Albert Castiglia, a seasoned blues guitarist and vocalist, is a force to be reckoned with in the contemporary blues scene. With a career spanning over two decades, Castiglia has earned a reputation for his soulful voice, blistering guitar solos, and deeply emotive songwriting. His music is a blend of traditional blues roots with modern influences, reflecting his diverse musical upbringing and experiences. Albert’s latest album showcases his growth as an artist, capturing the essence of his live performances and showcasing his unique approach to blues and roots music. In this interview, we discussed his musical journey, influences, and the making of his latest album, offering insights into his creative process and the stories behind the music.
SO, WHAT ARE YOU UP TO PRESENTLY?
I’m getting ready to play a festival in Switzerland in a couple days, meet up with Zito and Sugaray Rayford, do a few shows there, and then I’m coming home. I just bought a new house near Orlando, it’s so much quieter than Miami. The cost of living is cheaper and I’m nearer to my daughter and my grandkids, it’s just a lot of a quieter existence. My life is crazy enough. When I get home from the road, I don’t want to deal with more crazy! Living in the city is just too crazy over here. I’m getting old, man, things don’t thrill me like they used to.
ALBERT’S BACKSTORY
I started playing when I was 12 years old, and I’m 54 now, so I’ve been doing it a long time. I got my big break playing with Junior Wells in 1997, and that’s when my touring life began. Then in 2002, I broke out on my own, I’ve put out about 11 albums so far. I got a new album coming out, I hope to be in the UK in November, things are going well.
TALK ABOUT THE NEW RELEASE, RIGHTEOUS SOUL
We were able to find a window of time, although there wasn’t a lot of time to prepare for the album, because I’ve been on the road with Mike Zito for so long. I didn’t have a lot of original material. Mike suggested that we make it a special guest album. The first call we made was Joe Bonamassa then Danielle Nicole, Kingfish Ingram, Kevin Burt, Monster Mike Welch, Ally Venable
and my daughter Rayne all joined in. I dug up the first four songs I had written, the rest were covers. We recorded it in December at Kid Andersen’s Greaseland Studio in California, what a great experience.
RECORDING PROCESS
Compared to the Blood Brothers productions where Joe Bonamassa and Josh Smith stacked the tracks from the ground up, when we recorded a song. It always began with a scratch vocal and Josh playing acoustic guitar, and then we’d overdub everything over it, until we had the song completed. It was an amazing process; I’d never done that before. With Kid producing this one, we went in there as live as possible. We laid down the basic tracks with the band. Kid is an amazing producer; he really has a great ear and has great ideas. Getting to work with him was quite a joy. We had some good musicians on it. Jerry Jemmott played bass, the most recorded bass player in music history! DeMar, Rick Estrin’s drummer, Jim Pugh on keyboards, and Johnny Otis’ son on percussion. Kid played rhythm guitar and bass on this also. It was a great set of session guys, so tight with great ideas.
TRACK TALK
Mama I Love You: The seeds of that song were planted when I was watching an African American gentleman die on television. That’s exactly where it came from. The last words he said were ‘mama, I love you,’ begging for his life. It fuelled my emotions. I wept, then became angry, and wrote these lyrics. The song addresses the absurdity of racism and people hating each other based on their skin colour. When I write songs, they come from extreme emotions; very happy, very sad, or very angry. The idea
Colin Campbell Savas Mallotides
was to give it to Kevin Burt to sing, but he suggested I sing it instead.
When we came up with the album concept, I approached him again to do it as a duet. He made the song; his vocals were amazing. He captured what happened in that horrible video, interpreting it intensely. It came from a very sad and angry place when I wrote it!
Someone once told me songwriting should be “for the song to comfort the disturbed and disturb the comfortable”. At times, we need to do that, I usually write light-hearted stuff, but sometimes heavy feelings need to come out. This song was one of those times where I just felt like expressing myself, regardless of who it might offend. Where would we be without songs that address topics of the day like Billie Holiday’s ‘Strange Fruit’ or Crosby, Stills, Nash & Young’s ‘Ohio’? Sometimes you have to put it out there to get the message through. The art is for us artists too, to release our pain. This song helped me deal with the whole issue.
Centerline: In the last couple of years I’ve taken to doing martial arts, Kung Fu classes. In the beginning, I found martial arts very meditative, and it really balanced me. It’s based on a theory called the center line theory, protecting and attacking the body’s vital organs. The song was inspired by that and its positive impact on me, feeling calmer and handling stress better, making me a better person. We got Popa Chubby to play on it, a no brainer since he’s into Tai Chi. He’s my kindred spirit for this song, understanding the positivity of martial arts. It turned out to be the single, and I really love how rocking it is. It was an original song, and it was just a great song to make. I wasn’t planning on background vocals, but Kid Anderson’s wife has one of the most amazing voices I’ve ever heard.
Greaseland Studios is essentially his house, and my guest room was right across from the studio. I remember him up at two in the morning like a mad scientist, waking his wife up to layer background vocals. It didn’t make sense until I heard the finished product the next morning. Kid had arranged the background vocals for Centerline, and it was amazing.
I was in his band. I always loved that song; it had a great shuffle and groove. Kid’s boss Rick Estrin came down and laid down the harmonica part. He was one of Junior’s disciples. Monster Mike Welch plays on this too. He’s a great, amazing human being and has the most wicked vibrato. When he plays, his vibrato is very reminiscent of Otis Rush to me. It’s very distinct, very freakish, very thick, and heavy, kind of between a B.B. and an Albert Collins thing. He can hit one note and get this beautiful vibrato out of it. It really made the song.
Come On In This House: That was one of my favourites. The vibrato, the falsetto on that was difficult to sing. 25 years ago, I could not have done that falsetto. But as you get older, you have more control over your voice. That was what was holding me back for years. Even 15 years ago, I screwed up singing Smokestack Lightning with Hubert Sumlin. My voice cracked in front of a couple thousand people. Now I’m able to pull it off and do it on a record, that was very rewarding.
