part of the long standing duo; Cephas and Wiggins, however when I started back into the world of art, author Frank Matheis took notice and asked me to create an illustration of him and Phil to use in promotion for the essential book Frank wrote together with Phil; Sweet Bitter Blues published in 2020.

Phil soon after reached out and let me know many times on FB and in personal messages that he enjoyed my creations, especially one of Sister Rosetta Tharpe that I gave to him as a gift.

I was very proud that our worlds crossed paths in such a sublime way and this little portrait/tribute I just created goes out to Frank and Phil’s family with love and great appreciation.

PHIL WIGGINS: CELEBRATED BLUES HARMONICA PLAYER PASSES AWAY

Phil Wiggins, the highly esteemed blues harmonica player known for his profound influence on the Piedmont blues tradition, passed away at the age of 69. Wiggins was widely respected in the blues community for his exceptional harmonica skills and his dedication to preserving and promoting traditional blues music.

Born on May 8, 1954, in Washington, D.C., Phil Wiggins grew up surrounded by the rich musical culture of the city. He began his musical career in the 1970s, gaining recognition as one half of the renowned duo Cephas & Wiggins, alongside guitarist and singer John Cephas. Together, they brought the intricate and soulful sounds of Piedmont blues to audiences worldwide, earning acclaim and numerous awards, including several W.C. Handy Blues Awards.

Phil Wiggins was a master of the harmonica, known for his ability to convey deep emotion and storytelling through his music. His performances were marked by a unique blend of technical skill and expressive power, making him one of the most revered harmonica players in the blues genre. He recorded several albums with John Cephas, and their music was celebrated for its authenticity and emotional depth.

In addition to his performing career, Phil Wiggins was a dedicated educator and mentor. He conducted workshops, taught classes, and participated in cultural exchange programs, sharing his knowledge and passion for the blues with students of all ages. His efforts to educate and inspire new generations of musicians were a testament to his commitment to the blues tradition.

Phil Wiggins’ contributions to the blues were recognized with numerous honors, including the National Heritage Fellowship in 2017, the United States’ highest honor in the folk and traditional arts. His legacy as a musician, educator, and cultural ambassador will continue to inspire and influence the world of blues music for years to come.

SUGARAY RAYFORD

HUMAN DECENCY

Sugaray Rayford, a powerhouse of modern blues and soul, is a musician whose magnetic presence and soul-stirring vocals have captivated audiences worldwide. With a career steeped in the rich traditions of the blues, he infuses his music with a contemporary edge, creating a sound that is both timeless and fresh. As we delve into his world, we uncover the stories behind the songs and the soulful essence that defines him. Mostly we talked about his upcoming release Human Decency.

“I’m Sugar Ray Rayford just a poor kid from East Texas. I grew up both in the country and the ghetto and found a love of music from my mother. That’s my backstory. United States Marine, singer, and musician!”

What made you want to be a musician in the first place?

“My mother and seeing people sing in church, it was the emotions that it brought to other people. I used to think the most powerful thing was to watch my mother, the few times that I can remember, go somewhere, and sing and reduce her church into just unbelievable tears or unbridled joy just with the power of her voice!

That was amazing to a little kid, well, as a big kid now! you do that in your live shows.”

Your live shows are an event in themselves, you just give everything to your performance, I say, as a great fan. Suga responds with his usual quick humour:

“I try to enjoy myself and I’ve always figured that if I’m enjoying myself, then that energy is infectious and it’s become not a concert, but a party! There’s a time and places to do concerts. Usually if I’m at a festival or a theatre, people pay their money and I want to entertain them. Yes, there’s

 Colin Campbell  Allison Morgan

going to be sometimes in there you’re going to cry, but I want you to dance and have a good time.”

Where did you learn your stagecraft?

“Again, in church I was a choir director from my local church to my state church to the national church. Being a choir director in the black church like this, especially Church of God in Christ, so people know about Baptist, they know about Methodist. Church of God in Christ is Pentecostal; It’s like Baptist on steroids! You had to show up and show out because everyone around you couldn’t just be a musician. You had to have something else, you couldn’t just be a singer. Anybody can walk up the pew and grab your instrument and probably play it better than you. So, I adapted into a certain for lack of a better word, showmanship. Even the Pentecostal preachers, that whole thing with the rag hand voice, but with the robe on, that’s part of it. They’re not preaching like a Baptist or a Catholic preacher, there’s a bit of showmanship You learn to read emotions, but not just read emotions. You learn to feel the energy in a room, it’s so second nature to me now that I don’t really think about it. But all that was honed into me and founded into me from those early years of gospel music. One of the most honest crowds you can be in front of are older Black folks from the church. They’re going to tell you whether you want to know or not, whether you did it right or you did it wrong, or whether you were good and should continue or should find another avenue of expression. Some people think that’s harsh, but I always thought it was a great thing because it hammered out a lot of things that were amateurish or that didn’t really work because you got an immediate

Any advice you’ve had worth sharing?:

“I want to say it was a guy that used to play with this band, this local band in San Diego, Tim, it’s been so long that I can’t remember. But I got to talk to him a long time ago, he gave me this huge paperback book that was full of all these great blues songs, the music, and the lyrics. Tim told me, you are the best you that there is in the world, so it’s better to be a bad you than a good copy of someone else. It’s just as easy to sing a lie as it is to tell a lie. So that comes from the church, that’s the honesty thing. Me being the best me that I could be, it led me to sing songs that I really, I mean, with that emotional strength behind it of truth and conviction, because I’m not a good liar. But I’ve learned that when you’re singing songs that you can actually connect with, and really understand the words of the song and the story that the song is painting, then you can invoke and superimpose that over an audience, because it’s real, and people, whether they realize it or not, sometimes when they’re individuals they don’t, but as groups they realize really quick if something is real or if it’s fake.”

Where does the the blues fit in with that, with a feeling?:

“Well, when I came back to music after the long hiatus, and not doing music because I didn’t think you could make a living at it, I had this innate thing that I wouldn’t go back and do gospel because I couldn’t be truthful to it, I didn’t feel that same conviction as I did growing up. When I was introduced to blues, I had heard blues as a kid growing up in East Texas, of course, but it was just like RUN FOR

people before, right across the street from me, from the club I bounced in, which was a dance club with live bands, there was a little place called The Alley, and every Wednesday night, which is the one night that I was by

cause those are where all my material would come from, down the line, and where those were the songs were cut from.”

Tell us about the new release

myself, they would have blues bands come in. So, this one band I really liked, it was called Ronnie Lane and the Texas Twisters, and those guys would come into that little place, and it would be packed, it would be jumping, and that music sounded so much like gospel. I used to catch myself walking across the street, there’s this big pane window in the front that you can look in, like looking over the band’s shoulders, that feeling, was that same feeling that I got from gospel down in my soul. So, it was like, I can do this and get that feeling back without lying to anyone or myself, that’s what really drove me to the blues. But it took a while, because the first band back might have been a big R&B band, which might have been a corporate band, and I did that for a couple of years before I really found my way back to the blues in earnest.”

Songwriting processes always matter, what does Sugar say about it all:

“It changes depending upon people you work with, like with Eric Corne. He’s like a poet, well more than that. He’s got this way with putting words together, like I can give him an abstract thought, and he’ll come back with it. I’m like, that’s exactly what I was thinking. He’s just got that, and so with him, I’m not doing that much, because all it is just thoughts on which way do we want to go, and what do we want to talk about. When I was with Ralph Carter on my first two solo albums, Ralph, and I, realized I can just close my eyes because I see a movie in my head, and put that into lyrics. Give me the microphone, let me hear the music, let me close my eyes, and let me just cut off what’s off the top of my head, and it’s unbelievable. It’s usually very apparent, and there’s a set of little things here and there that we go back and fix. So, with that one, with the process with Ralph, it’s more creative for me, because I’m just like dream walking. With Eric Corne, it’s more industrial. It’s very ordered so it took me a while to know his processing. The first album, we got a Grammy nomination, but it took me a while to get used to his format. So each time is different, but the one thing that I constantly do is I still write in my journal at least once a week, things that have to be altered, stuff like that, be-

Human Decency:

“At first, I want to say a big shout out to Anthony Wolch from Canada, who came up with the concept of the album cover, which I really loved. I love the colours. I love the playfulness. I love it when you open up the CD and you pull the CD out, how it looks like little kids drew the things about the songs. It really works well with the human decency idea we had, and it pops, and it gives me this warm feeling. I told him, it reminds me of the days of Funkadelic when they used to hand draw the album covers. It’s the world now, and people have lost their damn mind, that’s the theme of the album really. This is a more politically charged release. I wanted to talk about this planet, and I really wanted to talk about what the album is, Human Decency, because it seems like it’s been lost in translation. Human decency is beyond eroding. It’s sad because I grew up being taught that there’s nothing wrong with debate. That’s what always made America great was there was different debate, different sides. There’s always more than one way to go do something, and it is sad that our society, and again, not just America has lost that art. Social media has a lot to answer for. When I was a kid, even if we didn’t agree, we could have a conversation and still walk away with our own thoughts and beliefs, but we used to have the decency to at least listen to the argument on the other side. Now it’s just like, you don’t agree with me, then fuck you. Well, do you know what? Then you’re blind because it takes two eyes to understand depth and colour. I just don’t understand it, and I have a feeling that we’ll get to a point where society mentally will crush back in on decency! We have lost our human decency, and I wanted to talk about it.”

Track talk:

Failing Upwards: “That is one that came from Eric, but once I read the lyrics and we were in the studio with the guys working out how we were going to play this, I was just like, this is brilliant. Failing Upwards is corporate America. The CEOs have had a 1,200 increase in income. If you and I get fired from a job, we don’t even get serviced. We get a two-week check, and they send us on our merry way. How is it that the guy in front of me, who has done no goddamn work, who got in because he knew somebody can get fired and get a $5 million bonus ladder, golden parachute to tidy him over! What I’m saying, though, is how unproportionate the amount of work the poor does and what they’re being paid, and then what the rich does to become richer. This world, not just America, this world has been around a long time, but the amount of people there, over two billion people on this planet will implode, it cannot work. That’s what it’s about, that’s my thoughts. I got very political on this album, and I wasn’t holding any punches.”

For further information see website: sugarayrayford.com

ROBERT JON & THE WRECK

THE RISING

Robert Jon and the Wreck are a band who have been far from resting on their laurels. Since the pandemic, the group has put out a steady stream of releases, that culminates with their latest album Red Moon Rising.

The band’s touring schedule is enough to make your eyes water, with months away at a time across both Europe and the US. Thankfully, all the band’s hard work is certainly paying off.

Speaking with the band’s frontman Robert Jon Burrison, whilst taking a break at home, the artist shared his insights on the year so far. “We’ve had a lot of travel already this year. I’m looking forward to the next bit of this year; we’ve got a lot of travelling to do too. So, we are just keeping our heads on straight and trying our best to be present at home when we’re home. Because we’re not home a lot this year,” explains Robert. “We’re doing what we love and pushing the envelope forward in hopes that one day we’ll get some extra time at home when we really need it.”

With such an intense touring schedule, how did the band go about fitting in writing and recording their latest offering? “We were using sound checks to work on stuff and create ideas and everything. So, it was kind of a different writing headspace than we were used to. We were used to like, okay, we’re home for six weeks, let’s put the record together, and then figure out when to record it. But this one was just kind of, okay, we have this recording window. But everything in between now and then is going to move. So, when do we do it? So, it made it exciting and fun in different ways, trying stuff out on the road and getting inspired in different countries I think made for a different record in that respect,” said Robert.

The band worked with producer extraordinaire Kevin Shirley on their latest album. “Working with Kevin in

 Adam Kennedy  Supplied

the studio is just really exciting because there are other ideas that we would never have thought of to try out. And being in a space like Village Studios where so much has been done, it just felt comfortable. It’s like all the stress from beforehand getting ready kind of washed out and we were just there to make music,” explains Burrison.

Perhaps you may have noticed that there has been a steady stream of singles released in the build-up to the band’s new album. And whilst streaming trends may lean towards the release of singles over full-length albums, the band still fully embrace the album format. “We wanted to put the album together because that’s important to us too. So, hopefully, when people finally get to listen to the whole thing as a unit, it’ll make sense,” confirms Robert.

One of the singles taken from the album is a song called Worried Mind. “I remember playing that riff in the beginning when my son was super young. And when kids are super young, there’s not much you can do once they’re fed and happy, other than look at him. So, I would just play my guitar until he needed something else. And so, I had that riff kind of laying around,” said Robert. “We were in Nashville. So, we called up our buddy, Austin Jenks. He lives in Nashville. And he’s a great songwriter. And we were like, do you want to come over, have some beers and write a song? And so, he came over and we just kind of

played around with that riff and tried to figure out where it could go. And a couple of hours later, we had Worried Mind. So that’s kind of how it came to be. And in the studio, we knew it was going to be more of an acoustic track.”

As songwriters, do the band enjoy working with a writing partner such as Austin Jenks? “I think it’s something that you have to get used to,” said Robert. “When you’re in a room songwriting can be very nerve-racking when you’re trying to write a song with someone. You’re singing weird stuff, and you’re trying to come up with something cool. And you’re looking at that other person waiting for them to say it’s cool or not. And then, going from the other side, you don’t want to if you don’t like something, you don’t really want to be like, that’s kind of weird. So, it takes a lot of trust and respect.”

Robert adds: “We’ve also done a lot of co-writes with the whole band and someone else, which I think in some respects works the best because you’re basically putting six minds on a song and coming up with ideas and throwing stuff back and forth. And I think comfort is the word that’s coming back in my mind a lot is just being comfortable with someone and being able to throw ideas at the wall and see what sticks and wanting to come up with the best stuff is our goal. Having some great talented friends available to do that with us as always, just more

the merrier. I think one day when we have a bus, we’ll probably be able to do that. But we’re still in the van. We tried to write in the van once and it just doesn’t work.”

The band’s latest album is called Red Moon Rising. But how did the title come about? “Red Moon Rising always has had different myths and beliefs throughout the ages, which is what the song is about. All the different nations across the world think of it in different ways, but the one constant that it has is a rebirth and shedding the fat and looking to the future, basically. And I felt like that’s kind of where we were at that time. We were starting a new chapter in the way that we had, we were working different things out, we were starting families, and getting married. Everything meant a lot more to what we were doing than it did in the past. We were just a travelling rock band, hoping for the best and hoping to make a couple of bucks, but now we’re doing

it all for our families and we have responsibilities and other people to take care of. So, kind of a new light. And so that meaning came afterwards, or subconsciously in a way. I didn’t sit down and say this is what I want to write about.”

Robert Jon and the Wreck will be returning to our UK shores for an extensive headline tour in November. This time the band will be playing some of their biggest headline dates in the UK so far. “It’s an honour to be there, and for people to come to our show. We’re still in awe when we play a bigger room, and it’s full, and we’re still in shock sometimes,” said Robert. “There’s an energy that comes from the people in the room and that’s what we really

everyone there and including us, it makes us play different. And so, we’re excited.”

Moving forward, the rest of 2024 is going to be all about promoting Red Moon Rising. “With the new record, we’ve got some new videos coming out. We are going to be back on the road pretty soon and we are trying to enjoy the time we get at home as much as we can,” concludes Burrison.

Robert Jon & The Wreck’s new album “Red Moon Rising” is released by Journeyman Records on June 28th. Order the album from www.robertjonandthewreck.com.

The band tour the UK from November 20th to December

ALL IS GOOD! BLIND LEMON PLEDGE

James Byfield has been around for many years now. Under the semi-joke name of Blind Lemon Pledge - a moniker he created for his first release back around 2009 based on a US comedy show and a cleaning product – a name guaranteed to raise a whimsical smile and a nod to its probable origins. Personally, I’m surprised when we finally get a chance to chat, to learn I’ve been listening to and enjoying his music for at least a decade.

 Stephen Harrison  Arnie Goodman

“Doing my first album back around 2009, called, ‘Livin’ My Life With The Blues’ I called myself. Blind Lemon Pledge. I was about to put it out, a project to sort-of imitate old blues records, so I thought of the name remembering it from Martin. So, I put it out there and created a whole sort-of weird backstory for him that I put on the album notes. Then the album got picked up by a load of DJs, which totally surprised me, so I got stuck with the name!”

Turning briefly to his latest release, ‘Oh So Good,’ I suggest he’s maybe a brave man to include an eerie, strippeddown cover of House of the Rising Sun. First recorded in 1933 by Appalachian artists Clarence “Tom” Ashley and Gwen Foster, “House Of The Risin’ Sun,” has been covered by dozens of artists. Byfield and company straighten out the beat with a thumping rhythm section and add eerie slide guitar to accompany the fateful tale of a life gone wrong in The Crescent City. Pledge explains it’s inclusion:

“I often like to kinda put one kinda odd track into the mix. Maybe a cover – my last one I did a cover of Alberta, a Lead Belly song – and my band, must explain: Blind Lemon Pledge is a sort of two-pronged thing - it’s me as a recording artist and I also have a band, also called Blind Lemon Pledge. We do the song regularly in our sets, and we do such a different take on it that people just love it. ‘Oh, I’ve never heard it done like that. I really love that,’ they say. So, I felt it was time to record it and get it out there. I hope people will enjoy it, see it from a new perspective! So far the reviews have been very good.”

Eric Burdon’s name inevitably crops up on this subject: “Oh yea, he did the definitive version. A huge hit and known everywhere, huge here in America.”

“My major influences come from all that old country blues stuff. I actually started playing guitar aged 14. I discovered blues not long after I started playing. And at my high-school, they had one blues record, by Son House. And that’s a pretty good way to start listening and learning blues!, he adds with a laugh! So, I was always

very drawn to the country blues. I like all kinds of blues but I always come back to that basic guitar and singer, the gutsiness and rawness of it all. They had all those different kind of lyrics at times, and kinds of forms back then. It seems to me that as the blues got electrified, it became more codified and didn’t so many odd things. I mean, you have Blind Lemon Jefferson with his incredible guitar-work. None of it really sounds like that these days!”

”Very raw, with the instruments clear and I wanted to try just strip it all back to the bare bones”

“I’ve done some electric albums. I mean I did one that was really more rock! But as I keep progressing, I keep coming back to those roots. With each album, I’m progressing but always rooted in that way of playing. The new album, ‘Oh So Good,’ is a case in point. It’s very stripped-down, very much an acoustic album again. Very raw, with the instruments clear and I wanted to try just strip it all back to the bare bones. So, that’s kinda what I actually did with it all.”