You Can’t Judge A Book By The Cover: When my daughter found me six years ago, I had a list of things I wanted to do with her, and singing was one of them. As I started to recognise her potential, she didn’t want to sing in public at first. We both had our issues, and we kind of fixed each other’s. I pushed her gently into singing more and playing with me. She eventually got comfortable and started in her mom’s Stevie Nicks tribute band. Her voice started developing, reminiscent of Joan Baez and Joni Mitchell. Her passion is modern R&B, but I wanted her to sing a blues song on this album. She chose this song by Bo Diddley, and she nailed it right off the bat, even doing Bo Diddley’s phrasing very well.
HOPES AND FEARS FOR THIS ALBUM?
What My Momma Told Me: If the concept was friends and family, there had to be songs from artists that meant a lot to me. One of them was this one from Junior’s ‘On Tap’ album in the 70s. It was our sound check song when
In a heartfelt reflection, Albert shared his deep desire for his latest album to succeed, not just commercially, but as a meaningful legacy for his family. “I really want my daughter to look at this record with pride,” highlighting her crucial role in its creation. He sees this album as a way to impart essential life lessons. “When you put your mind to anything, you can accomplish anything.” This project is not just for their daughter but also a message to their grandchildren, underscoring that “they can do anything they want. The day she had to record her vocal part was also the day Kevin Burt recorded his. Kevin, who was staying at the artist’s house, recorded his track first at a local studio. Despite being
a novice in the studio, his daughter Rayne “showed up right when he started singing.” Although following Kevin’s powerful performance would have intimidated many, “she went in there and followed Kevin and kicked ass and did a great job on it.” Reflecting on the recording session, Albert shard, “I was worried that, her listening to Kevin, would rattle her cage a little bit. Her life hasn’t been that easy, but she took the challenge head-on.” Facing hardships like “not knowing who her father was,” she proved her strength. “This was like, not a big deal to her,”
BEST MUSICAL ADVICE
The best advice I ever got was from Pat de Leon. He was a tough character on the local scene in Florida and played in Bobby Keys’ house band at Woody’s on the Beach, a nightclub owned by Ron Wood of the Rolling Stones. Not a lot of people know who he is, but he was an amazing guitar player who rubbed elbows with the Rolling Stones. Despite his intimidating reputation, De Leon had an amazing voice and was incredibly tasteful. His advice helped me get a job playing with Junior Wells. He said, “If you don’t have a good vibrato when you play guitar, then you’re never going to make it in blues.” Emphasising the
importance of vibrato, Albert recalled how they tirelessly practiced, leading to their job with blues legend Junior Wells. Years later, at Rosa’s Lounge in Chicago, a candid conversation revealed, the only reason why you got that job was because of that vibrato. Despite exchanging harsh words initially, the artist appreciated the critique, admitting, “It made me feel really good. It was kind of a backhanded compliment.” Reflecting on joining the Junior Wells band, he recalled the 1997 Ultimate Blues Cruise with legends like Bo Diddley and Irma Thomas. Junior asked, ‘What do you want to do with your life? I said, I’m just going to keep playing with you.” Junior advised, “Keep your mouth shut, and your eyes and ears open, you’re going to need to carry the torch for future blues.” Despite initial resistance from some band members, Albert heeded Junior’s wisdom, focusing on learning and understanding the bigger picture: “to keep this art form alive. I’m still learning. You never stop learning in this business. In my 20s and 30s, I really didn’t get to sit down and appreciate those lessons. Now, I appreciate them and share them with you and with other people. I hope that these insights will resonate with younger artists. For further details see website: www.albertcastiglia.net
CHRIS BADNEWS BARNES
Blues Matters caught up with the undisputed King of Hokum, Chris Bad News Barnes, in Nashville, now stretching his wings with a fabulous new album, his first on the Gulf Coast Records label, a release that is roaring up the global charts.
Iain Patience Laura Carbone
Great new album, Chris. You must be pleased with progress:
“Bless you. Thank you, I’m so happy that I can’t complain. My bank account hasn’t increased one bit but I’m just so happy to be on Billboard, in the top 10 is a big goal of mine.”
“You know, to have Walter Trout on the album, like, that’s huge. You know, it’s a lovely glow.”
How did you get him involved?:
“Well, that’s the beauty of it. I got a Facebook chat message, a Facebook direct message from Walter Trout saying that he really enjoyed my last album, Bad News Rising. Yeah. And then he would be honoured to play on my next album. So I told Tom Hambridge and he goes, well, we gotta do that. So the only problem is that Kenny Greenberg, who’s on the album, is one of the best studio musicians in the world. So it was, it’s like, where are we gonna use them? So I, I sent him a track. It was the wrong track.”
“And he goes, you know, ‘is this the one you want?’ I said, actually, it’s not. So I told him that it’s the most personal song on the album is called True Blues. It was very painful. You know, Tom said, you know, to write the Blues right from your most painful experiences. And my father had an affair with the woman next door. I lived in a housing project with 40 apartments and four apartments in each building. And my father had an affair with the woman literally next door, my bedroom wall, you know, went up against her wall. And my mother used to smoke true blue cigarettes. And so the song is the story about that, the effect it had on my mother and our life. Walter had saw it like that, set on track right . I told him it was like the angst of the child, of the innocent child whose life has been warped by this.”
“And he goes, ‘I got this.’ And he just put this searing, wailing, you know, skill on there and these rifts in between that was like, yes, there’s the angst, there’s the pain. And I loved it. It was great. It was. Yeah, it was a cracking track. But I mean, this, this almost seems to me you’re much more. You’re always the the king of Hokum and, right, you’re famous for your sort of comedic approach. But this album seems to me a much more serious bit of work.
And it’s almost as if you’ve not dumped it completely because you’ve got, you know, ‘Mushrooms Make me a Fun Guy’ and maybe ‘Do the Houdini’ both might fall into that same genre if you like, but it’s much more a genuine straight on, in-your-face Blues album or Blues rock album is my take on it. What do you think about it?
“Well, that was by design. You know, the last album, it had almost too much Hokum in it. It it had a lot of humour in. It was, they’re great songs and they’re still the meat of my shows. But I realised I didn’t have the contemporary blues to wrap around. There’s this decision, it was based more on the live show and well, I got the good funny stuff, but I don’t have the I don’t have the the meat of a show to keep this on a high- level blues show. Because there’s because like what happens is is the, you know, the Blues Booker, the festival people, the radio people, they’re all like, - ‘was he? Is he a comedian or is he a blues guy? Is he a blues guy? Is he comedy? Like, they don’t get it. Like, Europe, there’s never a problem. They just get it. But here in the States, for some reason, they have a hard time wrapping their mind around it because they never really understood Hokum Blues to begin with.”
So I said to Tom, ‘This album, I need your Buddy Guy, or Kingstone, you know, Christone Kingfish, contemporary blues hat on. I want to go straight down the middle of contemporary blues. I’ll write a couple of songs, you know, blues, blues-rock, couple of the Hokum songs, just for seasoning. But I want to round out my 90 minute show with great Blues songs and I’m gonna write. So I’m gonna write from the Tears of the Clown side of my brain, this album, then the jokester side of my brain, right?”
I think it comes through very clearly, to be honest:
“There’s no question at all. It’s a completely different approach in many ways, it seems to me. But yeah, I wanted to go breakdown, the straight down the middle and by doing that, I knew we would, you know, water would spill out on both sides. So, that’s exactly what happened.”
Looking at it against the previous albums, this has probably done better for you than any other album:.
LISTEN STATION
TRUE BLUES SKIN TO SKIN
YOU RIGHT BABY
“Absolutely. Yeah, absolutely. And you know, I also brought in Tabitha Fair, the vocalist, you know, because I worked with her on my first album back in New York and I was so impressed. She handled all the background vocals and the other background vocalist, I was just so impressed by her work. So when we went to the studio at this time, I said,’ Tom, I want to bring in Tabitha Fair.’ On the prior album, we used Tom’s daughters singing back up and that was great. But I said I don’t really want to look at it as a total backup singer. I wanted to look at it a as a shared vocalist. And Tabitha was in the movie ‘20 Feet from Stardom.’ She’s just a seasoned. She sings with Rascal Flatts. She sings with me on my lap. I shows and does some solo songs herself. She sings a solo song with Rascal Flatts. And Tom was like, ‘well, how many songs,’ you know? And I said all of them. And that’s crazy. I said she will tell us where she’s not needed. She’s that good. Yeah. So I wanna bring her in. And she, well, the first night we recorded at Sound Stage Studios in Nashville. Right next door to Sound Stages is a studio called Ronnies Place. And that’s Ronnie Milsap’s old studio. And, you know, it’s a legendary little room and really great for vocals.”
“Roy Orbison’s piano is in there. I mean, like, it’s pretty hot-shit place. And as soon as she lay down her first vocal, first time was like, ohh, OK! It’s like when I brought Steve Guyger in on Hokum Blues and Will Lee goes, ‘who’s this guy?’ And then after the first note went, ‘OK, I got it, I got it, I got it. Yeah.’ He added so much to it. You know, be-
cause now every box is checked off. You know, you could question my vocals, now as far as the category of vocals, everything here, the Sonic is, is at a10 plus, you know!”
You’ve also got Suga on there:
“Oh, Sugaray. It’s great. Great fucking guy. Yeah, yeah, that was great. You know, we were talking about doing it with Buddy Guy, and Buddy was interested and he, he did lay down a track. And then I was going to do it with Taj Mahal, but, Taj was too far away. And I was realising that the older guys really weren’t grasping the, the sketch part of it, if you will. Sugar has, he has a theatrical background. As soon as I laid it on him, he was like, ‘I got it.’ So I flew out to Tucson to his favourite studio. And it was like doing a National Lampoon radio show, you know, it was like, it’s a totally different way of approaching it. And then I had to edit all that down and find the ones I wanted and then find where I wanted to place them. And he was just a jewel to work with. He was hysterical. And I’d really like to now the only problem was is that like that was one of my going to be one of my big singles, but his album was caught coming out at the same time. So Eric Corne from his label called and said, can you not release that because of the outbreak algorithm and all that stuff? That hurt. But I’m going to try to release it as a single and maybe do a video likeSeptember, October, something once his album’s out and and really that track, that’s just classic Hokum.”
Not losing your roots then. You mentioned National Lampoon. You worked on that, didn’t you?:
“Yes, I did yes, I produced after John. I was after John Belushi. I took the reins and was doing the National Lampoon radio show. As a matter of fact, I was editing that show in John Belushi’s, 55 Morton St in the Greenwich Village, his house. I used to use his studio and I was in his house the night he died. Ohh shit yes. And what? Danny Ackroyd and Judy, But Judy? Jacqueline Belushi is still one of my best friends. I spoke to her Thursday. She’s very proud of this album as well. I was Jim Belushi’s writer at Saturday Night Live, so I have a very deep tie to that family and Danny and the Blues Brothers. And, I’m considered one of the guys - the king of Hokum Blues, which was given to me by Mr Patience himself here!” We share a laugh and he continues:
“They really love that. And that was my only regret of the Blues Brothers is they never did original music. So that was part of my mission to take it from when I was doing cover songs. It’s like, ‘who cares?’”