“I can see that’s where it is for me now. The new album reflects my passions and love of bare-bone playing. In fact, my recording career has been like a journey back to where I started out. And that’s no bad thing, I guess.”

Often viewed and described as an ‘eclectic’ artist, when I put this to James, he laughs and rolls with it, saying:

“Well, you may remember, I actually did a jazz album in the past. It did critically well. So, I also have a big jazz influence there, I like jazz and studied and played jazz guitar for a few years. That all changed my composition style tremendously. In fact, I now find I have to work hard, to cut back, not to put too many chords in! I don’t want to sound like I’m bragging or anything like that but I do think I’m one of the most eclectic players and composers out there. I think this album shows that side of me. I kinda made the album to show the range of what I actually do. I’ve got a way of thinking, like, rather than try to fight it all, I just go with it.“

One track, Ma Belle Cherie’, is a simple Cajun song but the album has a real mix of flavours - a gospel track, blues songs, a very jazzy take on one and then another that’s really raw.

“The Cajun song came to me. I remember thinking, ‘well, alright, now I’m writing a Cajun song!’ I love all of it, especially all kinds of American-based, roots music. Whether it’s called folk, or roots or bluegrass, blues and old-style jazz, whatever, there’s something there that I just love and aim to work with. I think with this album, I’ve really shown what a variety of styles I cover!”

One of my favourite artists ever is Ry Cooder. He truly embodies that kind of eclectic style. He jumps from this to that, he does so many styles so very well.

“My band primarily plays blues although we have a bit of Americana always in there too. I go to jam sessions and just play whatever anyone’s playing. I can easily fit into a country or a folk thing, but I mostly listen to old blues stuff, that’s what really appeals to me so I don’t see myself in any one category. That’s maybe both my strength and my weakness – I don’t have a ‘sound.’ I mean people don’t associate a sound with me like they might do with some artists. It’s like Ry Cooder, or maybe the Sergeant Pepper album. You know, you gotta mix things together.”

Of course, it’s worth noting that Pledge has also a background that includes a 5-year stint studying Chinese Classical Music and an abiding interest in electronic music and computer recording techniques. At one point, testing his compositional skills, he created the first ever Rock Music Mass under the aegis of Grace Cathedral in San Francisco. Ushering in the use of modern Rock Music

in a liturgical setting, it received national press and was performed throughout California. So, eclectic may well be a near-perfect way to describe this now veteran performer and his music.

We finish with a self-deprecating laugh and comment: “In my tiny little pond, I’ve got a tiny bit of fame!”

MARCUS GARVEY, WEST INDIES BLUES, AND THE BLACK STARLINE

Got my grip and trunk all packed, Steamship, I‘m gwine to take her, So good-bye old New York Town, I‘se gwine to Jamaica

Original lyrics to West Indies Blues, first recorded by Classic Blues Woman Esther Bigeou in 1923 for Okeh Records.

The songs of 1920’s Classic Blues Women give wonderful insight into the social context of the era in which they were composed. As a researcher, I have a keen interest in the lesser explored narrative of Classic Blues Women using their musical performances as political propaganda. ‘West Indies Blues’ is a topical song composed by Black American Songwriters Edgar Dowell, Clarence Williams, and Spencer Williams in 1923. Several different versions of the song were recorded by Classic Blues Women including Esther Bigeou, Viola McCoy, Clara Smith, and Rosa Henderson. The song was so successful that Edgar Dowell and Spencer Williams wrote a similar follow up song ‘The Black Starline – A West Indian Chant’ in 1924, which was a hit for both Hazel Meyers and Rosa Henderson. Although not a traditional blues, these popular songs incorporated blues attributes in their feel and vocal delivery. These songs were recorded by Classic Blues Women who used their platform as entertainers to mock the political agenda of Black activist Marcus Garvey, and to influence public opinion.

Marcus Garvey (1887-1940) was a Jamaican-born activist and entrepreneur who became a powerful voice for Black empowerment in the USA during the early 20th century. In 1914, Garvey founded the Universal Negro Improvement Association, commonly known as the UNIA.

Whereas Civil Rights Activist WEB Du Bois and the National Association for the Advancement of Coloured People (NAACP) appealed to educated middle and upper-class Black Americans, the UNIA had a broader class appeal. As Black American soldiers returned home from WW1, far from receiving the warm welcome home they deserved, they were subjected to rising levels of discrimination, segregation, and racial violence. In this bleak climate, Marcus Garvey appealed to thousands of disillusioned working-class Black Americans, inviting them to follow his Universal Negro Improvement Association. By the mid-1920s, the UNIA had millions of followers. Garvey successfully established more than 700 UNIA branches in 38 states of the USA, and over 200

international offices across the Americas, Africa, Europe, and the Caribbean. The UNIA had become the largest mass movement for Black people in history.

Marcus Garvey and the UNIA advocated for Black Nationalism, addressing the African diaspora by encouraging Black people worldwide to unite, establish their own economy, and to return to Africa; this was known as the “Back to Africa” movement.

The UNIA launched many black-owned businesses including the Universal Printing House, the Negro Factories Corporation, and the Negro World newspaper. One editor of the Negro World paper was popular Jazz and Blues lyricist Andy Razaf. Razaf became a successful Tin Pan Alley writer who penned over 1000 songs throughout his career for Jazz and Blues artists including Fats Waller and Alberta Hunter. He wrote the lyrics for classic songs including ‘Ain’t Mis’behavin’ and ‘Black and Blue.’ Razaf was also responsible for composing protest music, including a track named ‘Garvey, Hats Off to Garvey”

Marcus Garvey - New York Library

which Negro World newspaper reported to have “Raised the roof!” at a UNIA meeting in February 1920. This song captured the positivity of Garvey’s followers at this time and the Black Pride that the UNIA represented.

The UNIA’s most important project was the Black Star Line, a shipping company that would represent economic independence for Black communities. Garvey’s shipping company was built not just to transfer goods, but also with a larger goal of addressing diaspora by transporting Black people back to Africa. Garvey derived the company’s name from the White Star Line, a British Shipping Company whose success he aspired to replicate.

“Brothers and sisters, country man, you‘d better get on board, Big steamship gwine to sail away, Lord, with a heavy load, It’s gwine to take us all back home, yes every native style And when we get there what a time, down on West Indies Isle.”

The opening verse of ‘Black Starline’ sung by Rosa Henderson 1924

The opening verses of both West Indies Blues and Black Starline paint a seemingly honest portrayal of the Back to Africa movement and could be mistaken as supporting Garvey. In August 1924, the UNIA performed a version of West Indies Blues outside their headquarters at Liberty Hall, suggesting that they approved. However, in May 1925, an advertisement posted by Harlem’s Lafayette Theatre, requested that “patrons refrain from making requests for numbers which ―might express sarcasm towards people from the islands, such as West Indian Blues.”

Viola McCoy added a further satirical verses to her rendition of the song which was released on Vocalion in 1924, whereby her humorously mocking tone was quite clear: “Gonna give up the bestes’ job, A-running elevator, I told my boss m’n I’d be back,

Some time soon or later; When I gets back to this great land, You better watch me, Harvey, ‘Cause I’m gonna be a great big m’n, Like my friend Marcus Garvey!”

In the 1920s, most of the elevator operators in the United States were Black. Their employers paid them demeaning wages and expected them to act like dutiful servants. Viola McCoy’s performance sarcastically suggests that she doesn’t think Garvey’s Black Starline endeavour is the answer to the problems of working-class Black American’s.

The Black Star Line was Garvey’s main contribution to the Back-to-Africa movement, however, due to the arguably corrupt involvement of FBI agents, it was deemed unsuccessful. By 1922, Garvey and The Black Star were in trouble. The ships were old and in disrepair; one ship had blown its boiler, killing a man. Garvey had accused the Bureau of Investigations (later renamed the FBI) of sabotage by deliberately contaminating the fuel tanks, causing damage to the ship’s engines. In 1919, J. Edgar Hoover and the BOI charged Marcus Garvey with mail fraud. The prosecution declared that the brochure of the Black Star Line pictured a ship called ‘Orion’ that Garvey did not own. He was trying to purchase Orion at the time, but did not yet own her. Garvey was arrested in January 1922 and sentenced to five years in prison, and as of February 1922, the Black Star Line stopped trading. However, this is not the end of the story...

By 1924, Garvey was on bail pending an appeal against his crime. He used this time to establish a new shipping company ‘Black Cross Navigation & Trading,’ and began fundraising to build a new fleet:

‘We want not only one, two or three ships, but we want dozens of ships, so that every week our ships can be going out of the ports of New York, Philadelphia, Boston, Baltimore, New Orleans, Savannah or Mobile for Liberia, Sierra Leone, Gold Coast, Lagos, Abyssinia, Brazil, Argentina, Costa Rica, Guatemala, Nicaragua, Honduras, Jamaica, Barbados, Trinidad, British Guiana and British Honduras,’ he stated.” (Nautilus International, 2020).

With crucial timing, it was at this point in 1924 that Classic Blues Singers Hazel Meyers and Rosa Henderson released “The Black Starline – A West Indian Chant’. The artists each added satirical verses to their individual versions of the song, further mocking Garvey’s exploits.

“We‘ll eat monkey hips and rice, tomato, garlic too Then we‘ll grab our favourite sport, child, chasing monkey, too,

I done put my lastest dime down on dis great steamship, Lord, I hope that it won‘t sink, I wanna take this trip.”

Garvey, who had once been hugely respected by black critics and leaders had lost his credibility. Civil Rights Activist A. Philip Randolph, who had introduced Garvey to his first American audience in Harlem, began an influential ‘Garvey Must Go’ campaign through The Messenger

magazine that insisted Garvey had wasted the money of his working-class followers. He exclaimed that Garvey was “the laughingstock of the world!” Further fuel was added to the fire when the campaign exposed that Garvey had a secret meeting with the leader of the KKK to discuss their shared interest of racial-separatism. Whereas Jazz and Blues musicians had once supported Garvey with their music, now they were making a mockery of him, and in doing so, adding weight to the ‘Garvey Must Go’ campaign.

By early 1925, Garvey had raised enough funds to buy a former Hamburg-America Line ship which he renamed Booker T. Washington after the black activist. The ship made just one troubled voyage between New York, Cuba, and Jamaica before suffering a run of boiler problems. The crew complained of unpaid wages and the ship was shortly retired and sold off to cover growing debts. The West Indies Blues and Black Starline songs, along the blues women who performed them, helped to influence public opinion on Garvey and the UNIA. These songs provided a soundtrack to the growing ‘Garvey Must Go Campaign.’ As WEB Du Bois of the NAACP stated in 1926; “all art is propaganda and ever must be”!

In 1927, Marcus Garvey was deported, never to return to the USA. I think it is important to re-write the narrative on Blues Women, to show that they were politicised.

Many scholars have argued that blues artists were rarely concerned with social protest. Scholar and author Angela Davis challenged this notion in her work, demonstrating that the lyrics of Classic Blues Women were political and socially conscious. It is clear that Esther Bigeou, Viola McCoy, Hazel Meyers, and Rosa Henderson used their agency to oppose and influence political opinion. Furthermore, they aligned their musical output with a political campaign that was advocating for change.

Despite the tragic end to Garvey’s civil rights work in America, the UNIA’s values and aspirations have had a lasting impact on Black communities around the world. The Black Starline is today viewed by Garvey followers and Pan-Africanists as an important symbol of Black Pride. Garvey’s legacy inspired movements for racial equality and decolonisation in Africa. In the 1950’s Ghana chose to portray a black star in the centre of their national flag, a symbol for the emancipation of Africa from colonialisation, and a nod to Garvey’s Black Star Line. In the1960’s, Civil Rights Activist Malcolm X also drew inspiration from Garveyism. Jamaica’s Rastafari movement was hugely influenced by Garvey and Bob Marley’s ‘Redemption Song’ includes lyrics that are a direct quote from a speech given by Garvey: “Emancipate yourself from mental slavery, none but ourselves can free our minds.”

JOHN MAYALL & THE BLUES BREAKERS

THE BEANO ALBUM- MONO-LK4804

Released in 1966, this became known as “ The Beano” album because of a certain Eric Clapton holding a copy of the popular kids comic on the front cover. Now, it can not be said that the reason everyone remembers this album so vividly, is because of Eric’s choice of reading material, the album is still revered today for much more than a comic. Eric Clapton shocked the world of music by quitting The Yardbirds, thus allowing a young Jimmy Page to join as a bass guitarist before he went on to form Led Zeppelin. When Clapton joined John Mayall, it could be said that this became the first super-group. Alongside Mayall and Clapton, John McVie (pre-Fleetwood Mac) and Hughie Flint made up The Blues Breakers.

By this time, Eric Clapton had become world-famous as a Blues guitarist, spawning the famous, Clapton Is God phrase painted on a London wall. What the Blues Breakers achieved on this album was the ability to bring the Blues numbers they were performing at live venues such as The Marquee Club, and The 100 Club, into the studio to lay down on the record. Improvisation at live gigs had earned them the title of Best Blues Band in the country, and upon hearing the album, who can argue? Five of the songs were penned by Mayall himself, with the rest penned by Blues stalwarts such as Willie Dixon, Bukka White, Mose Allison, and Eric’s idol, Robert Johnson. The record was an instant hit among the ever-growing Blues audiences, especially around the London club circuit. But, this all came crashing down when Eric Clapton announced that he was leaving the Blues Breakers. However, would the band survive without t their talisman? The legacy that was made on this album has endured for six decades and is one of the greatest Blues albums of all time.

Anyone could have been forgiven for thinking the departure of Eric Clapton would signal the end for The Blues Breakers. This could not have been further from the truth. Less than a year after the release of the so-called” Beano” album The Blues Breakers were back with, A Hard Road, and two other deputies. John Mayall was asked, “ How can you carry on without Eric”? His answer was, I’ve found a better guitarist, Peter Green”. Now, that was a very bold statement to make, but John Mayall would be proved

correct in many people’s minds. That is not taking anything away from Eric Clapton, God forbid, but Peter Green, in my opinion, is a slight cut above as a Blues guitarist. The other addition was on drums, Ansley Dunbar. Having narrowly lost out to Mitch Mitchell to be the drummer with The Jimi Hendrix Experience, by the toss of a coin, by all accounts, Dunbar teamed up with John Mayall.

This was a slight change of direction for The Blues Breakers, a different dynamic and sound had developed, largely down to Peter Green. Add to this the introduction of horns on songs like Another Kinda Love, and, Someday After A While, it gave the band a more American Blues feel, and something that continued throughout the existence of the band’s tenure. Songs such as Dust My Blues was a sidestep from the song, Dust My Broom, by Robert Johnson, and Elmore James with Mayall re-arranging the song and slightly adding his own take, a bold move, but as I alluded to earlier, anyone that has the balls to announce that they have found a better Blues guitarist than Eric Clapton, is someone we should all listen to. The musicians that have passed through The Blues Breakers are breathtaking, Clapton, Green, Mick Taylor, Mick Fleetwood, John McVie, the list is endless.

We can thank John Mayall, and, also, Alexis Korner, who also nurtured the likes of The Rolling Stones, Robert Plant, Jimmy Page, and many more during the mid to late sixties as being the cornerstones of what was to become known as, The British Blues Boom. John Mayall, as far as I’m concerned has earned the right to be called the father of British Blues. These two albums are a testament to that.

WORKING CLASS BLUES AN INTERVIEW WITH MCKINLEY JAMES

McKinley James, a rising star in the modern blues scene, is a musician whose soulful melodies and electrifying guitar riffs have captivated audiences na-tionwide. With a sound that blends traditional blues roots with contemporary flair, he has quickly made a name for himself, earning praise for both his tech-nical prowess and emotive performances. Today, Blues Matters caught up with him to look into his musical influences, creative process, while, at time of writing, he was on a UK wide tour.

McKinley James, a rising star in the modern blues scene, is a musician whose soulful melodies and electrifying guitar riffs have captivated audiences na-tionwide. With a sound that blends traditional blues roots with contemporary flair, he has quickly made a name for himself, earning praise for both his tech-nical prowess and emotive performances. Today, Blues Matters caught up with him to look into his musical influences, creative process, while, at time of writing, he was on a UK wide tour.

I start at the beginning asking how the UK tour is going so far?

“We played a lightly attended show at the Blues Kitchen last time due to poor promotion. However, our recent show at The Lexington had around 80-85 attendees. It was a ticketed event at a killer venue, and it was great. It was like listening and kind of rock and roll crowd to. So, it was energetic, which was nice. But even during the ballads, nobody really talked. They all really paid attention. We play almost every night and usually one day off is the travel day. Yesterday, we got lucky to do some tourist stuff in London.”

“We aim to deliver a performance better than the record, ensuring it’s more exciting, lively, and soulful. With rising ticket prices, it’s crucial to fulfil expectations so fans feel their money was well spent! We’ve done every kind of gig, big and small, so now I don’t get nervous, just excited. Playing with my dad feels like we’re in our studio, having fun and giving our best. It feels like second nature just to be up there and playing. I’ll be 23 in August, but I’ve been playing gigs since I was five, and for the last two years of high school, I did online school because we started to work a bunch. So that’s really all I’ve been doing even before high school ended, I was gigging and touring. So

that’s all I’ve been doing for the last seven years, just touring and playing. I worked at a recording studio part time when we weren’t touring for about five years. I worked at Easy Sound in Nashville for Dan Auerbach. My dad and Dan were mutual friends, so we met and geeked out about guitars. I offered to help out after high school, and a few months later, his engineer called me to start working. I learned a lot in five years—engineering, session work, and invaluable music career lessons.”

“Never slack. My father told me When you start playing gigs, you must give it your best because someone else could have had the gig that could have possibly needed the money. Play the show, and give it your best all the time, don’t half ass things on stage.”

“So, I grew up in a musical household. My dad was always a touring musician and a musician ever since he was a kid. He actually plays in the band and the duos with me on drums, Jason Smay. My mom is super musical, always playing records and videos of live performances like Stax Records’ One Night Live in Norway. My childhood was filled with soul and blues music. Surrounded by musicians, our house often hosted my dad’s bandmates. Growing up with instruments, especially a Hammond B3, I could mess around with music from a young age. Despite not mastering it, I continued playing. This constant exposure to music and musicians, along with my mom’s influence, made music an integral part of my life, inspiring me to become a musician. Music has always been in my head, shaping my path. I was a big Booker T & the M.G.’s fan and learned some Hammond organ but was never super-efficient at it despite there being a lot of instruments in the house. When I was ten years old, after watching Steve Cropper in a Booker T video, I knew guitar was all I wanted to do. From then, it became clear music was my future. I got

 Colin Campbell  Jeck Jordan

“don’t half-ass things on stage”

guitar lessons from a family friend. He’s been playing jazz and blues in my hometown Rochester New York since he was a kid in the 60s. He showed me the way and gave me lessons for a few years. After moving to Nashville, I had no teachers but benefited from his emphasis on music theory and reading. This foundation aids my songwriting, beyond just playing licks and solos.”

Your vocals are soulful, when did you learn to sing?

“I never wanted to sing, only play guitar. But my dad insisted learning to sing would create more opportunities. At thirteen years old, I started singing, found it fun, and enjoyed expressing myself through songwriting. I’m grateful for his push, as it led to many cool opportunities.”

“I had bands with my brothers and I, just playing at the house. But my first band was me, my dad, and a bass player out of Rochester. We did a couple gigs and played over a year or so together. Then it became a Hammond trio with, pops and then our friend Ray. So, it’s always usually been a trio, but we did some gigs early on as a duo, and since we’re duo now, it kind of feels really natural. I remember playing every Tuesday in a blues and soul band at an R&B nightclub in Rochester before moving to Nashville. This house band experience was pivotal, featuring top players like Joe Beard, who taught me early Chicago blues. Watching these real musicians, like Buddy Guy’s friends, was like a weekly guitar lesson, deeply motivating me. Joe Beard, now 86, was connected with legends like Matt ‘Guitar’ Murphy, Buddy Guy, Jimmy Reed, and Eddie

Taylor. These sessions in small Rochester clubs helped me cut my teeth before touring, providing invaluable, informal education in blues music.”

What about moving to Nashville and playing with Patrick Sweeney, is an obvious question.

“Patrick Sweeney and the Tiger Beats have been playing together in Nashville for seven years. We joined the band and played most Monday nights locally in Nashville. Patrick’s honest, no-frills approach to blues is what I love—he doesn’t try to sound old; he just has it naturally. Our band’s mix of 60s electric blues and Patrick’s earlier ragtime blues blends well. Nashville’s known for country, but there’s a vibrant blues and R&B scene on Jefferson Street, like where Etta James recorded. It’s a hidden gem with a rich history that’s often overlooked amidst the country dominance.”

The response leads me to ask about his influences.

“I’ve always gravitated to Magic Sam. My two favourite records are his, West Side Soul and the Fabulous Thunderbirds, Girls Go Wild. But I always loved Howlin’ Wolf because of Hubert Sumlin and Otis Rush. Magic Sam, as far as blues guitar goes, he was the guy that really influenced me early on. His singing inspired me, he doesn’t sing like the standard blues vocal phrasing. He always has a little bit of soul element to him, which I like too, because I’m a big soul fan, so he kind of mixes both nicely.”

Followed by, How would you describe your musical style?

“I would just say traditional rhythm and blues because it’s a mix of rock and roll with soul and blues. I love mixing. I want it to be relatable to people today. One foot in the old world but make it fresh so everybody can relate to it, keeping it modern and relatable to today’s listening public.”

The band is now a duo, and you have a distinctive guitar style to bring in a bass line?

“I grew up playing Hammond; it’s a big part of the sound I love. I’ll used a guitar amp and Leslie until we find another Hammond player. I replicate the Hammond with guitar and bass, playing with my thumb. Lightnin’ Hopkins and Jimmy Reed inspired my thumb picking technique. He’s always got his thumb on that low E. I tried that through a Leslie and guitar amp; it sounds big and natural.”

We

go on to talk about his new release

Working Class Blues.

“The title comes from working class problems, BLUES exemplifies both these words for me. The songs describe working class blues with themes the everyday person can relate to; love, heartbreak, rock ‘n’ roll. You can give this record to a pop listener or a hardcore blues fan, and they’ll relate. It’s for the everyday person, not just specific music lovers. They’re fresh, relatable, and soulful. The production process was minimal, it was just a couple of

close microphones and one guitar amp and drums. We thought about doing it a couple different ways, to see how we could make the duo sound big.”

“We recorded the song Always on My Mind, for example as a demo, which ended up being the take on the record. I got some microphones thrown up and I used my Strat and got this little amp, and I did a rough mix on it. It sounded cool because we also wanted to keep it honest sounding because you can do a bunch of production and everything on this album. But it was just like, the title is Working Class Blues, and these are working class songs. Let’s try it and let’s not make it fancy. Let’s just keep it super honest, what you hear on the record is what you’re going to hear live. The demo sounded cool, so let’s just do the whole record like that. We did it over Thanksgiving weekend. It just felt natural to just get in the room, be like a couple of feet away from each other and just hit the record button. Stay With You, took a little bit longer, it really kind of depends, sometimes you get lucky and it’s quick, and sometimes it takes a couple of days. Movin’, I wrote with Dan Auerbach and Pat McLaughlin, we did this in forty minutes, we just jammed, and he groove set. When it came to mixing, my father changed it to a fast shuffle in the Jimmy Redd style.”

Do you have a songwriting process, I wonder, as our time comes to a close?

“I try to write as much as I can, even if it’s just a line comes up in my head or whatever. I’ll write it down or do a voice memo or whatever on my phone. I pick through those later. There are some co-writes on this record so I’ll get an idea kind of write a song and bring it to him and be like, hey, how can we make this work? Then I’ll have the words written down and a loose form of it. But then when we get together, that’s when it really kind of comes to life, because then we can blend both of our ideas together and really kind of finish it out. I’m trying to always write, but sometimes it is harder than others.”

For further information see website: mckinleyjames.com

If you’re looking for a night of raw energy and blistering blues-rock, Troy Redfern Band’s performance at Bannerman’s in Edinburgh was the place to be. Troy’s infectious enthusiasm radiated through the intimate venue, and the band’s depth added remarkable dimensions to each song.

From the moment they took the stage, it was hit after hit. Troy’s stage presence was electric; he owned every inch of the stage and showed no signs of slowing down throughout the set. A highlight was the flawless execution of his latest single, “Van Helsing.” The track’s massive tones lit up the audience, and the beefy noise resonated powerfully through Bannerman’s.

Redfern’s new album, Invocation, represents a fantastic and natural progression in his musical journey. It’s an album that’s definitely worth checking out, especially on vinyl, to fully appreciate its depth and nuance.

In all, the Troy Redfern Band delivered a powerhouse performance that left the crowd craving more. If you haven’t seen them live yet, you’re missing out on a truly electrifying experience.

Troy Redfern is special guest on Philip Sayce’s UK tour from November 21 – December 4th 2024. Tickets are available from troyredfern.com/dates

The 45th Blues Music Awards. took place on May 9th with gala, gowns and bestowing of glory. The blues community of artists, fans, and industry gathered in the heart of Memphis, a city known for its rich musical heritage, for three days of showcases, networking, and tributes leading to the star-studded award show. The awards, presented by The Blues Foundation, are recognized as the pinnacle of achievement in the blues music world. Voting is by popular ballot among the Blues Foundation international membership.

The evening’s biggest winner was guitarist Christone “Kingfish” Ingram, who triumphed with four awards, including the prestigious “Album of the Year” for his electrifying “Live in London”.

He also won the “Contemporary Blues Album of the Year”, “Instrumentalist -Guitarist of the Year”, and “Contemporary Male Blues Artist of the Year”. Veteran bluesman Bobby Rush was honored with the “B.B. King Entertainer of the Year” award, a testament to his dynamic stage presence and enduring influence on the genre.

Rush’s career spans over seven decades, and his ability to captivate audiences is unparalleled. Other multiple award winners included Mike Zito, Ruthie Foster, and John Primer. Zito’s “Blood Brothers” album, a collaboration with Albert Castiglia, won the “Blues Rock Album” as well as taking home the “Blues Rock Artist” Award. Ruthie Foster’s poignant songwriting earned her the “Song of the Year” award for “What Kind of Fool” co-written with Hadden Sayers and Scottie Miller.

Her soulful and stunning voice earned her the “Vocalist of the Year “award. John Primer showed that you can’t have the Blues without the Primer by taking home both traditional categories in the” Traditional Album of the Year”

with “Teardrops for Magic Slim” as well as “Traditional Male Artist of the Year. “

The “Best Emerging Artist Album” went to D.K. Harrell for “The Right Man,” signaling the arrival of a powerful new voice in blues music. The Nick Moss Band took home the coveted “Band of The Year” title. In the acoustic realm, Doug MacLeod’s “Raw Blues 1” was recognized as the “Acoustic Blues Album” of the year, a work that showcases his storytelling and guitar skills. In the “Soul Blues” Category, John Nemeth was voted for top male artist and Annika Chambers for best female. The awards also celebrated the instrumentalists who are the backbone of the blues sound. Among them, Bob Stroger received the “Instrumentalist – Bass” award, Kenny “Beedy Eyes” Smith won for “Instrumentalist – Drums,” Jason Ricci for “Instrumentalist – Harmonica,” and Vanessa Collier was recognized for her prowess on the horn.

Sprinkled in between the awards were performances by both solo and bands from around the world. Highlights included a riveting performance by Castro Coleman, (aka Mr. Sipp), and his band who got the audience up and jumping the broom. Alabama Mike, who taunted those tempted to “Fat-Shame” and a Toronto-based band, The Blackburn Brothers who gave a musical civil rights lesson with a deep soul/blues groove.

As the night drew to a close, the 45th Blues Music Awards not only honored the achievements of the past year but also paid homage to the enduring legacy of the blues, a music that continues to touch hearts and stir souls around the world.

Congratulations to all the winners and nominees who continue to keep the blues alive and growing.



 Laura Carbone

THE RESULTS

B.B. King Entertainer of the Year

BOBBY RUSH

Album of the Year

LIVE IN LONDON, CHRISTONE “KINGFISH” INGRAM

Band of the Year

NICK MOSS BAND

Song of the Year

“WHAT KIND OF FOOL” - WRITTEN BY RUTHIE FOSTER, HADDEN SAYERS & SCOTTIE MILLER

Best Emerging Artist Album

THE RIGHT MAN, D.K. HARRELL

Acoustic Blues Album

RAW BLUES 1, DOUG MACLEOD

Blues Rock Album

BLOOD BROTHERS, MIKE ZITO/ ALBERT CASTIGLIA

Contemporary Blues Album

LIVE IN LONDON, CHRISTONE “KINGFISH” INGRAM

Soul Blues Album

ALL MY LOVE FOR YOU, BOBBY RUSH

Traditional Blues Album

TEARDROPS FOR MAGIC SLIM, JOHN PRIMER

Acoustic Blues Artist

KEB’ MO’

Blues Rock Artist

MIKE ZITO

Contemporary Blues Female Artist

DANIELLE NICOLE

Contemporary Blues Male Artist

CHRISTONE “KINGFISH” INGRAM

Soul Blues Female Artist

ANNIKA CHAMBERS

Soul Blues Male Artist

JOHN NEMETH

Traditional Blues Female Artist (Koko Taylor Award)

SUE FOLEY

Traditional Blues Male Artist

JOHN PRIMER

Instrumentalist – Bass

BOB STROGER

Instrumentalist – Drums

KENNY “BEEDY EYES” SMITH

Instrumentalist – Guitar

CHRISTONE “KINGFISH” INGRAM

Instrumentalist – Harmonica

JASON RICCI

DEB RYDER

LIVE AND HAVING FUN

Blues Matters got the chance to speak with Deb Ryder, a powerhouse in the world of blues music. Known for her soulful voice, evocative songwriting, and captivating stage presence, Deb has carved out a remarkable career that resonates with authenticity and passion. With a rich discography and accolades that reflect her deep connection to the blues tradition, she continues to captivate audiences around the globe. Amongst the many topics for discussion was her recent live recording, Live And Havin’ Fun.

 Colin Campbell  Marilyn Stringer

“I was born outside of Chicago and lived there in my early years. My dad, a fabulous crooner, he did all the old Sinatra stuff and took us kids to clubs where we performed like the Trapp Family Singers, earning spaghetti and meatballs. After singing with him in church, we moved to Malibu for his job with Encyclopaedia Britannica. My parents had a wild time but divorced soon after the move. My mom then moved us to Topanga Canyon, where she and my stepfather opened the Topanga Corral, hosting legends like Taj Mahal, Etta James, and Neil Young. By 1968, I was a young singer surrounded by incredible musicians. I had a job mucking horses, mopping stalls, brushing them, and taking guests on tours. If I finished early, I could jam with Crosby, Stills, Nash, and Young on the porch. My earliest big musical experiences were with them. Living in a small room behind the Topanga Corral, I could hear the club’s music shaking my walls. I spent every night in junior high and early high school at the club, eventually opening for major acts. These neighbours in the canyon mentored me and taught me about the blues. That’s my story, you know!”

“Bob Hite from Canned Heat had the most extensive collection of blues, 45, 78, and albums in the world. I babysat his children and, while he was on gigs, he’d lay out specific blues records for me to listen to, especially women of the blues. I had to listen in order and was not allowed to touch anything in his house. That was quite an education!”

“Etta James stayed at the cabin behind the club where I lived. I’d knock on her door and say, ‘Hello, Miss Etta, are you in?’ She’d let me in, and over the years, she taught me how to write songs. My early background was singing and jamming, but Etta gave me a unique blues education. She was very stern but very kind, teaching me to stick to tradition but to let the lyrics go outside the box. Years later, I opened for her at gigs, and we became friends.

These early days were wonderful, and I often regaled my husband with these tales.”

“I used to warm up for Big Joe Turner’s band because he liked to sit at the bar with Topanga Dick, the guy who booked all the blues acts. I’d run in and say, “Big Joe, I’m here.” He’d reply, ‘Well, warm up that band.’ I knew all his tunes and it was great. I was probably 14 or 15 at the time. A few years later, when I opened for Etta James, I was about 18 or 19.”

Deb’s transition to being a musician full time came later in life:

“I enrolled in nursing school, but the hospital they sent me to, County USC, was awful. I lasted two weeks before I fainted and realized nursing wasn’t for me. I tried various jobs: banking (I was a bank manager and good with numbers), construction, and waitressing, especially during our early married years to pay the mortgage and support our children. My recording career started much later, but I had a lucrative career in TV, radio spots, and national commercials. I worked with two producers and recorded jingles for brands like Cody, Burger King, Jell-O, and Caloric ranges.”

“In Las Vegas, I performed, and my voice was used for showgirls who lip-synced to my singing. One memorable performance featured women dressed as the Statue of Liberty and Martha Washington. My jingle career ended when one producer left the business and the other inherited money. Besides jingles, I did background vocals for various artists, including Dave Mason and early blues musicians. My name appears on many records. The best advice I’ve received

LISTEN STATION

ENJOY THE RIDE

TEMPORARY INSAN

MA MISERE

“I judge a song’s quality by how it sticks in my head all day”

in my musical career is, to relax, enjoy the ride. Don’t take it too seriously, as it’s a tough business and try not to be in it just for money. Love what you do and remember, the people are there to have a good time. Entertain them and give them what they bought a ticket for. It’s important not to take yourself so seriously that no gig is good enough for you, or that you don’t care where you go.”

“I’m excited about this Friday’s gig at “the best club in LA,” the Write Off Room. Everybody plays there that’s anybody and I guess I’m somebody. I’ve got a great band and some super blues guests: Debbie Davies, Kirk Fletcher on guitar, and the amazing Jimmy Z, who played with the Eurythmics and Tom Petty. My core band includes my younger brother Bruce Swanson on guitar, Alan Maggini

on rhythm and lead guitar, Kirk Nelson on keyboards, Mike Sauer on drums, my husband Ric Ryder on bass, and Jimmy Z. I’ve got this great band and I’m pretty excited.”

Where did you learn your stagecraft?

“I stood at the end of the corral stage, like a sponge with my mouth open, watching Etta James. She had everybody there wrapped around her finger and could sell a song like nobody. She taught me that songs should say, exactly what she meant to say. Stagecraft varies; in a rock band, it’s different from singing the blues. The key is to keep the audience enthralled. If they love you, they’ll let you know, and if they don’t, they’ll let you know too! Crowds in Europe are crazy and inspiring, which shapes the performance.”

“Festival audiences are amazing, and bigger,” she adds. Smaller clubs are equally wonderful. Smaller, intimate clubs can struggle more financially, making tickets pricier, which sometimes affects crowd size. American audiences are very enthusiastic and they either love the blues or they don’t, and in my case, they do! Blues audiences are like a family and are some of the finest human beings and best attendees ever. I play all over the US, including Illinois, Portland, Northern California, and Los Angeles. Many venues closed during Covid, but the ones that reopened, like the one I’m playing this Friday, are great clubs.”

“Playing music for live crowds and the joy of singing make me feel most comfortable in my own skin. Singing is like the only time when I’m recording or I’m singing live or I’m writing. Though I’m a great mom, wife, and baker, my true comfort comes from music. I’m a prolific writer, often working on maybe four tunes at a time, combining verses or sparking new directions. I constantly listen to music to see what other artists are doing, what’s trending, and what people love. This matters to me a lot.”

What makes a good song?

“I’m pretty critical of my music, I really am. People say, ‘you’re such a great songwriter,’ and I get to write for a lot of other people. I judge a song’s quality by how it sticks in my head all day, how I hum it and think about the bridge. I write about everything, love, relationship experiences. Recently, I wrote a hilarious tune about nosy neighbours in the canyon, with the bassist from Tool producing it. It’s a blues rap with funny, autobiographical lyrics about a neighbour taking pictures, causing a fuss, and calling the cops. It doesn’t have to be a ‘good’ song, just lyrics that are funny or poignant. One of my favourite tunes I’ve ever written is called, For The Last Time, a duet I did with the great and now gone Mike Finnigan. It’s a beautiful song. I also write a lot of pretty ballads and a funny song I did as a duet with Sugar Ray Rayford. I write about everything.”

Your newest release Live And Having Fun is your first live album?

“I had a lot of requests from people at shows saying, ‘You should have recorded this tonight, it was great.’ So, the story is pretty easy. I turned a big birthday and invited all the West Coast heavy duty blues artists. Many went, then word got out, ‘Can I come and play?’ I’ve always been blessed; they call me, Tony Braunagel, or my husband. This was a very good central location, an old, iconic club, very tufted, red leather, dark club, groovy place. So, before you know it, I had a very good live recording. We ended up having the basic core of the Phantom Blues Band. Michael had passed, so Jim Pugh, Tony Braunagel, Johnny Lee Schell, Joe Sublette, Lon Price, Paul Litteral, and Ric Ryder played bass. Albert Lee and Arturo Meneses were special guests. Joey Delgado did an amazing job. They just stopped by, didn’t ask, and in most cases, they asked me. ‘Hey, can I come play, too? Yeah, come on.’ It was excellent. So, I think the album has a party vibe.” We were having a great time. It wasn’t like other live recording sessions where they might play a song three times or not at all.”