I remember you saying to me that in many ways because of your training and your comedic background, you work with everything, acting, scripting, televisual
stuff too, an extraordinary career:
“We’re all Second City Theatre alumni. They call Second City the Oxford of comedy. I was part of the society and I revered those guys and those guys took me under their wings. I feel a lot of my work is an homage to what those guys did. And more importantly, their ability to always give credit to the blues artist. They should be recognised with a Keeping the Blues Alive Award as well because of the careers they brought back. That was what I was trying to do like a John Lee Hooker. What people don’t know, in the movie that was supposed to be Muddy Waters, but Muddy was sick that weekend and John Lee Hooker filled in for that spot in the movie.”
I’m guessing from your personal point of view the new album has made people view you more seriously:
“It was imperative because the booking agents would say I don’t know if he’s a comedic act, why isn’t he MC and stuff like that? And it’s like, that’s not what he does! I’m not sure people understand that he’s this. That’s no longer an excuse.”
“When you’re eight on Billboard, your albums playing everywhere, you’ve got Walter Trout, Sugar Ray Rayford and Jimmy Hall playing on it and Tom Hambridge producing it. But he’s not a comedian, you know, He’s a blues as
a matter of fact. And I just got a review yesterday where it said it addressed that theory and that question. And it said, ‘this is a blues album’ ; and that makes my heart sing. That made me feel really good. I’m a blues artist, you know, I’m a blues artist and the blues has a history of satiric blues artists. For some reason, after 1970 nobody can wrap their head around it. Shame on them because that’s what this is.”
It was really Willie Beady Eyes Smith, I think, that first said to you, Hokum, that’s what you were playing there:
“Yeah, he was my first introduction to that. Tramps, I was opening for and I was the MC and I opened for the guys really. Smith was playing with Pinetop Perkins at the club and so I was at scene. I would play the harmonica and I’d make up a song, improvise a song like I did at Second City and then the band would come up and, and I would intro them. At the break, I was hanging out with those guys in the alley smoking some agricultural products, and Willie Smith, he goes, ‘Hey man, you know what you’re doing is called Hokum Blues. And I said, no, he goes, that’s Hokum. WC Handy used to have a line – ‘We used to hook’em with the hokum and that’s what you’re doing tonight. You’re the, you’re the funny guy that comes out and does songs. That’s what revs up the people, keeps them in the seats. And then we come out and I was like, OK, I’m a hokum guy.”
You said how important it had been to you to have the best of musicians around. And I recall you once telling me - remember, you did the Blues Cruise - you had Gary Hoey, a great guitar picker with you. You felt that was really vital to come on stage and hit them immediately. The first track, first three, a real sort of boot in the balls, kicking ass. Saying here we go. Not to let that pace slow down:
“That’s right. I felt it was really important. I think that’s right, isn’t it? It’s your viewers. You go bang, bang, bang, bang, bang. You don’t let them breathe in between. Yea, you know, the Second City. John Belushi, Bill Murray, Dan Aykroyd, Alan Arkin. You do the review format and the review format has a very specific running order. And the first one you come out, you hit them and then you build and build and build. Then you can do more of a of a slower piece, then bang, bang, bang all the way to the three run out to big finish. That’s how I build my albums and how I build my stage show based on that kind of format. You can’t have dead air in the beginning. You can do the greatest opening but too long and lose them in between the first song and the second song, lose the entire audience. I’ve seen it 100 times. You really gotta keep them. You
have to do your work, like, why are they there? They’re there to hear and experience. See, that’s a visual medium. It’s a a Sonic medium, but it’s also an energy medium. And it’s your job to maintain that energy to where you want to give them a rest and then you want to pick them back up and then you want to blow them out in the end. And that’s how my shows are, you know, I, I’ve, I just headlined at a Birmingham, AL show. Yeah. And the people were like that. The promoters came backstage and said, ‘Oh my!’”
“I didn’t know was going to be this hard. But the harder it is, the more I have to dig down deep. And the more I dig down deep, the better my work is.”
Must be very gratifying for you and you made it. You made the shift to Nashville. What brought that about as well?:
“It was just crazy, you know, I came down here to do my record, the album with Tom Hambridge, I was here. And then I started to, I, I started going to the songwriting shows, you know, that Nashville is all about songwriting. If you’re an actor and you wanna be in movies, you go to Hollywood. If you’re a singer actor and you wanna be on Broadway, you gotta go to New York City. Well, if you’re a songwriter, Nashville is your town. All that’s walking around the streets are songwriters. You know, Music Row is like the Broadway of Nashville, but it’s all songwriters. And every day about seven blocks of building fills up with songwriters going into rooms and saying, ‘what you got?’
“Thow that’s what I used to do as a comedic writer at Saturday Night Live or on Hollywood, What Life with Bonnie. But this is songwriting. So I started going to these events. And then one of the radio stations asked me to perform my songs on a live radio broadcast. And all of a sudden, I’m getting a fan base here. And all of a sudden, people are are asking me what that song is about. All of a sudden I’m playing the song and I’m looking in the audience and they’re singing along to the song and it’s like, it’s like I found eyes, you know? It’s like there’s no place like home.”
“I just clicked my heels three times; and I’m staying here, you know, and then I started performing at 3rd and Lindsley. And for some reason the guy who owns the club, which is a legendary club, said, I’ve been looking for an act like yours because I love comedy but I can’t put comedians in here because we made a deal with the comedy clubs that we wouldn’t do comedy and they
wouldn’t do songwriting shows, music shows. But he said, but you’re perfect. So I started doing those. And the last show I did, I had Mike Zito as a guest and Vanessa Collier. It was at without a doubt, the best show I’ve ever done. And it was packed. Standing ovation. You know, it was a CD release. It was just, it was magic. It was just miraculous. Everything came together with Mike Zito.”