“This was truly live, fourteen songs. I mean, there it was.” The song, Fun Never Hurt Noone and the album cover were inspired by the show that I’ve been doing in Los Angeles. That is a gas, I have to I have to talk about it. It’s called Tribute To The Fillmore, both East and West. There are all kinds of artists coming in and out, but the basic band and how I got working with Jimmy Z, was structured by Laurie Rymer and Kenny Lee Lewis, Dave Matthews’ guitarist who’s been with him 43 years. It’s a love of tunes we loved: Janis Joplin, Tina Turner, Jimi Hendrix, Junior Walker. All ‘60s stuff with posters from that era. The album and song were inspired by the vibe at the show. I just finished it before that party.” “I record with the great Johnny Lee Schell. I’m very, very fortunate to work with him. In terms of pre-production, we call it. They’re not really demos, more like pre-production meetings. We decide on the key, the vibe, and the drums are put on later. They are demos, but we call them pre-production, and I live with it for a while. If I love it, I’ll record it. Tony came in and did the drums, and Joe Sublett redid some of the solo work. It was wonderful, performing and recording it again.”

“I will never stop writing, performing, and recording the blues until God calls me home. It’s where I want to be and what I want to be doing. It’s my best part of life, emotionally and physically. Rick and I call it our blues retirement because music is all we do now. He had a major career in motion pictures, doing art department and props for films like The Green Mile, The Aviator, and Almost Famous. Before that, he was a tour manager for big national tours like The Monkees and Queen. He started at Harmony Pictures, coincidentally when I was doing soundtracks and commercials. Our son Ricky, Jr. is a schoolteacher and loves music but isn’t pursuing it as a career.”

For further information see website: debryder.com

COME SING WITH ME AN INTERVIEW WITH PATTI PARKS

Blues artists often have diverse beginnings and take varied paths before they start writing and performing blues music. While researching Patti Parks ahead of our chat, I was surprised to discover that before becoming a bona fide Blues artist, she trained as a nurse. She continues to use her nursing skills to help people from all walks of life through her program, Nursin’ Blues. Intrigued, I was eager to learn more as we began our conversation.

 Stephen Harrison  Marilyn Stringer

“Well, as you know, when you are starting out on the road to something, we all have ideas on what we want to do, but that doesn’t mean that we all follow our first instincts. I started my musical life as a cellist a part of a symphony orchestra. My mother had always taken me to shows, which had always been a part of my life, I watched various performers, and then when I got to the age of about twenty, I knew I had to do something with my life financially to support myself.”

As I said, this is not what you would normally expect from a blues artist, and not just a blues artist, Patti Parks incorporates, soul, gospel, and boogie into her repertoire. I have always felt that blues music can be a healer, It’s not all gloom and doom, it’s a story of real-life experiences that we all go through from time to time, some good, some bad, but when you play or listen to blues music, you don’t have the blues, it’s extraordinary.

“I started working as a nurse to support myself, but I still kept my musical fire going. There was a time though, when there was nothing musical going on in my life, so I took door number one instead of door number two in my relationship, and this culminated in me having no music in my life. Then a chance meeting with someone after I had gone through my divorce, and the first thing that he said to me was – ‘Are you still singing?’ I said, Oh no, that’s all finished with, and he said, I bet if I put a microphone in front of you, you’ll still be singing”. It

turns out that he was right, and he’s now my husband.”

Guy Nirelli is the guy in question, he’s Patti’s keyboard player and songwriting partner, so it seems that the chance meeting they had some years ago has turned out to be very productive.

“What I did was, I integrated the nursing and music together and thinking to myself, how can I merge these two things together? That’s why I have a programme called, Nursin’ Blues, bringing a holistic approach through the blues genre. I use this for people who have a chemical dependency, it’s not about me playing and trying to make you feel good, I hope that happens, but the blues genre is reflective of resilience, and the vibe and the beat. It’s all going to make people feel good in a way that people communicate.”

The Blues tells a story, and the rhythms and beats along with the lyrics can be of a great spiritual calmness. At the end of a long, and sometimes stressful day, I can listen to Blues, no matter who it is, and I feel better straight away, a spiritual calm washes over me, so I totally get what Patti is saying.

“I came across people who had Masters degrees, who had never listened to blues music who used to say, ‘It’s such sad music, its depressing’, but they are missing the point. I mean, you can get a great boogie woogie as part of the blues, that’ll surely cheer you up!”

Another couple of musicians that appear on the album, Anthony Geraci, and Richard Rosenblatt, are certainly no strangers when it comes to blues. Neither is Johnny Rawls, who co-writes and shares vocal duties alongside Patti on a couple of songs. Richard is a great harmonica player, and is also one half of the label on which Come

Sing With Me is released, Vizztone. Anthony Geraci has been around the blues scene for a long time playing piano with many artists. So, I was eager to delve deeper into the working relationship between the three of them.

“This is the second album that I have done with Vizztone, my first album with Vizztone was recorded with Kenny Neal. He’d seen me performing and he’d also got a contractual thing going with Vizztone. It was a great team to work with, especially Amy Brat at Vizztone. I was doing a showcase in Memphis, and Johnny Rawls was in the audience and heard me sing. He came up to me and said, ‘I like what you do Miss Buffalo,’ - I’m from Buffalo, New York – ‘ I like how you sound, I think that we should do some work together.’ He’s a soul/-blues icon, he’s played with Buddy Guy and Otis Redding, he’s been a band director, he’s played with B B King, so his pedigree is impressive, and to top all of that, he’s been nominated for over twenty Blues Awards. So for me to have that opportunity to work alongside him was incredible.”

The conversation carries on with us finding out that we had the same musical heroes, people who have only been on the scene for a few years, artists that blow our respective minds in blues music, one such name was mentioned more than once, and it’s no surprise, Kingfish.

“I was playing at Ground Zero one night, that is an honour in itself, the legendary names that have appeared there, it’s almost overwhelming. Then who should walk in while we were playing? Kingfish. That was quite a moment, let me tell you. It’s amazing the situations we find ourselves in, situations that you would never believe would happen, but that’s the beauty of what we do, right? From the performing side of things to the stuff that you do. I used to think that when I first started out, wow, this is it for me, this is everything, but it’s only the beginning, it never ends.”

Finding that we had a few mutual people that we both raved about, led me to ask about Patti’s influences as she was growing up, Aretha, Nina Simone, Billie Holiday? Her answer was not a shock, but it wasn’t one I expected.

“You’re gonna laugh! Remember when I told you earlier that my mother took me everywhere with her, to various shows, my biggest influence, Liza Minelli? That was simply because of her performance. When I saw her on stage, I thought the connection was her soul was her music. As a little girl, I remember watching her drop to her knees, commanding the audience with just a look. Growing up, I used to close my bedroom door and sing to Liza Minelli. Then I started listening to more and more music, my influence with the blues didn’t start until I’d been singing for a while, and people like Etta James played a big part in my career. I began experiencing all different parts of blues music, it was like a school journey.”

Listening to Patti wax lyrical about her musical journeys, it’s obvious that being surrounded by music in the home, her father was a musician, and her mother became a sort of musical guide opening her eyes to all sorts of stuff, that Patti would follow some sort of musical path. Patti has recorded and written with some really talented musicians and artists, and long may it continue. Before I bid her good afternoon, I was curious about who she would still like to record with:

“Let me think about that for a moment, I’d love to sing a song with, Shemekia Copeland. She is something else when I hear her vocals, she has a range that is beyond belief she’s like nobody else out there, and she’s kinda got it all. Now that would be worth the wait, Patti and Shemekia performing together. Stranger things have happened.

Find out more at Patti’s website: www.thepattiparksband.com

“it’s only the beginning, it never ends”

THE CORBERA BLUES FESTIVAL VALENCIA REGION, SPAIN

In 2023 I was invited to play at the 8th Edition of The Corbera Blues Festival in the town of Corbera in the Valencia Region of Spain. Corbera is a beautiful small traditional Spanish town overlooked by a Medieval Castle with a lovely central Square and a large park full of flowers and trees that give much needed shade in this hot and sunny climate. The town is surrounded by mountains , Orange groves and Palm Trees about 7 kms from the Mediterranean Sea and it’s beaches.

So … how did an area of Spain better known for it’s Oranges than Cotton Fields get rollin’ down the Blues Tracks? I asked David Preus, the Festival Organizer how it all started.

David, a native of Corbera, was living in Barcelona in 2015 where he played drums with a blues rock band called “One for the Road”.

“In August 2015, with the support of the Corbera Town Council, a concert was arranged for my band “One for the Road” and, the idea came up, why not do something more than just one concert? Since the band was going to have to travel from Barcelona and arrive the night

before, we scheduled a blues jam-session for the afternoon and invited other musicians in the area to be part of the party. We also knew an English guitar player, Graham Foster, who had played with Etta James in the 70’s who had moved to the area some years earlier. We asked Graham to come along and he agreed to play that night with his band. The first Corbera Blues Festival was born then without expecting it.” says David

After the excitement and inspiration of a successful first foray into the world of blues festivals, and with the support of Corbera Town Council, there was no going back. David and Corbera had got the Blues Bug and since those early days the festival has grown from strength to strength.

“In the first years of the festival, many people in Corbera used to refer to the festival as the Jazz Festival, and we had to correct them “It is Blues,

 Dik Banovich  Supplied

David Preus, event organiser (left) with Richard Oltra

Vasti Jackson

not Jazz”. Now, everyone in the village knows it is a Blues festival.” says David.

“The festival is organized by only three or four people, but there are many hands that make the whole thing possible during the preparation of the festival and during the days the festival takes place, from creating the design of the poster and T-Shirts, to lending apartments to accommodate musicians, to going to the airport or train station to pick up and drop the artists, to helping set up the stages and other stuff needed at the place of the concerts, to let us borrow instruments and equipment, and more… It is a very familiar festival in all senses.” he continues.

David tells me that the goal of the Corbera Blues Festival is to spread the knowledge of blues music and culture to everybody. Personally I can confirm this because, as well as my performance, I was invited to hold an acoustic Blues Guitar Workshop on the Saturday afternoon, the venue was the beautiful Corbera Park where a small stage was set up in the shade with PA and about 40 people showed up, some with guitars, but everybody with questions about the acoustic guitar and the Blues. Mississippi Bluesman Vasti Jackson also hosted a very well attended and extremely informative Blues Guitar workshop later in the day…. A couple of hours later he was blowing Corbera apart with a high octane performance on the main stage in the park with an audience of well over 1000 people…. That certainly was a wow moment for sure.

Corbera is a truly International Blues Festival, for as well as booking blues bands from Catalonia and Spain, musicians from The United States, UK, France have also played the Festival… I was extremely pleased to have met Smoke J Lawrence, the only South African Bluesman I have ever encountered and I was impressed by his virtuosity on guitar and all round kindness as a human being …. The Blues is alive and well in South Africa that’s for sure!

“The audience are, of course, blues lovers and people who are very into live music, but also people who like open-air musical events to have a good time with friends and family. Since the festival began, there has always been free entrance as the festival is strongly supported by Corbera Town Council and different stages are set up in different parts of the village to bring the experience closer to everyone.” says David.

“On the other hand, the proudness we feel when seeing more and more people coming every year to our beloved village of Corbera. It is a big satisfaction to know that we are helping to put Corbera on the map, not only in Spain but all over the world”

With a truly massive Paella to feed the multitudes on the Saturday afternoon that has become a Festival legend, David and the team at Corbera certainly have something to be proud of. This is one of the friendliest Blues Festivals that I have ever been invited to. It reminded me so much of Blues au Château in Brittany with it’s friendly easy going atmosphere, both festivals make you feel like you are a part of a family - united by the love of Blues. And both these festivals have a Castle or Château as their logo… uncanny coincidence?

Some of the Artists who have appeared at Corbera Blues Festival over the years are:

Vasti Jackson, Tommy Castro & The Painkillers, Marcos Coll & Will Jacobs, Chris Wragg & Greg Copeland, Dave Thomas, Smoke J. Lawrence, Dik Banovich, Lluís Coloma, Alex Zayas, Mingo Balaguer, Santiago Campillo.

So if you ever fancy a trip to Spain to catch some Blues & Paella, put Corbera on your must do list - you won’t be disappointed.

Smoke J Lawrence – South African Blues

Guitar Workshop – Dik Banovich & Carlos Preus - Translator

Blues guitar and orchestral guitar. As far apart as Earth and Saturn. Both have their rituals, and behaviours. Orchestral guitarists stick to the score at all times, they follow the silent but essential instructions of the conductor. Blues guitarists fly free, answering only their own spirit as it guides their hands up and down the fretboard, launching into freeform solos as and when the mood takes them. Orchestral guitarists wear dinner suits and shiny shoes. Blues guitarists wear jeans and tee-shirts and motorcycle boots or trainers. Each of them has a respect for the other, and the knowledge that the other’s word is absolutely not for them. Unless you are Alex Voysey.

 Andy Hughes  Supplied

Alex grew up learning violin and viola, the second a direct result of his mother’s profession as a viola player with the Halle Orchestra. Having discovered that the electric guitar was far more to his liking, and his rapidly growing skillset, Alex changed paths, and instruments. And then he discovered Joe Bonamassa.

Anyone who has enjoyed the magical experience of watching Joe Bonamassa play guitar knows that they are in the presence of a master. In terms of technical skill, emotional input, and all-round instrumental and cerebral genius, Joe Bonamassa is in a world of his own. And Alex Voysey decided that, as a musical influence, Bonamassa was the one for him.

And as we settle down to chat about his career, Alex is still visibly buzzing from his recent personal interaction with the great man:

“That’s right, absolutely. I went to see him a few days ago, in Basingstoke, my drummer and I went around to the stage door to see if we could see him. I took a small package with a couple of albums, and a letter, in the hope that I might be able to get them to him. And he was there outside, chatting, and we did get to give him our last two albums, which was amazing. We did come away a little star-struck, and wondering if that really happened? I do hope he plays the music.”

It would be a criminal loss to Joe’s musical enjoyment if he fails to do so. But let’s go back, to Alex’s start as a guitarist: “When I was twelve, I asked for a guitar for Christmas, and my brother asked for a drum kit. I come from a musical family, I was learning viola at the time, because my mum played viola with the Halle Orchestra, so I was in the classical world already. It became very apparent very quickly that I was much more suited to playing the guitar than playing the viola. I was self-taught for the first couple of years, and then I got a great guitar teacher, a guy called Jason Browm from just outside Manchester. He spent the first six months of teaching me crushing all the bad habits out of me, and then we went on from there.

“Before finding Joe Bonamassa, I was a massive Queen fan, Brian May was a big inspiration for me growing up. I was a big admirer of Guns ‘N’ Roses, the Appetite For Destruction album got me into Slash’s playing, and then I explored his solo albums as well, and became even more of a fan of his guitar playing. So, I was listening to classic rock and heavy rock, before I found Joe Bonamassa.”

“It was I’ll Take Care Of You, from Don’t Explain, his first album with Beth Hart, and it was the playing on his middle and end solos that was just so different to what I’d listened to before. It was so emotive, and that made me stop and think, actually, that’s how I want to play. So I checked out more of his material, and not long after that he played a concert at Leeds and I went along with my dad, and I’ve just never looked back from then until now.”

Alex has managed to parlay his adoration for blues guitar into a professional career, but like all pro-musicians, his outlet for his talent, and his income stream from it, were simultaneously cut off instantly, with the advent of the Covid lockdown. But musicians are nothing if not resourceful, and Alex was able to turn the temporary hiatus into a creative opportunity, specifically the writing of his latest album Blues In Isolation. Alex remembers the time well:

“I was a Hermes van driver during lockdown. Like so many other musicians, I had to find other income sources to pay the bills. But my writing process has developed a lot, just with Blues In Isolation. I’ve always loved writing music, but I’ve never felt all that great at writing words. For the first album, Head In A Blur, I wrote the lyrics for two tracks, and the rest were collaborations with singers and lyricists in my year at Leeds College Of Music. When we came to make Blues in Isolation, I was getting home from working for Hermes, coming up to get my guitar and playing all the ideas that were starting to develop. So the music came first, and all the songs are the result of experiments I was looking into in terms of songwriting. The words all came later on, because I am very much not a lyricist. My wife (author D.D. Holland) and I got into a really good rhythm for writing, she is a published author and she is really great with words. So I would write something, she would come and have a look at it, tick some lines, put crosses on others. And sometimes there were a lot of crosses on one line, to indicate that it was really very, very wrong. So the lyrics are all mine, but they have been slashed about, and prompted into re-writing.”

“D.D also wrote the words for two tracks, You’d Better Come Back Home, and Lab Rat.”

The creative process often benefits from outside input – a fresh pair of eyes on a lyric, and ears on a melody, can be vital in making sure that different directions and moods can be explored to reach the end product. Alex is delighted to have said input from the members of his band:

because they are far more qualified to work out what is best, than I am.”

Highly unusually, for a blues guitarist as individually skilled and successful as Alex is, he enjoys a parallel career as a studio session guitarist, but more unusually, he works as a guitarist in some of the biggest orchestras in the UK, incudling The Halle, CBSO, RLPO, RTE Dublin, BBCNOW, The London Concert Orchestra, and The Manchester Camerata.

His skills are in demand to provide guitar embellishments to orchestral interpretations of James Bond themes, Abba, sublime catalogue of pure pop, and feature film screenings with live orchestral accompaniments. Such career openings don’t always happen by chance, there is an element of the connection of circumstances involved.

Alex elaborates on his dual career path:

“I actually came to that aspect of my career first. When I graduated from Leeds College Of Music, the conductor of the Halle Pops was already aware of me because he had worked with my mum in the orchestra. They were performing the Abba Symphonica by Steve Sidwell, and the conductor asked the Halle to book me as second guitarist. He knew I had just graduated, so I sat next to Adam Goldsmith who is a phenomenal London session guitarist, and I got to work with him, and learn from him, sitting in the orchestra that I had grown up going to see. That was a very surreal experience! Being on the other side of things, inside the orchestra felt really strange, but at the same time, it felt like the first step into what I really wanted to do.”

“My drummer, Paul Arthurs, is a producer as well, he has produced all three albums with me. I have known him for years. When I was fifteen, we came down from Manchester to Cheltenham to be part of a local music school, called Peter Gill’s Rock Schools. Eventually I got too old to be a student, so I was asked back to teach. So, I have known Pete and Paul for my entire professional career. They were in the original line-up of what is now the band, Pete has branched out to do his own things, and Paul is still there. Pete is just everywhere, and we joke about his habit of booking himself a gig in Inverness one day, and Devon the next. As for new songs, I bring them to the guys and we play through them, and they either say Yeah, great, or we work through bits that need it. Paul might say, I don’t think that particular bit is working, so we will take it apart, and try it another way. Unless it’s something really specific, I will just give the guys lead sheets or chord charts and let them work out their own parts,

Is the next album under way yet?:

“We have just started, we have a couple of ideas we are working on. I’m writing it in the same way as Blues In Isolation, I’m writing the music first, getting some good riffs and ideas going. Not everything I come up with ends up on the album of course. You can’t produce completed songs every time, that’s not how it works. It’s not making nuts and bolts which are the same every time, it’s making music, and that’s different every time.”

Alex Voysey will be playing blues festivals through the summer, and hopefully embarking on a new tour when time permits. Attendance to see a gifted and highly individual musician, and his sterling band, is definitely recommended by the inhabitants of BM Towers. You can thank us later.

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THE BIG BLUES CHART

THE TOP 50 BLUES ALBUMS

POS ARTIST ALBUM LABEL

#1 RICK ESTRIN AND THE NIGHTCATS THE HITS KEEP COMING ALLIGATOR RECORDS #2 JOHNNY BURGIN RAMBLIN’ FROM COAST TO COAST STRAIGHT SHOOTER #3 SUE FOLEY ONE GUITAR WOMAN STONY PLAIN RECORDS #4 CURTIS SALGADO FINE BY ME LITTLE VILLAGE FOUNDATION #5 KID ANDERSEN & LISA ANDERSEN SPIRITS AND SOUL LITTLE VILLAGE #6 SUGARAY RAYFORD HUMAN DECENCY FORTY BELOW RECORDS #7 ANTHONY GERACI TEARS IN MY EYES BLUE HEART RECORDS #8 DEB RYDER LIVE AND HAVIN’ FUN VIZZTONE LABEL GROUP #9 JP SOARS BRICK BY BRICK LITTLE VILLAGE #10 JOHN PRIMER & BOB CORRITORE CRAWLIN’ KINGSNAKE VIZZTONE LABEL GROUP #11 BILLY PRICE PERSON OF INTEREST LITTLE VILLAGE #12 CANNED HEAT FINYL VINYL RUF RECORDS #13 TORONZO CANNON SHUT UP & PLAY! ALLIGATOR #14 ALASTAIR GREENE STANDING OUT LOUD RUF RECORDS #15 CHRIS BAD NEWS BARNES BAD NEWS TRAVELS FAST GULF COAST #16 CEDRIC BURNSIDE HILL COUNTRY LOVE PROVOGUE #17 BIG HARP GEORGE COOKING WITH GAS BLUES MOUNTAIN RECORDS #18 MIKE ZITO LIFE IS HARD GULF COAST RECORDS #19 LITTLE FEAT SAM’S PLACE HOT TOMATO PRODUCTIONS #20 DANIELLE NICOLE THE LOVE YOU BLEED FORTY BELOW RECORDS #21 THE WICKED LO-DOWN OUT OF LINE GULF COAST RECORDS #22 ERIC BIBB LIVE AT THE SCALA THEATRE STONY PLAIN #23 CHRIS O’LEARY THE HARD LINE ALLIGATOR RECORDS #24 FRANKIE BOY & THE BLUES EXPRESS YOUNG MAN’S BLUES KIND SOUL #25 CELSO SALIM & DARRYL CARRIERE ABOUT TIME WIDE TRACK RECORDINGS #26 RICK VITO CADILLAC MAN BLUE HEART RECORDS #27 TINSLEY ELLIS NAKED TRUTH ALLIGATOR RECORDS #28 EDDIE COTTON THE MIRROR MALACO #29 NICK GRAVENITES ROGUE BLUES MC RECORDS #30 SEAN RILEY & THE WATER STONE COLD HANDS PUGNACIOUS #31 THE REVEREND SHAWN AMOS SOUL BROTHER NO. 1 IMMEDIATE FAMILY #32 ALTERED FIVE BLUES BAND TESTIFYIN’ BLIND PIG #33 CHRISTONE “KINGFISH” INGRAM LIVE IN LONDON ALLIGATOR RECORDS #34 JEFF PITCHELL BROWN EYED BLUES DEGUELLO RECORDS #35 BART BRYANT BACKSTAGE II HORIZON MUSIC GROUP #36 JAMES HARMAN DIDN’T WE HAVE SOME FUN SOMETIME ELECTRO-FI RECORDS #37 D.K. HARRELL THE RIGHT MAN LITTLE VILLAGE #38 JENNIFER LYN & THE GROOVE REVIVAL LIVE FROM THE NORTHERN PLAINS J & R COLLECTIVE #39 VAL STARR AND THE BLUES ROCKET TO THE BLUES AND BACK AGAIN SANDWICH FACTORY RECORDS #40 JACK HADLEY THE ST. LOUIS SESSIONS VOLUME II JACK HADLEY RECORDS #41 SHAWN KELLERMAN KELL’S KITCHEN SONGSURFER RECORDS #42 BLIND LEMON PLEDGE OH SO GOOD BLIND LEMON PLEDGE #43 KEVIN BURT & BIG MEDICINE THANK YOU BROTHER BILL GULF COAST RECORDS #44 ALBERT CUMMINGS STRONG IVY MUSIC COMPANY #45 BOBBY RUSH ALL MY LOVE FOR YOU DEEP RUSH RECORDS #46 THE NICK MOSS BAND GET YOUR BACK INTO IT! ALLIGATOR RECORDS #47 THE CHESS PROJECT NEW MOVES MARSHALL CHESS MUSIC INC/CZYZ RECORDS #48 VARIOUS ARTISTS BLIND RACCOON & NOLA BLUE COLL. V6 BLUE HEART RECORDS #49 MISTY BLUES SILVER LINING GUITAR ONE RECORDS #50 JJ GREY & MOFRO OLUSTEE ALLIGATOR RECORDS

BIG BLUES REVIEWS

JOANNE SHAW TAYLOR

HEAVY SOUL

Journeyman Records

This follow up to Nobody’s Fool sees Joanne reunited with renowned producer Kevin Shirley for the first time since 2016’s Wild album. Surrounded by a formidable band of musicians including heavy hitting Anton Fig on drums and the cream of Nashville’s session players Allison Prestwood (bass), Rob McNelly (gtr), Jimmy Wallace (keys) and Doug Lancio (rhythm gtr) Joanne has managed to marry together the growing songwriting skills shown on Nobody’s Fool with her undoubted soulful blues guitar prowess. This is an album that will please and excite fans of both sides of her talents. The shimmering guitar intro of Sweet Lil Lies hints at the treasures to come. A song about the resignation of a lost love, a little bit of a theme throughout, but a bona-fide rocker that builds to a big finale. The track also gives us some wonderful piano from Wallace, a feature on more tracks skilfully planted across the album. Next up is the first of three covers, Joan Armatrading’s All The Way From America. Not an obvious choice but one that Joanne executes superbly, nailing the essence of the song vocally. Black Magic is up next and kicks into a Mississippi Hill Country vibe with Joanne clearly having fun. Some top-class backing vocals and quality piano throw in a late-night bar feel with a guitar outro the icing on the cake. Drowning In A Sea Of Love was originally recorded by Joe South and is an emotionally charged love song that isn’t for the faint hearted to cover, but again Joanne nails it, ably assisted by her band and backing singers and treating us to a crisp sharp guitar break. A Good Goodbye finds us in more soulful territory and highlights that facet of Joannes vocal and guitar abilities. Things crank up again on Heavy Soul, a song that shows defiance and standing strong in the face of adversity. It has a great beat and tempo plus a catchy chorus that leads us into a crescendo of an outro that I can imagine stretching out into a live favourite.

The first single from the album was Wild Love and it’s easy to see why, a shimmery guitar driven rocky blues that makes your foot tap and sing along through to the end. The third cover on the album is the wonderful ballad Somewhere Like You by Joe South. Jimmy Wallace excels on piano, and the band give the song the width and epic-ness it demands, and Joanne puts huge emotion into the heartfelt soul-searching lyrics. The perfect antidote to that soul searching is a bit of rock n roll and it’s dished up on Devil In Me. A straight-ahead guitar lead head shaker, another potential live favourite. We close with the slower Change Of Heart. It’s a superbly written love song that perfectly counter points opener Sweet Lil Lies and underlines the theme hidden within the album. Joanne captures the emotion of the lyric with aplomb and provides us with a lovely guitar break just to remind us she is very capable of both. There have been some great JST albums, and this one is among the best in my opinion, and it really does reward repeated listening as all the best albums do,

ALBERT CASTIGLIA RIGHTEOUS SOULS

Gulf Coast Records

Albert Castiglia’s latest release embodies a remarkable collaboration of talent, a true testament to the bonds of friendship and family within the blues community. Initially hesitant about involving his peers, Castiglia found overwhelming support from luminaries like Joe Bonamassa, Josh Smith, and Popa Chubby, among others, who lent their talents to this project. With a clear thematic thread of camaraderie and kinship, the eleven tracks resonate as more than just an album; it’s a celebration of connections and shared experiences. Castiglia’s daughter, Rayne, even joins in, adding a personal touch to the mix on You Can’t Judge A Book By The Cover, a reinterpretation of the Willie Dixon number, this also features Christone Kingfish Ingram. Also chosen are two Junior Wells interpretations, Come On In This House and What My Mama Told Me featuring harmonica ace, Rick Estrin. This release highlights Castiglia’s signature style, fiery guitar solos complemented by soul-stirring vocals that convey the essence of the blues. Opening tune, the self-penned Centerline with guest Poppa Chubby explores Albert’s recent foray into martial arts a powerful rocking tune. But the highlight is the emotive and lyrically challenging, Mama, I Love You, sung from the heart, a powerful duet with Kevin Burt, no holds barred. His other self-written tunes, Till They take It Away featuring Ally Venables and the ballad No Tears To Cry with Gary Hoey epitomises his songwriting evolution. The Eric Clapton tune, All Our Past Times, features vocals by Danielle Nicole and added guitar licks from Joe Bonamassa. Each track is infused with Castiglia’s passion and reverence for the blues tradition, making this a standout addition to his discography and a testament to the enduring power of music to connect souls.

COLIN CAMPBELL

ANTHONY GERACI

TEARS IN MY EYES

Blue Heart Records

Around 30 years ago I was helping my mates The Producers touring in New

???? SUGARAY

JUDITH OWEN COMES ALIVE

RAYFORD

HUMAN DECENCY

Forty Below Records

Sugaray Rayford is a unifying force whose live shows evoke joy and togetherness. On his newest blues infused nine track release, Sugaray and producer Eric Corne serve a gumbo of well-crafted tunes. More political in lyrics and world aware there’s something for any music lover here. Opener, Failing Upwards, addresses the unfairness of corporate America to a heavy groove, horn section adds to the riff laden track, Sasha Smith adds keyboards, brilliant tune that sets the tone. With, Human Decency the title track deals with a

a fantastic release destined for further success on his musical journey

change in people’s morals, listen to the lyrics. On that note, Run For Cover, is a wag at the way we live through social media, and he has written his best lyrics here, no punches pulled, a pacy, soulful tune. Strawberry Hill is a soulful ballad with an anthemic chorus, it is all about tone and style on this release, the bass line to Dirty Rat played by Eric Corne is steady and Matt Tecu’s understated drums add classic rhythm, Suga’s vocals never better in expression. Ain’t That A Man is full on rhythm and blues, upbeat full-on groove a true highlight, dancy and trancy, encapsulating the band’s fun-loving style. The sassiness continues on the bluesy inuendoed Hanky Panky Time. Aha, the final tune is a call for unity and respect for one another in the world. Music is a healer, let Sugaray into your life you won’t be disappointed, a fantastic release destined for further success on his musical journey.

COLIN CAMPBELL

GUS GLYNN BAND

PAINT IT BLUE

Independent

As the subtitle on the CD sleeve indicates, this set, the band’s third album, was recorded live in the studio - and there is a YouTube video to prove it (below). The Gus Glynn Band, formed in 2016 and originating from Cheshire, is a trio with leader Gus a strong singer, an excellent guitarist and a fine songwriter. All the songs are written by Gus himself with the exception of the band’s first recorded cover number, a version of Robert Johnson’s Love In Vain, though I suspect too that there is something of an influence from The Rolling Stones’ late 60s version too. Whatever, Paint It Blue (another oblique Stones reference maybe? I must state though that The Stones don’t seem to be a major musical inspiration on this evidence) is a strong blues-rock set, with more than one or two nods to Americana, classic- and prog-rock, the latter most notably on the nearly eleven minutes of the expansive, largely instrumental track The Divide, though this also has some great sheets of blues-rock guitar playing.

this also has some great sheets of blues-rock guitar playing

There is a strong feel of vintage Dire Straits on tracks like Rollin’ and Salt Water, especially in some inflections on the vocals and at least partially on the guitar work. Walk The Walk has a vintage rock and roll feel (think maybe The Pirates), though something about the closing track The Sweet Life brought to mind singer Lou Reed. Although the band sometimes steps outside the blues format, many readers should find more than enough here to keep them happy, particularly those with a penchant for the rockier side of things.

NORMAN DARWEN

Zealand. Our biggest gig was a support slot in a huge venue with Ronnie Earl featuring Anthony Geraci on piano and then after the gig playing and socialising with them in a small music bar. I followed his career through many fine bands and solo albums and was delighted to receive this CD for review. We open with Geraci’s lovely rolling piano and Sugar Ray Norcia’s emotive vocals on the slow blues Broken Mirror, Broken Mirror also featuring stinging slide guitar from Barrett Anderson. Next up is a jumping instrumental Owl’s Nest with Geraci’s piano and Drew Davies sax cooking on gas. Tears In My Eyes is a driving rocker featuring Andersen on guitar and vocals and Geraci on swirling Hammond organ. The instrumental Blues For Willie J. is a thoughtful dedication which builds with some great guitar solos. The material is well crafted and self-penned. Judge Oh Judge is a late-night jazzy lament as Norcia pleads his innocence. Geraci has put a great band together here and this fine album of top-notch material and superb performances is a surefire winner. The playful jazzy instrumental Oh No is followed by the swinging and light-hearted Ooeee featuring Geraci on vocals. and splendid boogie woogie piano. Memphis Mist is an ethereal instrumental number featuring Anne Harris on dreamy violin. Barrett Anderson takes vocals on Witchy Way and adds slinky slide guitar to this superb chunk of Southern Rock. The slow blues ballad Now What features Norcia back on relaxed, emotive, vocals. The album closes with the pretty instrumental Lonely Country Road Blues. I can thoroughly recommend this album.

DAVE DRURY

BETTE SMITH GOODTHING

Independent

The latest release from Bette Smith is a transcendent blend of gospel fervour and soul vibes, an electrifying fusion that demands your attention from the first note to the last. At its heart are Bette’s bone-rattling vocals, delivering deeply personal narratives of resilience and passion amidst adversity and neglect. Comprising thirteen original tracks, each one a testament to Bette’s artistry and emotional depth, opening with the title track Goodthing, full of rhythm and gutsy

vocals and captivating funky guitar riff. The recording and production took place in London, with the deft touch of Grammy-winning songwriter Jimmy Hogarth adding a layer of polish and sophistication to an already powerful collection. Bette invites listeners on an intimate journey through her life’s trials and triumphs. Tracks like Eternal Blessings and Darkest Hour poignantly unravel the complex relationship she shared with her mother, offering a raw and unfiltered glimpse into her most challenging moments. Listen to the lyrics on Lived And Died A Thousand Times, the delivery is so powerful and emotional, pure blues power in the narrative. Cave, slows the pace on this heartfelt song about hiding human emotions. The album’s brighter flipside is captured in uplifting anthems like Happiness and Beautiful Mess, where Bette channels her resilience and hope. No More Love Songs is raw and acoustic; her vocals and punctuation are sublime. With this release, Bette not only lays bare her personal evolution but also enhances her prowess as a songwriter. This record stands as a testament to her artistic maturity, blending emotional depth with musical sophistication.

COLIN CAMPBELL

BILLY PRICE PERSON OF INTEREST

Little Village Records

BMA winning Soul & Blues singer Billy Price first attracted national attention during his three-year collaboration with Roy Buchanan in the 70s. Twenty releases later, Price reveals his seamless new album Person Of Interest, in a collaboration with Grammy/BMA award winning producer Tony Braunagel. The album features 13 new all original tracks co-written by Price, Braunagel and cohorts Jim Britton, Fred Chapellier and Nashville song writing partners Jon & Sally Tiven, recorded at Ultratone Studios in October 2023. The result is a pandoras box of fresh California Blues, brimming with a heady calibre of longstanding musicianship, something that will no doubt ensue the album stands out as one of Price’s best releases yet. A full horn section and Gospel singers join Price on the album along with an all-star line-up of guest musicians. Featured are James “Hutch” Hutchinson on bass (long-term touring musician with Blues

JUDITH OWEN COMES ALIVE

JUDITH OWEN COMES

ALIVE

BISON HIP WELCOME TO THE REST OF YOUR LIFE

Independent

Now, I have been very lucky to see these guys performing live earlier this year, and I have also had the pleasure of listening to their last album, Older Stronger Better. This latest release has only confirmed what I had in my mind, this band is going places. Bison Hip originates from Glasgow, a fine five-piece ensemble of great musicians. The songwriting team of Paul Sloway, and John Gilmour Smith, once again have delivered an album of Blues, and Blues/Rock Gems. The title track opens the proceedings, with a slow-burner of a tune, with great melodies and superb guitar work from Gilmour Smith. The partnership between Smith and Sloway is not just as a writing team, they complement each other so well musically. The album continues pouring out great song after great song. Parasite, for example, has all the makings of a Blues/ Rock Anthem, complete with a blistering guitar solo. Now with a title such as The Bullfighter, you could be forgiven for expecting a full-on Blues/ Rock guitar-shredding noise fest. I expected the same, instead, you get a beautiful ballad containing sweet lyrics and a soft, gentle story, which only highlights the depth of the band’s repertoire. Still Something Left In The Tank is as funk as funky

can be. A lively jig around the room while listening to this, will I’m sure enter your head. As I have alluded to earlier, this is a brilliant album and one that could quite easily catapult Bison Hip into the realms of Festivals and much larger venues. It would be difficult to pick out a favourite tune, but if push comes to shove, I’d go for, Grateful. A straight-up Blues tune, wonderfully presented, I’d choose this as my favourite tune every day of the week, and twice on Sunday. A must-have album for any Blues, and Blues/Rock enthusiast.