Of course, you’ve signed with Gulf Coast Records now:
“When I did this record, I said I gotta move it around.. But Vizztone was great for me, and Rosie (Richard Rosenblat) and Amy Brat were fantastic to me. But I needed to jump a shark here. I did the album, said I’m going to shop it around, and everybody agreed with me. They know I’m trying to get to the next level. And when I did the Blues Bender, I did a set, I had a show in the ballroom and I opened. It was before Selwyn Birchwood and Mr Sipp. The place was wild. I was going like, OK, this is it. I had my band was Kevin McKendrick and his son Yates. They were on the bill playing at the Bender. So they’re here in Nashville and they have a studio. So I’ve been able to rehearse with them here and I’ve done a few shows with them. And Kevin was on my last album, Bad News Rising. He and his son are both Grammy Award winners. So I had a band behind me like, wow. Again, you know, Bill Murray once whispered in my ear,’ the secret is surrounding yourself with the best’. And so I had a great opener. So I was there, every box was checked. I had a rehearsed solid band. I had a legit, you know, stage. I had a a full house, maybe 1500 people and here we go. You know, everybody was there to get the best seats for Mr Sipp and Selwyn. But they got me and I came out and I did this album and it was as if the place went bananas. It was just the perfect show. And I. I had Kenny Neale. He was on after all these guys and had his horn section.”
“It was really a very powerful show. Every song landed, I had that ‘Slow dance with Joni Mitchell’ song from Bad News Rising that was nominated for best roots song. It’s getting it gets a tonne of play here in Nashville on the Americana station., I didn’t think anybody in the blues community knew it. It was nominated for best video and best song. And as I said, the next song is called A Slow Dance with Joni. And the place went crazy and I’m like, ‘holy shit, people know my song.’”
They said, come on with it. I’m going, OK, so this is the big level. This is the high level. This is what everybody’s talking about. You know what I mean? Yeah. But I mean, I wasn’t for Springsteen holding out the mic and then singing the whole song. But, you know!”
You’ve been very fortunate in your career, haven’t you?:
“It’s pretty amazing. I base this all on I will do this till there’s no more opportunities. You know, I I’m going to until I’ve went through every door and I’ve tried everything. When I see that there’s nothing down the road. For some reason, I do one show and something else opens and another show, something else! I’ll do another album, something else opens. So I’m just following, I’m just sitting up and showing up and letting the results dictate what happens next!”
I notice in the cover photo in the new album, Bad News Travels Fast is by our great mutual friend who works with the magazine, every issue of our Blues Matters, Laura Carbone:
“You know, Laura Carbone is so great. And, and you know, that was not a photo shoot we were having. There was a bunch of us having breakfast, the blue plate and we’re walking down the street and Laura calls out, turn around.’ I mean, that’s not planned. She goes ‘turn around.’ I turn around and I folded my arms and she goes, oh, this is great. She took like 4 pictures and when it was time to submit pictures to the label, everybody, especially their PR department, went this is a great picture I think it’s a cover. I go, I’m so glad you said that because that would be great. Laura has been great, one of the great, if not the greatest photojournalist for the blues. She just got the Keeping the Blues Alive Award, so well deserved. I did a show in New York City and I look out in the audience and she’s in the audience, she’s a supporter.”
Chris, before we finish up, can mention ‘Ambushed by the Blues,’ a cracking little track?
“That’s getting some really good reviews. I didn’t release it as a single. I just wanted to see what happens with it. A ‘Blues Man Can’t Cry’ was my big ballad and it’s doing very well. But ‘Ambushed by the Blues’ - here’s what happened during COVID. I had a lot of my friends, people dying, and young people. That’s what the song is about. The song is just overwhelming and being ambushed by all this, all this horror and pain and suffering that everybody was feeling. It was awful. We hadn’t had a situation like that since the AIDS crisis. We will look back at history as being ambushed by this horrible disease and our utter inability to deal with it on a timely basis.”
“No way should this many people have died from this. This was this was curable at an earlier time if it was
addressed properly. I definitely wanted to record a song that dealt with probably some of my strongest current emotions during a crisis. ‘Blues Men Can’t Cry’ is about slavery and Parchment Farm, the fields. ‘True Blues’ about my personal historical life, but ‘Ambushed by the Blues’ was a current strong, passionate feeling of blues and I wanted to capture that before it left.”
The opening title track is your your own eponymous track:
“I always open with a high energy fast song and I wanted to kind of set the tone and that was always a really good hook. Bad News Travels Fast with , the horn section from The Mavericks for that. And I think that kicked it in, and Jimmy Hall’s harmonica playing.”
“I had Tommy McDonald who plays bass on all of, Buddy Guy’s albums. This is Tom’s band. I had Mike Rojas on keyboards, phenomenal keyboard player, and Kenny Greenberg on guitar and that song just ‘boom’ came together. I think it was one take and it was just bang.”
A few years ago, you said you’d started out playing drums as a kid. You’re working with Tom Hambridge, who’s one of the most in demand drummers, a multi-Grammy producer, also a great drummer. How does that work? How do you and he get on with that one?:
“It’s a great question because, you know, I started doing drums when I was in like 1st grade., I did a recital in second grade. I was in a band, 4th grade. Clarence Spady and I were in a band. We’re both from Scranton. We were in fifth grade and we were playing the hotel bars in Scranton, PA. We weren’t even old enough to be in the bars. I have this conversation with musicians all the time. I think the drums is the key to the band. And I’ve been fortunate I ha, Tom Hambridge as my drummerwithout a doubt. I’ve been blessed by being around great drummers. And that’s really even in my in my inner self. I’m just listening to the kick drum, that’s all . I just let that drive me. That’s all I need to hear.”
“I work better with the musical director who’s a drummer than I do with any other musician. Working with Tom and these guys are all following him. If he’s driving it, I just have to stay in tempo with him.. I don’t read music well. So I’m lucky that my background is in drum training because at least I know tempo; a lot of singers have a hard time with that. And I’m lucky because that’s the only thing I do have, you know, keeping in tempo with him and you can see him, you can tell when he wants to go big. You can really start hearing his conducting. He’ll hit a TomTom a certain way when he wants to build and he’ll hit a floor Tom a certain way when he wants to come down - to the untrained ear, you won’t hear it, but I hear it every time. He has a built- in metronome in his hand almost. I love it and I love working with him in the studio for that reason. I’d be in pretty big trouble with somebody else.”
Check out www.chrisbarnesnyc.com for more.
BLUES MATTERS
PODCAST
Listen to some amazing interviews with the artists we’ve been lucky enough to speak to for the magazine.
This episode features a very special guest, Raul Malo, the lead singer and driving force behind the genre-defying band, The Mavericks.
RAUL MALO OF THE MAVERICKS AMIGO THE DEVIL
This episode features a very special guest, Amigo The Devil, the acclaimed dark folk singer-songwriter known for his haunting melodies and compelling lyrics.
TROY REDFERN
In this exclusive interview, Paul Davies sits down with Troy Redfern to explore the inspiration behind his electrifying new album, Invocation.
IMAGE: JASON BRIDGES
EVIDENCE
FOOLS LIKE ME RAIN
wanted to sing. I wanted to sing with other players, so I didn’t really care what it was. I just wanted to get up on stage and play with musi cians. It started with a country contest in San Jose, California. A lot of the people that I still play with, I met at these blues jams, and blues players are also multifaceted, they are rock and roll players or jazz players, flamenco play ers. Many musicians leaned into the blues because the blues gave you some gigs, you could find work that way. My first record was very traditional blues, but I couldn’t own that style of blues with integrity. I was inspired by artists like Lydia Pense and Cold Blood and Donny Hathaway. It’s been a journey to find out what kind of voice I’m going to have in this genre. Blues is a big umbrella term for all the stuff I put on there, it would fit underneath.”
Lara reckons Howard Jones gave her some great advice to help her find her way:
He said, ‘Here’s my advice for you; that it’s not who you know and it’s not luck. It’s all hard work.’ And I never forgot that! The business now to me is very confusing, so I don’t know what I would tell someone right now about advice. Hard work pays off, but where are you putting your hard work? It’s like we are now content creators, not just musicians. So, it’s all about the algorithm and likes, loves, and shares. What I tell fans now is if you want to help the band out, like love and share it, because that’s where we’re kind of dependent on this algorithm to help us out. It’s made things financially a little bit more dif ficult because no one’s buying
CDs. There’s a certain demographic that still does, thank God! But I invested in $3,000 worth of vinyl that I’m hoping I can sell. It’s heavy to carry around, and you can’t leave it in your car. It’s a very diva piece of content to sell to people. But I love this, I love music, it’d be a shame to quit now! One of the upsides to streaming is that there’s so much music that you can be introduced to that you couldn’t do before, like you depended on a friend to record a mix tape for you and then give it to you. I just want to play live as much as possible. But I found that a lot of my energy is spent making content. It’s a struggle, but you know on that note, Colin, I feel blessed that I found something that I absolutely love doing. It’s hard work, but I still love it.”
What about life on the road as a gigging musician, do you find it tough?:
“Yes and no. My strategy for this tour for this record is to release it to the people and do these mini tours. I’m calling it the Orphan Annie tour. For instance, I just went to Iowa when the new album was released, and the Avey Groups Band backed me up and we released it there. Jeni Grouws and I did some duets, and it was fun for her fans to be introduced to something different. It’s just nice to create other relationships in the music
Lara reflects on her experience
“Dancing helps because you get more comfortable in your body on stage, but also blues jams. When you’re on stage with a bunch of people you don’t know and like, it sounds horrible, it’s important to find a skill to be able to land that ship. I’ve been in situations where just things are going wrong everywhere. Say, when your key band players leave because, some ex-girlfriend comes in and says that she’s there to see the bass player, and the bass player decides to just leave
“There are phenomenal musicians – like, throw a rock and hit a world class musician! It’s crazy in Austin”
- that was a little bit difficult. Luckily, our keyboard player picked bass guitar all night, and then some woman that was ready to go and party who just got out of jail, came to the bar; and she was entertaining so much that no one noticed that the bass player left! So, DJ, if you’re out there, thank you for saving the show! Going on the road is the hardest work you can do. On my first tour with the band the van broke down seven times! We eventually had to leave it in New Orleans. Some of us flew, some drove back. It was a sweet van, too, I had a little bunk in there and you could stand in it. I want to play a place that’s as packed as possible, but I’ll take a small cafe and do a duo, an acoustic thing. I just like singing, it doesn’t matter what venue how big or small!”
What’s the story behind signing for Gulf Coast Records, let’s talk about the new release Half & Half:
“Well, the record was done when I called Mike Zito. I was shopping it because, honestly, no record label would agree to twenty-two musicians, two states and three studios being involved. No label would agree to do that and pay for that. So luckily, I was able to create this thing and then I shopped it. Kid Andersen who produced it asked Mike to play on the track ‘We’re Still Friends.’ He recorded it while he was on a gig on a cruise ship. A mutual fan had recording gear, pulled him into a cabin, and asked him to record slide on it. I reached out later, and we connected. I’ve met Mike Zito several times over the past ten years and am a big fan and great to work with. So far, I’ve loved working with everybody. I got to meet them all in Memphis at the Blues Music Awards in February, it’s just been a fun ride. It’s put a lot more pressure on me to figure out how I’m going to get my music out there and sell the product and be a good label mate. So, one of the studios was located here in Texas, and one of the studios was in California. Because I have like 25 years plus of relationships and musical experience in California, I couldn’t see
myself doing this record without those people. I wanted to record half of it in California and half of it in Texas, with the guys that I’ve met here. There are phenomenal musicians – like, throw a rock and hit a world class musician! It’s crazy in Austin. I wanted to also reflect over what I’ve learned over the last nine years being here. So that’s what I did. The third studio was here as well. So, there are two studios here in Texas and one in California that were used for the release. I saw the Western Union Man Band in a bar in Texas. I just hired them because I knew they would interpret my stuff in a cool way. I walked up to one of them and said, hey, I want your music to smell like me and taste like you. So, can we get together and record and make a record? They played their butts off on this record. In California, Kid Andersen, Mike Schermer, Randy Hayes, Baxter Robertson, all these guys I’ve worked with for 20 years, working with them was kind of a coming home recording session.