STEPHEN HARRISON

BIG HARP GEORGE

COOKING WITH GAS

Blue Mountain Records

Chromatic harmonica master presents his 7th album containing twelve self-penned songs of blues, jazz, soul and funk. Cooking With Gas is a Latin flavoured percussive number as BHG hits us with the full big band sound featuring his sly, humorous vocals, rollicking piano, honking horns and stabbing guitar fills. Cellphone Hater 2.0 features BHG’s sublime harp skills to the fore as he bemoans the current lack of privacy with expressive vocals on this relaxed shuffle. The swinging, jazzy Doom Loop features sly horn riffs and a soaring harp solo. The Sons Of The Soul Survivors

a Latin flavoured percussive number as BHG hits us with the full big band sound

provide doo-wop inspired backing vocals on the slow blues Wine Is My Friend. Maceosity is a splendid funky instrumental workout paying homage to James Brown’s musical director Maceo Parker. The 30’s big band sound of Awkward Me finds horn arranger Mike Pinta taking the lead on trombone. What The Missus Misses is a wonderful jumping piece of nonsense referring back to the days of Louis Jordan. June’s Tune is a showcase instrumental for BHG’s harp skills which also allows other musicians to contribute tellingly’ DIY Mama is a toe-tapping R&B stomper which would fill any dance floor. The musicianship throughout is stellar, the material is superb as Big Harp George and his wonderful band have produced a great album. Paradise Is Burning is a coruscating slow blues as BHG pours his heart out on the Palestine situation. The jumping number Older We Get leads us into closing track When I First Held Valerie a sweet instrumental tribute to BHG’s daughter.

Queen Bonnie Raitt), percussion legend Lenny Castro and guitar virtuoso Joe Bonamassa. The latter, another bluesrock favourite evidently far from slowing down after seeing him for myself at this year’s Americana festival Black Deer, where he transfixed the audience with a two hour show fresh from the States. Bonamassa guests on the slow burning Change Your Mind, written with Jim Britton as a tribute to the late Roy Buchanan. The track is characteristic of Bonamassa’s trademark sound with smooth Organ accompanying Price’s distinctive vocals, leading it as a contender for the album highlight. Phantom Blue’s Band drummer Braunagel was drawn to work and record with Price after hearing him perform. “I’m excited about these great new songs, I’m sure they will move a lot of people”, he adds. Piano ballad Mercy highlights Braunagel’s Soul influence on the album after of growing up with the genre, confirming his musical collaboration with Price as a success and hopefully, one that will long continue. Person Of Interest is released on the 2nd of August with Little Village.

NAOMI CAMPBELL

BROOKS WILLIAMS & AARON CATLOW

GREENS & BLUES

RED GUITAR BLUE MUSIC

Cambridge UK-based, Georgia US-born, Brooks Williams has a long standing solo career in both North America and the UK, while Aaron Catlow is half of the Bristol-based duo Hawes And Catlow as well as the fiddler in UK festival favourite Sheelanagig. This is the third release from the duo who met while on tour in the Netherlands, they have created a sound that is one part blues, one part jazz, one part Americana, and one part bluegrass. Brooks Williams on guitar and vocals and Aaron Catlow on fiddle, backing vocals and whistling are joined by double bassist Jon Short (John Martyn Project). The deep musicality and spontaneous interplay of these three musicians creates a sound that not only tugs at the heart strings, but also gets you up on your feet. With three original tracks and seven covers the album opens with an upbeat cover of the Rev Thomas Dorsey song Rock Me, a jaunty gospel blues with a nice beat and

DAVE DRURY

featuring stellar fiddle work. Anniesland is a tribute to the late Rab Noakes that has a catchy groove with Catlow playing some sprightly fiddle overtones. A cover of Sierra Ferrell’s heartfelt waltz, The Bells Of Every Chapel, gets a wonderful outing with Williams expressive vocals backed by some lovely fiddle and guitar arrangement. The original Wild, Wild, Wild is a jazzy song with a good danceable groove, as is a mid-tempo beautifully played cover of Rab Noakes A Little Way Up follows. Next up is the original Jump That Train, a blues song that is weaved together with great imagination, excellently played out by the guys. The album closes with the title track Sweet Greens & Blues a slower song that rides on Williams soulful vocals and exquisite guitar with poignant fiddle and mournful double bass a beautiful close to the album. It might be more rootsy than blues but well worth adding to your collection.

SHIRL

CURTIS SALGADO

FINE BY ME

Little Village Records

Curtis Salgado has long been referred to as he puts it “ the voice of American music”.This is, in my opinion, a very good description, because he combines, Blues, Soul, Jazz, Rock &Roll, and funk. That is no mean feat, but Curtis Salgado continues to produce quality album, after quality album. Another fascinating fact about Curtis is his connection and influence on The Blues Brothers. In 1978, they released a live album called, Briefcase Full Of Blues, in which the liner notes read “ Dedicated to Curtis Salgado”. The first movie did not appear until 1980, and one of the characters played by Cab Calloway was indeed called Curtis as a further tip of the hat. I digress, Fine By Me, has all of the above-mentioned genres, which is manna from heaven for this writer. The album opens with, My Girl’s A Nut, a wonderful Bluesy/ Rockabilly tune that brings out the vocal talents of Salgado, as well as highlighting the brilliant set of musicians that accompany him throughout the album. The title track, Fine By Me actually came about after he had read her autobiography, and then dreamed about having lunch with her in New York City. It’s more of a story than a song, if that makes sense, he’s going over the dream as if it were real, another attribute he has, a great writer. Hear The

ROSEDALE JUNCTION

JUDITH OWEN COMES ALIVE

GOIN’ OFF THE RAILS

Center Block

If I say that you really don’t associate Boston Mass as being a hotbed of Blues this album slays that idea completely. It does, in a sense, kind of poke fun at our genre but in a respectful way. Often we can get all too caught up with the need for authenticity and respect completely forgetting that music should be fun and entertaining. You want fun? Then look no further than Chicken Man Blues. We find the tale of a runaway dog getting loose in a coop thereby causing all sorts of mayhem. The band is built around Toby Soriero, songwriter, and this is the third album released under this moniker. Seven originals plus a single cover are found within. 309 Buckland Street finds a man down on his luck warning a youngster against the pitfalls that follow a path of alcohol taken. Momma Sure Was Right relates the sad tale of following a relationship with a lady of the night. So it goes with the songs being stories all in the best Blues tradition. The band is tight and yet with a nice rolling looseness at the same time. The balancing act is well con-

You want fun? Then look no further than Chicken Man Blues

trolled with nice production values. Toby leaves the main vocals to others within the band, which are mostly handled by one Dgiovahni. The cover comes from the duo of Christ Stainton and Jo Cocker. High Time We Went features vocals by Elishema Mannie. I honestly can’t ever remember hearing this song before. Now in fact there are nine cuts on the album as you also get an, almost ten minute, extended version of Goin’ Off The Rails. I think they had a lot of fun making this album, you’ll have fun listening.

GRAEME SCOTT

ROBIN BIBI BIG BAND

BLOWING A STORM!

BBCD RECORDS

Blues is probably the most honest of the music genres you can find in the world today. Practitioners don’t go in for subterfuge, they tend to say it like it is, and it’s more common than not for album sleeves to do what it says on the proverbial tin. Such is the case here, where the album title and the band name announce in big letters who they are and what they do. The Robin Bibi Big Band clearly adore loud shouty rockin’ rhythm ‘n’ blues, and they execute them with appropriate skill and verve. Mr Bibi demonstrates himself as being no slouch in the triple disciplines of writing top notch rhythm ‘n’ blues songs, playing scorching lead guitar over the top of them, and prophesying some hot vocal licks as the cream on the desert. When the band segues into Royal Sonesta Stomp, it’s possible that the front row (this is a live album) were

the top end of the musicianship and writing scales

Lonely Hearts, is, if I was pressed for an answer, would be my standout track on the album, a beautiful, uplifting, Gospel song, that somehow manages to almost arrive from nowhere, effortless in its delivery. You Give The Blues A Bad Name allows Curtis to show just how suited and immersed in the Blues he has been for decades. Twelve songs, sung by one of my favourite artists, what more could I ask for? Ok, gigs in the UK, please?

STEPHEN HARRISON

DERRICK BROWN AND THE PEACEKEEPERS ROUGH TIME

Independent

obliged to step back a couple to avoid the sparks that were doubtless bouncing off Mr Bibi’s Fender guitar. In Too Deep takes the pace down a notch, and allows Robim to stretch his technical skills a little further. There is an effortless sense of joy and happiness in evidence here as the band goes through its paces in two separate turnouts, at the Eel Pie Club in Twickenham, and The Tuesday Night Music Club in Coulsdon. There are endless top-notch blues bands doing this kind of thing, spinning out high-level r ‘n’ b sets to selective, but highly appreciative aficionados of the genre. But on the evidence of this album, it’s clear that Robin Bibi and the musicians he likes to include in his set-up are at the top end of the musicianship and writing scales for this kind of thing. The band are holding a couple of Album Launch gigs in July – on the 2nd, at The Tuesday Night Music Club at 194 Brighton Road, Coulsdon CR5 2NF, and on the twelfth, at Crookham Memorial Hall at Church Crookham, Fleet, GU52 8LD. Be there if you can. Tell them Andy recommended it.

ANDY HUGHES

Derrick Dove and the Peacekeepers make a classic noise and do it very well. This is for fans of Free or Lynyrd Skynyrd, Black Oak Arkansas, Charlie Daniels. 10 Tracks that traverse Rock, Blues, alt-country, all rooted firmly in the classic sounds of the ‘70’s. Southern fried, you can just see the beards and the big chested Southern boys. But Derrick Dove has a great voice, especially for a big, ballsy ballad such as the title track – he has had a series of problems since they emerged to great acclaim in 2018, losing his father while constantly on tour in the last five years, the song really has power and a feeling of great hurt and could easily become a Rock Radio classic in the years to come. “Everybody has a rough time. Everybody has their own struggles, and sometimes it’s just not that easy to get over ‘em. The past few years have been rough. My father’s death, covid, and everything going on in the world right now. I was struggling for a long time and writing this new album helped me get thru it.” ~says Derrick. But the rest of the album is filled with some fine songs in a much more positive light. The rollicking Blues of Daddy Was A Bluesman or Sweet Sadie Mae, a stomping Rock/Blues number full of braggadocio and leering sexuality. Sunday Morning Coming Down is a steaming number, slow and intense with Derrick’s vocals just the right side of dark and with an organ playing across the back that makes the song really click. The alt-country side comes in with Farm In Tennessee, simple earthy and lighthearted. This kind of music is rightfully classic and equally popular. Derrick Brown And The Peacekeepers are the epitome of the

Southern bar band and bloody fine with it.

ANDY SNIPPER

EARL

MAKE GOD LAUGH VOLUME 2

Acoustic

This set offers the listener Americana for the most part, but not quite all. Earl, Stuart Earl to his family, follows up the lockdown-recorded first volume of this title with thirteen all-original tracks (all just Earl’s, except for one song that was co-written with Roger Baynham) that were written around the same time as, or since, that release, or that have since been re-recorded at Stuart’s own home studio in Stroud in Gloucestershire. It is an accomplished and listenable set, with classic sounding, mostly country tinged, Americana mingled with a couple of tracks with a dreamier, very mellow sound, as on Every Little Thing. Stuart plays most of the instruments too, though there are several guests present, the aforementioned Roger providing piano and guitar, Tom Selway sax and harmonica, and female vocalist Sian Marie each appear on two tracks (different songs for each one). whilst Graham Mizen adds his vocals and guitar to the track Wings. Perhaps the most familiar name to readers of this magazine will be Welsh guitarist James Oliver, who lends some of his trademark hot rockabilly blues licks to the country/ shuffle blues of Waiting List and is only slightly more restrained on the catchy roadhouse sound of 30,000 Days. The closing Too Late makes me think of early to mid-70s era Eric Clapton, in structure certainly but even more so in the controlled electric guitar work. I don’t know if God did laugh on listening to this album, but I am pretty sure that They enjoyed the forty-two minutes or so it took them to do so.

NORMAN DARWEN

ELIZA NEALS

COLORCRIMES

E-H Records

Eliza Neals, the modern blues-rock virtuoso, is back with a compelling message forged through years of artistic evolu-

JUDITH OWEN COMES ALIVE

THE FABULOUS THUNDERBIRDS

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STRUCK DOWN

Stony Plain Records

The Fabulous Thunderbirds sixteenth release is an electrifying blend of old-school grit and fresh, fiery flavour. Frontman Kim Wilson, leads the charge through nine new tracks and an acoustic gem, a stirring rendition of Memphis Minnie’s Nothing in Rambling featuring the stellar talents of Taj Mahal, Bonnie Raitt, Mick Fleetwood, and Keb’ Mo. The Fabulous Thunderbirds line up is Kim Wilson, guitar virtuoso Johnny Moeller, piano wizard Bob Welsh, bass powerhouse Steve Kirsty, and rhythmic dynamo Rudy Albin. Here they deliver their signature sound with an invigorating twist. Kicking off with Struck Down By The Blues, the album grabs you with a menacing groove, amplified by Canadian blues sensation Steve

an electrifying blend of old-school grit and fresh, fiery flavour

Strongman, co-writing all nine originals with Wilson, Strongman proves he’s got the style to hang out with the best. This collaboration yields a collection that’s as familiar as it is refreshingly T-Birds. Next up is Don’t Make No Sense, a Zydeco-infused romp with a touch of old Crescent City rock ‘n roll, elevated by Louisiana’s own Terrence Simien on the accordion. Payback Time follows, with ZZ Top’s Billy F. Gibbons lending his signature growl and guitar prowess to the track’s rough-and-tumble vibe. Wilson’s harmonica mastery is on full display throughout; his sweet melodies and fierce blasts weaving through the album’s tapestry. His interplay with Moeller, particularly on the slow burning The Hard Way, is a masterclass in blues expression. That’s Cold, is a vintage T-Birds number that roars with a relentless four-on-the-floor beat. This release stands as a flawless tribute to 50 years of the Fabulous Thunderbirds, tough, raw, and undeniably soulful.

ALEX VOYSEY

BLUES IN ISOLATION

ALEX VOYSEY MUSIC

A contender for Pick Of The Year, and we’re only half-way through!

It’s one thing to have guitar-playing skills to burn, it’s entirely another to have the wisdom to use them appropriately. The world of blues is full to bursting point with fret-scorching solos, and strings bent to within an inch of their lives, lest anyone should forget for a second how wonderful the player is. But players like Alex Voysey treat their skills like a top-end sports car. Yes, he can riff out two hundred nots a minute, but why not do sixty, and make them really count? He could roar out of the garage at naught to sixty in nothing flat, but why not cruise and a steady forty-five and enjoy the purr of the engine, take in the view. That’s why his solos are songs like Life You Lead are so perfect. The atmospheric feel built by the band are a bed for him to lie his careful acoustic backing, something to put his perfect economical never-a-note wasted solos on top of. Not for nothing does Alex name-check Joe Bonamassa, who plays the same way – save the hot stuff for the right places. Confident blues vocals embellish You Better Come Back Home with tasty soloing in a tale of infidelity with a funky beat. By the time it gets to Blue Sunday, the jazzy side of Alex comes into play, with some classy riffing interplay with keyboardist Andy Allpass, and delicious fretless bass from Ben Hands. The whole band knows how good they are, but like Alex, they don’t shove it in your ears. Everything is held nicely in check, and pushed and pulled to suit the mood and atmosphere of the song. Stories that explore the harder side of loving someone, with gorgeously executed melodies and sublime solos, this is the essence of what modern blues is all about. Alex Voysey is a musician on the way up, so catch him before the rest of the world starts demanding his time and his talents. A class album from a class band. A contender for Pick Of The Year, and we’re only half-way through.

ANDY HUGHES

tion. Her latest release was apparently grounded in the raw and electrifying environment of the stage, designed to offer solace to souls navigating a turbulent world. The audience’s emotional response to her live performances was so profound that Neals felt compelled to immortalise Colorcrimes in the studio. The title track carries an obvious message on race relations and oozes feeling. Banned In Jackson is a personal plea relating to sexual stereotypes and, Eliza is not one for backing down on this funky blues tune about her self-image. Capturing lightning in a bottle with every track with an array of fine musicians, featuring the influence of one iconic songwriter; Barrett Strong Jr. from Detroit. He cowrote three tracks and brings a legendary touch of authenticity to the album. Also of note is guitarist, co-producer, and songwriter Michael Puwal. His slide guitar adds a genuine bluesy texture that complements Neals’ powerful vocals and storytelling on tracks like the opener Heal This Land. The mood lightens with tracks like, Something’s Better Than Nothing celebrating, gratitude. Love Doctor Love is a funky tune about infatuation. Sugar Daddy tells of a clingy lover. Candy Store features an enchanting organ solo by John Galvin. Found Me Another has classic rock vibes, and Friday Night (All Day Long) is an anthem for weekend revellers to finish off the release. Highly recommended, an infectious fusion of soul, blues and groove.

COLIN CAMPBELL

ERIC BIBB

LIVE AT THE SCALA THEATRE STOCKHOLM

Repute

At his best, and this is definitely his best, Eric Bibb is one of the finest exponents of the music we call Blues. On this outing, he plays some classic Blues numbers, as well as a good number of his own, backed by some superb musicians, and delivers them in his own style. Bibb grew up in the midst of the turmoil of the sixties. His father was an activist and young Eric grew up around the likes of Dylan, Joan Baez, Pete Seeger, core to the Greenwich Village folk scene. He was also heavily influenced by Odetta, Ritchie Havens and Taj Mahal who brought him the Blues. He plays acoustic guitar and sings with a resonant and clearly defined voice. It has

been said that in order to understand the lyrics to some of the great Blues numbers you need subtitles. Bibb’s clarity of vocal is that subtitle, and when he does a number like ‘Goin’ Down The Road Feelin’ Bad’ or ‘Silver Spoon’ you understand every word and every emotion that has been built into that hoary classic. There are some magnificent numbers here: ‘Rosewood’, a first person account of the burning down of a black township in Florida, is chilling and stark. ‘Bring Me A Little Water, Sylvie’ is a Lead Belly classic folk Blues, ‘500 Miles’ an old traditional Blues with a brilliant arrangement by Bibb and Glen Scott. The musicians with him on this album are all top class and leaders in their own right. Glen Scott on bass, keys and drums is a long-time collaborator, Olle Linder delivers drums and acoustic bass, Johan Lindstrom plays pedal steel, Christer Lyssarides gives electric guitar and mandolin, Esbjorn Hazelius plays fiddle and cittern, Greger Andersson on harp and Lamine Cissoko on kora. I’ve seen Bibb live in concert a few times, either solo or with a band, and hearing this, I wish I had been at the concert: 10 tracks of music that speak to the heart and soul of any thinking human. Fabulous.

ANDY SNIPPER

GERALD MCCLENDON DOWN AT THE JUKE JOINT

Delta Roots Records

Chicago based McClendon who is known as The Soul Keeper offers up a dozen new songs created by Twist Turner songwriter, drummer and producer. Opener, Back Where You Belong is a sensual sax drenched chunk of sweet soul music featuring McClendon’s powerful but smooth vocals. It’s Too Late She’s Gone is a tearful soul-ballad featuring McClendon’s regretful pleas. The mood lifts for title track Down At The Juke Joint joyful tribute to a place “where we can have a good time”. The outstanding track House Ain’t A Home is a bluesy number featuring biting guitar from Maurice John Vaughn and emotive vocals from McClendon. So Long is a painful tale of breaking up but things look up with the funky Talkin’ Smack. This is old School R&B & soul delivered masterfully with feeling and passion by McClendon and this fine band featuring luxurious musical

JUDITH OWEN COMES

ALIVE

PATTI PARKS (FT JOHNNY RAWLS)

????

COME SING WITH ME

Vizztone

The list of people involved in the making of this album reads like a who’s who of the Blues and Soul world. Some of the songs are co-written with her husband, Guy Nirelli, and a couple are written with Johnny Rawls, who also shares vocals on some songs with Patti. Then there are guest appearances by Anthony Geraci on piano and Richard Rosenblatt on harmonica. So, now that I’ve wet your musical whistle,

Patti Parks has delivered yet another album of brilliant songs

let’s get to the album. I’ve been lucky enough to review an album by Patti Parks before, so I know just how talented she is. The album is a fine mix of Blues, Soul, Gospel, Boogie, and a pinch of funk here and there. DJ’s Boogie (I Like To Boogie) does exactly what it says on the tin. Wonderful Boogie piano, this tune will put you in such a good mood by the end of the first bar. It’s such a feel-good tune, Patti’s vocals being backed by what sounds like the most enthusiastic bunch of musicians that you will ever encounter. As the album progresses, you can feel the energy that has gone into the writing and performing of these tunes, be it a slow ballad or a downand-dirty Blues track like, Hamburger Man. A 12-bar raspy Blues song that highlights just how good a vocal range Patti has. Brilliant harmonica from Richard Rosenblatt, it made me feel like having a Hamburger in a bar in downtown Bluesville swilling a cold beer watching this mad world go by. How Much Longer features both Pattie and Johnny Rawls sharing the vocals. Written by Rawls, it is yet another fine indication of how well these two people work together. The album concludes with, Good Day For The Blues, and today has been a really good day for this Blues lover. Patti Parks has delivered yet another album of brilliant songs, and collaborations. I suggest that you treat yourself and give it a listen.

STEPHEN HARRISON

CHRIS CAIN

GOOD INTENTIONS GONE BAD

Alligator Records

capturing the true essence of the blues in every note

On his latest release, blues guitarist Chris Cain delivers thirteen lyrically fresh and original songs, with seven tracks featuring a vibrant horn section. Produced by Christoffer “Kid” Andersen at the renowned Greaseland USA studio in San Jose, California, this must be his best album yet, thanks in part to Andersen’s influence. The band, led by Cain’s electrifying guitar work, delivers top-tier performances throughout the album. From the humorous, autobiographical title track to the epic, slow-burning Waiting For The Sun To Rise and the Memphis soul-inspired Thankful, where he shares vocals with Tommy Castro, this release showcases Cain at his peak. Andersen’s production pushes him to new heights, blending soulful storytelling with technical prowess. A standout track is the gentle, emotional heartfelt ballad, Blues For My Dad, discovered by Andersen in one of Cain’s notebooks. Initially reluctant to record this deeply personal song, Cain ultimately agreed, resulting in a performance that moved everyone in the studio to tears. Another highlight is Still Drinking Straight Tequila, a hilarious, updated version of his 1997 song. TGIF is an upbeat feelgood tune something everyone can relate to in the lyrics, his guitar tone here is mesmerising. Never Let You Break My Heart is an honest laid-back tune about trying to keep a relationship going and control therein, should mention his Wurlitzer electric piano playing blends well with the feel of the lyrics, so many layers to this tune. With stellar production and heartfelt performances, this release is a defining moment in his career. Chris Cain’s guitar playing is a soulful symphony, blending raw emotion with impeccable technique, capturing the true essence of the blues in every note.

COLIN CAMPBELL

arrangements. Only Time Will Tell is a soulful ballad with McClendon crooning softly and featuring a splendid baritone sax solo from Mike Jackson. She’s Tryin’ To Drive Me Crazy is a funky, light-hearted, piece of whimsy before we get the melancholic Cryin’ Time Again. Soaring sax features heavily on You Make Me Happy a glorious upbeat tribute to a lady who “s my sunshine on a rainy day”. The slow, soulful, anthemic ballad I’ll Be In Your Corner holds the promise of undying love. Closing track Your So Fine is a sumptuous uplifting way to end this splendid album. Sweet soul music indeed!

GILES ROBSON

SEVEN BLUES CLASSICS

Independent

In the hallowed, intimate basement of Temperance in Leamington Spa, acclaimed blues harmonica maestro and 2019 Blues Music Award Winner, Giles Robson, brought the house down with a sold-out celebration of blues music’s most iconic songs. His latest release, serves as a powerful testament to his soulful artistry, culminating in a haunting original instrumental, G.R.’s Locomotive Blues that left the audience spellbound. Robson’s deep connection to the blues tradition is evident in every note. The album features warm and earthy sound production, perfectly capturing the raw, palpable energy of the live performance. From the opener, Robert Johnson’s Walkin’ Blues and other classic blues tunes like Hoodoo Man Blues and Nine Below Zero, each track sizzles with his nuanced, emotional vocals, and the crowd’s ecstatic cheers testify to the brilliance of his virtuosic, imaginative harmonica solos. What sets Robson apart is his ability to craft a highly original style while staying true to the roots of the blues. His performance was enhanced by the amazing Manny Fizzotti, a London-based Italian guitarist, whose deft handling of the national steel and acoustic guitar added rich layers to the soundscape. These tunes are an addictive, captivating journey through the essence of the blues. It’s essential listening for anyone who craves music that’s deep, heartfelt, and overflowing with feeling. Robson has once again proven himself a true champion of the genre, ensuring

DAVE DRURY

the blues legacy not only survives but thrives. He infuses every note with emotion, passion, and pure love straight from his heart and soul, and this release stands as undeniable proof.

COLIN CAMPBELL

HELEN ROSE

RUGGED ELEGANCE

Clover Music Group

With a voice redolent of Emmylou Harris and Joni Mitchell, and some of the finest blues and Americana musicians, Helen Rose shows her talent as a writer of quality, heartfelt songs on her latest released Rugged Elegance. The ghostly pedal steel of the much in demand Greg Leisz is a strong counterpoint to the high keening vocals on album opener Raspberry Plain. The rockier King of this Town with its more adult content and lyrics features uncredited bluesy harmonica, and The Drakes puts the care worn minimalist guitar of Jonah Tolchin to a slowly enveloping piece that any Leonard Cohen fan would be pleased with. Wolf Tones is a country rocker with the pedal steel and harmonica pushed into the foreground. It also borrows the hypnotic central riff from Willie Dixon’s Spoonful to good effect. The singer Tyler James Kelly features on the slow and emotional Demons which shows some of the influence of Gram Parsons, and the title track, Rugged Elegance is another medium paced rocker, and the album closer Get Me Out Of This City is a slow, state of the nation country ballad. The album is very well recorded, with no grandstanding, just good songs played and arranged well, and musicians who play very well together.

BEN MACNAIR

JARED DECK HEAD ABOVE WATER

Independent

Jared Deck is an interesting artist who juggles his time between his music and his Political carer with Oklahoma State House of Representatives, where he was elected back in 2022. He has written and performed some powerful songs on this album, and I would imagine he is just as focused on his political career. Jared is

MCKINLEY JAMES

WORKING CLASS BLUES

JUDITH OWEN COMES ALIVE

Red Lodge Records

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McKinley James debut studio fulllength release is a remarkable foray into the soulful blues genre. Stripping down to just guitar and drums, the father-son duo who co-produced the album deliver a raw, yet polished sound. Recorded live at their home studio set up, using analogue equipment, the release’s simplicity enhances its authenticity. These eleven tracks, all penned or co-written by James, typically start with a repeated blues or soul lick, evolving into familiar yet fresh melodies. Despite their upstate New York roots, the pair have soaked up the essence of Texas blues shuffles. Tracks like Call Me Lonesome, Get to My Baby, and the single Movin’ channel the spirit of the Fabulous Thunderbirds and Jimmie Vaughan, nailing classic blues tempos. James also displays his passion for classic R&B. The heartache ballad, Just A Little Bit and Leadin’ Me On highlight his versatility, while Wait and See merges blues with a garage rock edge, propelled by his father’s steady drumming. Say Goodbye, and Can I Change My Mind, are delivered with confidence and flair. Stay With You strikes a balance between 60s soul and blues, with an unpredictable yet rooted charm, and

the album delivers a raw, yet polished sound

Till It’s Gone closes the album with a soulful groove reminiscent of Boz Scaggs emotional depth. The album’s organic feel, with James’ casual yet compelling vocals, creates an intimate listening experience. The unpretentious lyrics and minimalist setup underscore the duo’s skill and heart, proving that sometimes, less truly is more. Working Class Blues is a compelling debut, laying a solid foundation for James’ promising career.

COLIN CAMPBELL

ROBERT JON & THE WRECK

RED MOON RISING

Journeyman Records

The very definition of prolific, blink an eye and another album pops out of Robert Jon & The Wreck’s creative production line. Or so it seems. Furthermore, they maintain their high bar of producing albums that grab a growing following’s attention with their hooks, lyrical lines and riffs that sink into the sublime. They have done so again on Red Moon Rising. Robert Jon Burrison’s sunny side up vocal is on form over the Wreck’s killer grooves. Opener Stone Cold Killer epitomises this as Henry James Schneekluth’s guitar revs up as he burns high octane fretwork also on subsequent stomper, Trouble. The ominous tale of the compelling title track possesses a deep rhythmic detail that is felt in the gut and the foot. Unintentionally, or not, there’s a bit of a Black Crowes feel to the essence of some of the tracks especially to be found on a swaggering Hold On. Moreover,

entertaining progression of Southern Rock vibes

a superb vocalist who plays a mixture of electric Blues with touches of Americana. On the title track he dips into Dr John territory with a real Honky Tonk swampy beat, aided by additional vocalist James Cook and lead guitarist Clint Pope. This is soon followed by the rousing song Fired Up which has a conga layer fighting with a Funk driven vocal from Jared, reminding me of Eric Burdon’s War in their prime mind you these comparisons are not really needed as Jared is definitely an outstanding musician in his own right, his music is fresh and varied and he can tackle the different musical styles with ease. Jared’s songwriting skills were first noted back in 2016 when he won the Woody Guthrie Folk Festival Songwriting contest with a song called The American Dream. Since then he has gone from strength to strength with this release, his third album, on which he has written all the material with his songs covering the hardships faced in life and the value of communities. This album is my first taste of Jared Deck’s music and I have been mightily impressed with it; I can only see his career going one way which is most definitely up.

Worried Mind more than ably fulfils the Country Rock ballad remit, and a moody Give Love ups the tempo a bit with slinky piano and twin guitar harmony motifs. Overall, there’s nothing that deviates from their previous works on this entertaining progression of Southern Rock vibes from this seasoned Southern California band and that’s how we like it.

JEFF PITCHELL

ADRIAN BLACKLEE

PLAYIN’ WITH MY FRIENDS

DEGUELLO RECORDS

If you play blues guitar yourself, think twice before playing this CD, because you might get jealous. Jeff Pitchell has chops most music dads would envy, taking his Stratocaster in various tasteful directions over the 16 songs on this collection. Apparently, something of a prodigy, winning a best guitarist award in Connecticut at the age of 15, this guy is a new name to me. But he seems to be gaining traction in the US, and if the guest spots on this album are anything to go by, he has won the favour of some big-name friends. Perhaps the strongest track is the opener, Now You Know, a mean slice of Texas boogie heavily redolent of ZZ Top in their pomp. There’s also a cover version of BB King classic When It All Comes Down, which sadly doesn’t quite match the magisterial original. Elsewhere, Caught Up In The Wave sees Pitchell channel his inner Robert Cray. When We Kiss features Duane Betts, son of Dickey, on a southern rocker replete

PAUL DAVIES

with Betts family trademark harmonised mixolydian lines. Rick Derringer shares both guitar and vocal duties on Keep My Head Up, while harp veteran James Cotton blows an incessant harp riff on a funkified take on Willie Nelson’s Whiskey River. SRV keys merchant Reese Wynans appears on R&B offering Every Day and noted producer Tom Hambridge drums on several tracks. The lesser luminary sidemen are no slouches either. A strong album, without doubt.

DAVID OSLER

JOHN VILLIERS SPELLBOUND

Into The Red Records

London based Villiers is a troubadour who travels extensively in the UK and abroad writing and performing his songs which encompass his love of folk, blues and country music. The material here is self-penned and documents his thoughts and experiences compiled as he travels the musical landscape. Opener Old Father Time reminisces about past events but also urges the listener to “seize the day” in a hoarse half spoken vocal. When I Am King is a much jauntier and more pleasing affair featuring jangly guitars as Villiers lays out his personal manifesto “things will get better I can only improve everything”. Nowhere Town is a plaintive lament as Villiers finally breaks free and “steps out on the open road” before continuing his odyssey. Megs Lament is a sad tale of a missing sailor followed by Just A Small One, Then an instrumental rave-up. The songs are very personal and evocative, and the excellent instrumentation includes mandolin, accordion, acoustic guitar, bass and drums. Home is a harrowing tale of a voyage to the midnight sun as the sailors await rescue whilst saying their last goodbyes. Don’t Buy Flowers is the sole bluesy number on the album featuring wailing harmonica and jangling piano. Two & Eight is a light frothy piece featuring mandolin and accordion accompanying Villiers hoarse, whispered vocals. Nomadic chronicles Villiers travels as he stays “holed up here sitting in my van keeping out of the pouring rain”. Title track Spellbound is a tourde-force as Villiers contemplates his extensive journey “trying to make some sense of it all”. Fire In The Mountains has a Celtic feel and we close with The Hills Of Leitrim a gentle and pretty song as

Villiers recalls happy memories of people and places. An interesting collection of songs as Villiers continues his Journey.

DAVE DRURY

JOHNNY MARS & THE COLD HEART REVUE

THE RIVER IS LONG

Independent

Ok let’s get any confusion out of the way this is not an album by the similarly named brilliant guitar player who found success with The Smiths. Instead this Johnny Mars hails from Somerset by way of South Carolina, New York and California. He is a well-respected harmonica player who has worked with a host of artists from Magic Sam to Ian Gillan, Bananarama and Spencer Davis. Over is years residing in the UK he has also become a peripatetic tutor of all things harp across schools in England. One of his pupils was David Robinson aka The Cold Heart Review and here they are teaming up twenty years later on this new release. David writes all ten tracks here and they are essentially very basic. By that I mean there appears to be no additional musicians. Johnny on harp and vocals plus David on vocals and guitar, the arrangements are straightforward and could have been recorded in a simple cabin somewhere in Louisiana or Tennessee. The sequencing tells a story of how the Blues have impacted on David and his relationship with that genre. We open with A Room Mister and you are immediately transported to the Deep South of somewhere, anywhere really with Johnny wailing out his need for accommodation. Ring, Ring, Ring stands out hugely as it is completely a cappella, dripping with heartfelt Gospel overtones. Actually for me this is perhaps the standout cut. There is humour aplenty in I Need A Dog where the protagonist yearns for the unconditional love a pooch can supply opposed to a woman. The title track is very fine. I found this album refreshing in its simplicity and recommend seeking it out.

GRAEME SCOTT

KEITH MOULAND STRANGER IN THIS LAND EP

Independent

Two decades ago, I reviewed an album released by Keith Mouland and Paul Godden for Blues Matters which at the time I felt was more fitting to be described as Folk and Country rather than Blues. This four track EP addresses the previous lack of Blues and gives the listener a taster for the type of music performed by West Country artist Keith Mouland today. While the EP only runs for circa ten minutes there is enough here to establish that Keith has a good feel for the Blues playing some subtle electric guitar, supported with a sleepy vocal style, all songs have been self-written. While there are no recording details available, I can hear some feint supporting Drums and keyboards which fill out the sound, particularly on the opening song Stranger In This Land which is a slow meandering blues led by some great guitar which is very low key but ultimately dexterous. Keith’s vocals support the instrumentation well and fit nicely into a Country Blues style, the other three tracks all follow a similar vein. Iam unclear whether Keith sees this style of music as the way forward for him, but I believe there is an opportunity for him to establish himself in the Blues arena playing this style of music.