Track Talk
Rain: This was the second single that was released. I’d heard the chord progression in an Uber cab. I heard the chorus and I saw something in my head, like a video. I saw bombs dropping on Vietnam, like this footage, so the song is large. It’s about war in all forms War boots on the ground, war in your head. But it’s also, you know, about the drumbeat. Well, you can’t be happy all the time. It’s not realistic. So sometimes you got to let it rain, right! I asked Kid Andersen to record his cat purring on this one, I read somewhere cat purring is healing, it sure helps me.
Days Ago: This was a song that David Jimenez wrote, I said would you be interested in in me writing a response verse and my interpretation of what I think’s going on in this song and do a duet. He’s a super great human and a ridiculously talented player. He played all over the record.
Solitude: A Duke Ellington song. I’ve been playing with a phenomenal guitar player, Matt Berger, a Berklee graduate. I asked him to do a duet with me because I love the acoustic guitar element. It’s so warm. I’ve been flirting with jazz for probably 20 years, and I just really loved the song.
We finish with a thought about the future:
“I’m hoping for more live shows and another record. I want to perform as much as possible and get my name out there. I’d love to go to Europe and visit the UK.”
For further information see website: laraprice.com
BLUES COMMUNITY RALLIES FOR MATT LONG
A huge array of artists from the blues and blues rock worlds came together to support one of their own over the past few weeks.
Matt Long, frontman of the multi-award-winning blues rock band Catfish, has been battling cancer for over a year now, and these benefits were set up to help raise funds for addi tional treatment not currently available on the NHS. There have been five main gigs in Broadstairs, Staines, Luton, Dar lington, and Milton Keynes.
No other words are required other than a massive thank you from Matt and his family to all the artists who gave their time and talent for Matt, the promoters who put the shows together, the friends and family who helped with the merch and backstage organization, and to the sold-out audiences who came to support.
Images on this page are from the Darlington gig and taken by Adam Kennedy
Images on this page are from the Staines gig and taken by Paul May
Top half of page is from the Luton gig and taken by Paul Dubbelman
Images from the Milton Keynes gig and taken by John Bull
like a FISH to water
US-based blues artist Amanda Fish recently released her third album Kingdom via Vizztone Records. The record follows off the back of Amanda’s sophomore release Free, which debuted on the Top Ten Billboard Blues Chart and nabbed the Missouri native a 2019 Blues Music Award for Best Emerging Artist album.
Adam Kennedy Supplied
The pandemic had a profound impact on Amanda Fish and the music industry alike. Amanda’s observations and life experiences during this period fed into her latest offering. “A lot of these songs were written over the last six years,” said Fish. “Things that I saw during COVID and things I saw in the nursing home where I worked and things, I saw other musicians doing, the way that the industry behaved. And it’s just a lot of my observations of that time. And these were things that I was starting to see pre-COVID, but then COVID, I think, really amplified everything.”
Of course, without the ability to tour due to restrictions brought about by COVID, challenges set in fast for the blues artist. “All of our tours fell off,” explains Amanda. “We lost our health insurance. I was seven months pregnant with our first child when that happened. But there was also a lot of beauty in that too, because a lot of people saw our plight and saw the plight of a lot of musicians, and they gave us opportunities. Can’t Stop the Blues was an online show and that was amazing that they did that for so many musicians and enabled us to still make some kind of a living.”
With the imminent arrival of a new member of Amanda’s family, the performer had to reevaluate. “After I gave birth in September of 2020, I had to have a hard conversation with my husband, who is my drummer, and I said, look, I don’t know when these tours are coming back. I don’t know if the shows are coming back. I don’t know what life is going to look like from here on out, but we have to stop waiting for everything to come back and we have to go get real jobs. And so, I went to school for a couple of months to get my CNA, which is a certified nurse
aide, which is essential. My husband got a job cleaning at a hospital.”
Before Amanda knew it she was working on the front line as a healthcare worker during the pandemic. “Those were considered essential jobs and things that couldn’t be shut down. So, I started working in the nursing home in January of 2021 and we’d already seen online just all of the restrictions that they were put under and that COVID always managed to find its way in anyway, and it would just tear through them like a wildfire.”
It was in the nursing home that Amanda found a new place to use her musical gift. “At the end of your life, you tend to be more religious. And a lot of these people were deeply religious and had no church of any kind,” explains Amanda.
With the pandemic restrictions preventing residents of the nursing home from congregating in church, Amanda found a way of bringing a form of service to the care facility. “I happened to be working there in April for Easter. And so, I sat down, and I got my notebook out and I learned every hymn that I could get my hands on, the older hymns for the older folks. And I gave them an Easter concert. And I just got to see how music would affect people that otherwise wouldn’t talk. You would get a nonverbal resident that’s barely responsive at all. And you got them in the wheelchair pushing them down the hall and you’re singing, and then you hear this nonverbal person that’s barely responsive responding. These songs just work their way into their brain. So, I got to see that even though music had been shut down, we were deeply essential for humans. And I got to use both gifts to help
LISTEN STATION
MOCKINGBIRD NOT AGAIN HERE WE ARE
those people. I got to use the gift of my CNA and caregiving, but then I also because of my CNA, I got to have access to use my gift of music to give them something that they hadn’t had in over a year.”