ADRIAN BLACKLEE

LEVEE TOWN STORIES

Hudtone Records

This is the tenth album that Levee Town has released in the past twenty years. In the liner notes it states that Freddie King, Peter Green, and Chuck Berry have all played a part in the history and influences of this band, let me tell you this, that is an understatement. Don’t misunderstand me, Levee Town is not copying the aforementioned artists, but you can hear them, especially in the lyrics and more importantly, in the guitar department. The Healthy Woman opens the proceedings, and straight away you get the feeling that this is going to be a guitar-led album. That is not quite correct, with the influences on the band, you could be

forgiven for thinking that especially as the first track is a belting Blues/Rocker. But there is far more to this band than meets the eye. Now we all know that Chuck Berry has influenced many many artists and bands, but this album twists and turns from Rock & Roll, Blues, Blues/ Rock into the realms of Country music on the track, Worn Soul. It has traces of Kris Kristofferson and Garth Brooks, two ends of the Country scale, but it works so well with the lyrics and overall playing. This is what I find so appealing about the album and the trio of musicians. Brandon Hudspeth wrote all the songs except for, I’ve Got A Hole In My Pocket, Jacque Garotte plays bass which put me in mind of Willie Dixon, and Adam Hagerman brings up the rear on drums. Dumb Ole Phone is a slightly comical, but frighteningly accurate song about how we live our lives, everyone is ruled by smartphones. A sad indictment of today’s culture, but a good tune nonetheless. Shuffling Sea comes straight from the Chuck Berry handbook, has lively riffs, and a great instrumental piece of music. This album has a bit of everything, imagine an all-you-can-eat musical buffet. I really like this album, the menu is full of surprises.

STEPHEN HARRISON

LLUIS COLOMA AND ERWIN HELFER

TWO PIANOS TOO COOL

The Sirens Records

With only two pianos, the talented players Lluis Coloma and Erwin Helfer deliver a sterling set that takes in boogie woogie, classic blues, and Ragtime music on a lively album that gets the feet-tapping from the opening bars. They play their own compositions as well as music by such people as Albert Ammons, Hank Williams, Ray Charles, and Hoagy Carmichael. The original by Erwin Helfer, Sneaky Pete is a bluesy vamp, but it is the slower duets that are the better tracks. St James Infirmary is a study in slow melancholy with diminished chords and overlapping arpeggios that although technically accomplished, still leaves the tune and the pensive atmosphere intact. Georgia is another piece with the same treatment, where contrasting solos show the styles of the two players to good effect. Things pick up again for Sixth Avenue Express, with its train-like

boogie-woogie rhythm and syncopated melody. Leroy Carr’s How Long Blues has a stately delivery, with long chords and blues turnarounds in plentiful supply. Jimmy Smith is a well-known Hammond Organ player, but here Back At The Chicken Shack appears equally at home on its acoustic cousin. The musicianship on this album is first rate, and although there is nothing really new, if you like good piano playing, the blues, boogie-woogie and ragtime, there is plenty here to please you.

BEN MACNAIR

MEAN OLD FIREMAN RESCUE 3

FIRST DUE MUSIC COMPANY

Singer and slide multi-instrumentalist Ned Bollé is Mean Old Fireman, a fireman and paramedic for 20 years, Bollé is building on the success of his acclaimed 2021 album Dumpster Fire. Releasing his third album Rescue 3, consisting of seven original tracks and one cover (twice), with Bollé on Vocals and Guitar all tracks, Bass 2,4,5,7; Bass Ukulele and Banjo: 3,8 he is assisted by various Boston musicians, Peter Chase on harp: 6, Christina Lacoste, on Backing Vocals: 2,3,5,9 and Accordion: 8, Tom Martin on Bass: 1,6,Shockwell Morency on Percussion, Vocals: 5, Joey Pafumi on Drums: 4,7,9, Marty Phillips on Saxophone 1,2,6, John Wadkins on Keyboards: 1,2,3,6,9, Piano: 8, and Rory Walsh on Drums, Percussion: 1,2,3,5,6,8, The album starts with the NOLA inflected bounce of I’m Not Crying, a toe-tapping opener with fine keyboards, guitar and saxophone all sharing the spotlight. Next up is 12 Bars with an infectious rhythm helped by the phat sax bursts which builds into another fine toe-tapper, featuring more great playing from the keys, sax and slide guitar. An acoustic cover of the Warren Zevron classic Werewolves Of London follows, this is given a reggae-bluegrass hybrid feel that adds a freshness to the track. Lynn Lynn is given a darker Southern rock sound, a pounding rhythmic beat is overlaid with acoustic and slide guitar, featuring vocal harmonies, before changing pace with the slower blues of Dirty Water, a wonderful laidback shuffle containing some fine interplay and soloing from the keyboards, saxophone, guitar and harmonica. A bonus track included on the CD is an electric version

of Werewolves Of London, still with the reggae feel but the slide is more prominent on this version, a variety of styles well played that’s worth checking out.

SHIRL

MUDDY WATERS TRILOGY

I’M HARD. I’M READY. KING BEE

Floating World Records

If you had the choice of listening to just three Muddy Waters albums, it would be impossible to choose just three. So, let me help you, these three albums have just been released as a compilation pack, and they are all more than worthy of a listen. Hard Again, was released in 1977 at around the same time as albums by The Clash, and Sex Pistols, but let’s not depress ourselves by talking about them. It was so good to see a Blues artist over the age of sixty easily competing with bands like them, and when you look at the songs and musicians on these albums, it’s very easy to see why. Mannish Boy is the opening song, is there a bigger classic than this? Well, yes there is, on all three albums. But Mannish Boy is probably the song that you would most associate with Muddy. As well as classics, I’m Hard, as the other two albums, reminds you of some of the lesser-known tracks such as Jealous Hearted Man, and the wonderful, Crosseyed Cat. In the same year, I’m Ready was also released, once again, packed full of gems, and a few that you may have forgotten. I’m Your Hoochie Coochie Man, immediately jumps out at you, I’ll never tire of listening to this. Who Do You Trust? and Screamin’ An Cryin’ warm you up before the much covered, Good Morning Little School Girl finishes the album. Released in 1981, King Bee does not let the side down. What is amazing, apart from the songs, and the songwriters, is the coming together of some of the greatest Blues musicians that have ever lived, all because they revere Muddy Waters. Johhny Winter, Pinetop Perkins, Willie “Big Eyes” Smith, Big Walter Horton, Bob Margolin, Jerry Portnoy, now that is a stellar line-up of Blues greats to be assembled on all three albums. If you want to delve back into great Blues albums, you won’t go far wrong choosing this triple compilation.

STEPHEN HARRISON

PARLOR GREENS IN GREEN WE DREAM

Colemine Records

A wonderfully fresh and lively throwback, Parlor Greens are a three-piece Organ (Hammond) trio, steeped in the Blues and Soul and with a groove that sits deep and heavy. Tim Carman, drums, is an ex-member of GA-20 touring ensemble, Jimmy James, guitar, is ex-True Loves, ex-Delvon Larman Organ Trio and Adam Scone, organ was previously with The Sugerman Three, he toured with JJ Grey & Mofro, 4 times Jazz Ambassador for Lincoln Center & Kennedy Center for the Arts and fronts his own band when free. Together, they are supremely funky, all instrumental and groovy like Austin Powers. The opener, Driptorch, sets a tone with the drums laying a funky groove and the guitar hitting a clean riff. A few tentative dabs of organ, as if trying to find an opening – and then the three are off and cooking together. Fast, hot and as danceable as all get up. That leads to Sugar Maple with the Hammond taking the lead riffs and the drums fitting around it and then the title track withheld chords and a light touch on the cymbals. James shows just to move from a rhythm riff into a gonzo solo in a heartbeat and the band just sit in the groove, tight as a snare. They switch from Blues into Soul, or a Makossa beat, or pure jazz with ease, at the base of everything is the groove and Carman keeps in it whatever he is playing around it. Flowers For Sharon stands out as the only real ballad, with Scone’s organ almost mournful and James playing a slow, matching, riff. All eleven tracks keep you involved, whether you are dancing to The Ripper with its Georgie Flame sound or the complex drum work of The Jelly Roll or a funky version of My Sweet Lord.

ANDY SNIPPER

REVEREND FREAKCHILD BARE BONES

Blind Racoon

The good Reverend Freakchild could be accused of ‘Milking It’ on this release, if it weren’t that the stripped-down nature of this version of the songs from his 2023 release, Songs Of Beauty For Ashes Of Realization, doesn’t give a totally new

BLIND LEMON PLEDGE

JUDITH OWEN COMES ALIVE

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OH SO GOOD

Ofeh Records

With a vocal delivery like Bob Dylan’s, and bluesy atmospheric, minimalist electric and acoustic guitar the singer-songwriter James Byfield sets out his stall on Oh So Good. The stage name of Blind Lemon Pledge shows his blues credentials, with sterling, although often muffled and very quiet support from drummer Juli Moscovitz and Peter Grenell on Bass gives his slide guitar driven reveries some back-bone. With many originals, and one cover, of House of the Rising Sun, there is definitely a bluesy hue to the album. Byfield’s idiosyncratic vocals and precise and unhurried guitar work unfurls itself on slow blues reveries, and more upbeat Cajun inspired numbers. The only thing that lets down the album is the sound mix. The vocals are mixed too high and everything else is mixed too low, which gives something of a disconcerting effect, particularly shown during album opener Big Bill. Once the ear is used to this sound though, it doesn’t seem so bad, although it could be off-putting to the more casual listener. The lo-fi experience is part of the album’s charms, and the music sometimes suits this treatment. The slow blues of Moon Over Memphis mixes well with the jump jive of Go

The lo-fi experience is part of the album’s charms, and the music sometimes suits this treatment

Jump The Willie and the Cajun backbeat of Ma Belle Cherie, and the album closer of House of the Rising Sun mixes growled vocals with brooding slide guitar to good effect.

BEN MACNAIR

Ok, I really like the introduction to the album from the label. This is an album of re-imagined legendary songs, instead of, this is an album of covers. It gives the album far more status, it immediately gets your attention. Now I must confess, I don’t know an awful lot about Sierra Green &The Giants. One thing that I do know is that she hails from New Orleans, and more importantly from a musical perspective, the 7th Ward, which has produced such legends as Jelly Roll Morton, and Allen Toussaint, to name but two. So, to the album, ten glorious tracks delivered as though their very lives depend on it. There is a vast amount of musicians on the album, most notably, J D Simo who brings his legendary prowess on guitar, to the proceedings. J D has played with so many artists over the years and his inclusion here is most welcome. Sierra Green has one of those voices that can grab you by the neck from the very first note, so powerful and gutsy. Each song, whether it be Come To Mamma, Girls Don’t Do What Guys Do, or the amazing, Dreams, Sierra Green & The Bandits hit the bullseye each and every time. Then we come to, This Is A Man’s World, the James Brown classic. Now as you all know, James Brown was one hell of a soul artist, one of the all-time greats. So for someone to re-imagine this song in the way it’s performed on the album means that you have to have supreme confidence. Sierra Green smashes it out of the park, dare I say, yes I dare, it’s on a par with James Brown himself. She has slid into his very big shoes, and they fit her well. Finishing this amazing collection of tunes is Same Old Blues, the Freddie King standard. A wonderful way to end this tribute to Blues and Soul tunes from years gone by. Freddie King will be very happily looking down on Sierra Green for her rendition, and so he should be.

STEPHEN HARRISON

STEVE HOWELL & THE MIGHTY MEN

99 WON’T DO IT

OUT OF THE PAST MUSIC

If the name of the title track sounds familiar, you’ll probably be thinking of Dr Feelgood if you’re as old as me or Wilson Pickett if you’re older still. It ain’t that one. What you get instead is a fresh take on an even earlier song recorded

by Sister Rosetta Tharpe, nicely setting the stage for the rest of this album of old school cover versions, spanning an eclectic range of genres that centres on blues but taking in gospel, jazz, pop and soul to boot. Based somewhere in the US – it’s not entirely clear where from their website - Steve Howell & The Mighty Men have been running for nearly 30 years and this is their fifth album. The band leader is veteran singer and guitarist Howell, who traces his musical roots to folk blues boom. He lived in Britain for a few years in the mid-1970s and played folk clubs in this country before returning to the US. Some of the choices, such as The Shadows’ Apache and a chord melody version of The Four Tops’ Walk Away Renee, sit a little oddly. But the blues content, including Charley Patton’s Stone Pony Blues and Betty James’ I’m a Little Mixed Up, is sound enough and the collection as a whole will rest easy on the ear of Americana fans. Could have done with some of the selections moving up a gear in terms of tempo, though.

DAVID OSLER

THE BEAR ROOT SHEIKS

RHINO & THE ALLIGATOR

GEMA RECORDS

Sometimes it’s nice to get back to the real roots of blues music. Back to the days of sweat and toil on Southern State farms and in cotton fields, where the only respite was a sit-down with a battered acoustic, a plaintive voice, and eons of suffering to tap into and express just how bad things can be. So, it’s a treat to get back to those stripped-down country blues classics in the company of The Bear Root Sheiks, respectively, Rainer Brunn and Al Lindinger. And you might imagine that from their names, the two modern musicians are a long way from the heat and dust of rural America. And you’d be right, the gentlemen reside and hail from Germany, which is a lot closer. But that doesn’t mean that their blues renditions are one iota less valid and respectful, even down to their authentic American accents when re-visiting classics such as Big Bill Broonzy’s Hey Hey, and Sleepy John Estes’ Drop Down Mama, both given appropriately reverential visits on this fine collection. Interestingly as well as the classics we have all grown up with, Messrs Brunn and Lindinger are equally at home presenting their own

compositions, which intersperse the traditional songs brought out for one more stroll around the park. The charmingly titled Schnuggi Rag gives both players a chance to stretch out a little, and show their admirable fretboard mastery. It’s not all blues and sadness, the cheerful dance rhythms of Rag Mama Rag provide a swerve preventing things getting to maudlin with a gorgeous Dobro slide solo to bring a smile. The final cut on the album, the traditional favourite You Got To Move has such a slow swagger and slide sound that you can feel the heat and taste the dust that no doubt underpinned its contribution back in the mists of time. It gives The Stones’ version run for its money, and not many covers can claim that. The sound of traditional country blues is in very very safe hands over there in Germany, and we should envy our German friends for their chance to see this sort of thing performed live. Maybe one day …

ANDY HUGHES

THE MILK MEN HOLY COW!

THE MILK MEN RECORDS

The Milk Men market themselves as blues rock, a catch-all term which sometimes denotes either a bunch of old boys banging out run of the mill 12 bars or some geezer torturing a Fender Stratocaster within an inch of its life. That’s not quite a breach of Trade Descriptions Act, not least because there’s often a hint of Dr Feelgood in the mix. But this band draws more widely on rock music as it was purveyed in Britain in the 1970s, including glam, pub rock and even the more melodic end of punk. Most of the ten songs, all self-penned, weigh in around the three-minute mark and shredding is eschewed in favour of succinct guitar lines from Adam Norsworthy, which actually add to the impact of the tune. His playing works well with the vocals of Jamie Smy, the possessor of a classic gutsy voice, and together they lift the weaker material. The rhythm section is made up of Lloyd Green, son of R&B legend Mick Green, on bass and Mike Roberts on drums. Best tracks include opener One Man Band, built around a riff that is a lineal descendent of Rolling and Tumbling. Hungover is a tale of the evils of the demon drink, spelled out in power chords, while Norsworthy gets his wah

wah on for Give a Little Love, a pretty decent stab at funk. Investigate if you fondly remember Ducks Deluxe.

DAVID OSLER

THE SKINTIGHT REVUE THE EVERLOVIN’ TRAVELLIN’ SHOW

Right Recordings

I’m not 100% why, but this album could well become my most played album of 2024.It crosses so many boundaries, mixes so many genres, but at the end it just leaves me with a big smile, and that works for me. Charlie Midnight & Jan Fairchild Co-wrote, produced, mixed and performed this wonderful collection. At its heart, this is a show with different musicians brought in and out according to the track’s needs. The ever present are Charlie Midnight on lead vocals & spoken word and Jan Fairchild on piano, organ, guitar, horns, bass, drums with the likes of Marko Schiefer, Jessica Childress, Buck Johnson, Steve Merola, Vinnie Zummo, Chad Hugo and a whole bunch of other session stars guesting. The album kicks off with the title track, a spacey intro leading into a showy R&B number, piano and horns plus a solid drumbeat behind Charlie Midnight’s hoarse lead vocal, very much in the Tom Jones style. I Never Get It Right reminds me of Three Dog Night, mainly spoken word over a 70’s style piano driven pop/ rock number. My favourite track is probably Jubilation Jam, Jessica Childress leading and outrageous blast of Gospel, with horns, synths, handclaps and a spoken passage from Charlie Midnight, it is uplifting, exciting and amusing all together. “A Long Walk To Heaven is a stirring and soulful love ballad with fine lead guitar from Dee Meyer. Skintight tears out at a frantic pace, very 80’s dance with a Latinate touch. Elsewhere, it is jazzy and rocky but the thing that you find all through the album is a sense of space and width, as though you were seeing it live on a massive stage. The musicians are all of a high standard, the songwriting is excellent, all around a delight.

ANDY SNIPPER

DEB RYDER

LIVE AND HAVIN’ FUN

JUDITH OWEN COMES ALIVE

Vizztone

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I’ve had the privilege of listening to Deb’s albums before, and I have interviewed her for Blues Matters Magazine in the past. So, her work is not new to me, so when this album dropped at my desk, I knew that I was going to be in for a great time. All the songs on Live And Havin’ Fun are written by Deb, and her bassist husband, Ric. There is a magnificent array of musicians on this album, with guest spots by Albert Lee, and Tony Braunagel amongst others. The album was recorded live at The Mint, Los Angeles, and makes this her sixth album release overall. Fun Never Hurt No One, opens the show, and It’s quite an apt title for this album because that’s exactly what this album is all about, fun, dancing, and playing The Blues. Deb’s voice, and indeed, her all-around persona, exude feelings of well-being, making you want to get up and shake what your mamma gave you, that’s what this album does from the get-go. Of course, having musicians of this caliber helps, but it’s the sheer raunchiness and devil-may-care attitude that Deb Ryder has in spades that makes this album as good as it is. Might Just Get Lucky, is a slow-burning Blues ballad with magnificent piano accompanying Deb’s vocals, a truly wonderful tune. Blues and Soul combine so well here, creating a metamorphosis that slides so easily into Funk, and back into Boogie Woogie, creating

This album is a lot of fun

a musical eruption. Live And Havin’ Fun, would, in my opinion, make a wonderful soundtrack to a movie, it just has that vibe about it. The final track on the album, Any Bottle On The Shelf, kind of bucks the trend of some Blues songs telling stories about drinking. They usually tell you how drink has ruined their lives, but this song is entirely the opposite. “ I do my drinking by myself, Any Bottle On The Shelf” celebrates knocking back whatever takes your fancy, enjoying it, and telling everyone about it. This album is a lot of fun, don’t believe me? Listen to it, Deb Ryder is here to stay.

STEPHEN HARRISON

GOODBYE BABY