Pandemic aside, themes such as riots and government corruption seen through the eyes of a new parent and frontline worker feature on Amanda’s latest album. Recent single Mockingbird is an example of this. The title refers to Operation Mockingbird. Speaking about the background behind the song, Amanda said: “Operation Mockingbird is an alleged large-scale program of the United States Central Intelligence Agency, CIA, that began in the early years of the Cold War and attempted to manipulate domestic American news media organizations for propaganda purposes.” Amanda adds: “They said they wanted to feed disinformation through the news media to confuse the enemy because we were fighting a war at the time. So, I don’t know what year they’re saying that it started, but I think we were fighting a war at the time. Anyway, the purpose of that was to confuse the enemy as to what we were doing in the field. At least that was their stated purpose. And my song alleges that Operation Mockingbird never ended. They claim that it did, but I don’t think so.”
“They said they wanted to feed disinformation through the news media to confuse the enemy”
Kingdom was recorded and mixed by Paul Niehaus IV at Blue Lotus Studio in St Louis. As a native of the St Louis area, Amanda called upon one of the city’s prominent blues maestros as a guest on the record by way of Jeremiah Johnson. Speaking about their connection, Amanda said: “We’re on the same circuit basically. But the way that I got to know Jeremiah was when we first moved to St. Louis in 2018, I didn’t know anybody. And Jeremiah pulled me on a show opening for him out here,” she recalls. “He introduced me to the St. Louis crowd and also other venues in St. Louis. And we did a few shows together and he just helped me. He just helped me so much. And there were a couple of people that saw me from that introduced me to this person and that person. And it just grew and grew, but it was really between Jeremiah and Jackson. They were the two people that really helped me start out here in the scene.”
Aside from a guest appearance from the previously mentioned Jeremiah Johnson, the record features a core group of musicians including Terry Midkiff, Dom Knott, Dylan Farrell, Glen James, and Paul Niehaus IV, along with friends Mama Moo, Billie Baumann, Bob Walther, to name but a few. With further guest spots by way of Richard Rosenblatt and Billy Evanochko. A talented bunch, perhaps you will agree?
Kingdom features ten original songs written and sung by Amanda. Of course, Amanda’s debut Down In The Dirt resulted in the artist winning the “Sean Costello Rising Star” Blues Blast Music Award and her follow-up with a Top Ten Billboard Blues Chart placement and accompanying Blues Music Award. High achievements have already been attained up to this point in Fish’s career. Speaking about Kingdom, Amanda said: “I’m pretty proud of it. It’s probably the best work I’ve ever done to this point. We’ve really matured a lot.” Based on that sentiment alone, perhaps there will be more awards in the US artist’s future. I guess only time will tell.
Kingdom by Amanda Fish will be released via VizzTone Records on 26th July 2024.
THESE THREE KINGS
Three of the most influential Blues legends and icons; Albert King, BB King, Freddie King.
I wanted to create a tribute illustration capturing them in their prime, early 70s-ish, as they would have seemed if they were together on stage. Then I wondered; Have they ever been together on the same stage at the same time?
I started Googlin’ around, and around, and around & surprisingly found absolutely no record of this ever happening, where three of the most respected, prominent figures in shaping electric Blues music traded licks together side by side.
Maybe it’s not so surprising considering the competitive nature of the music world as well as preserving personal image and integrity. All three where their own force of nature and certainly didn’t need to combine forces to enhance any of their status.
I was fortunate to see BB King live a bunch of times from the late 70s, in smaller venues in NYC as well as huge festivals around the world. Always an inspiration and in top form.
Elegant and articulate with his tight band, every note and phrase like his life depended on it.
Albert King as well I have the good fortune to see a number of times back then. A bit more “guarded” or protective of his stage. Looming like a giant, smoking pipe present, very aware and quick to let any member of his band know when they were not on track.
His playing was bombastic! The tone and attack just cut right through you, held you, then dropped you and you hoped you would land on your feet. I can still “feel” his intensity.
At a Blues Festival in NYC in the 80s I witnessed him on
John Mayall
29/11/1933 - 22/7/2024
said to the audience he wasn’t happy with his guitar/amp sound and apologized saying with remorse “I’ll come back and do better next time”, leaving the stage to everyone’s shock.
Admittedly my favorite “King” on a personal guitar players level is Freddie King.
Freddie King I have not had the opportunity to see live. He passed away in 1976 just when I was beginning to be aware of who was who in the Blues universe and where I could see them.
While BB & Albert where very “horn-like” in their compositional approach to framing up their guitar skills, Freddie had a fluid abandon and gut wrenching angst that felt like the guitar was in of itself a lead vocal. Probably why he could truly hold his own releasing several all-instrumental albums.
As a budding guitarist, Freddie had the impact on me that was most immediate and present.
The essence was visceral rather than composed, in my personal opinion.
One thing is an absolute; These Three Kings all created very distinct and identifiable signature sounds and songs that shook the world of Blues, Rock and beyond. I can’t imagine a single artist who has not been shaped, touched, affected by Albert, BB and Freddie King!
John Mayall has sadly passed, aged 90, peacefully at home with friends/family around him. When the tragic news first reached us at Blues Matters a few hours following his death, it came with a request to keep it under wraps till the family themselves were ready to post it publicly.
John was always known as the ‘Godfather of British Blues’, a moniker he shrugged aside and wore lightly despite his immense importance to the music globally. We had the good fortune to both know and admire the guy and until he retired from the road a few short years ago, often spoke about his remarkable career and the countless bands and musicians he inspired and nurtured as a blues pioneering recording artist for an astonishing six decades.
Everyone knows the greats who worked alongside John in the various incarnations of the Bluesbreakers: The legendary Peter Green; Eric Clapton – John described as ‘the right guy, with an instinctive feel for the music’ ; Mick Taylor, who went on to join the Stones; Mick Fleetwood (short-lived); John McVie (Fleetwood Mac); Walter Trout – John described as a ‘great, true friend’; Buddy Whittington; Coco Montoya. The list seems almost endless, all blues artists of renown and fame – Dick Heckstall-Smith; Harvey Mandel; Mark Almond; Hughie Flint...
For over forty years, John lived in California, joking with me that ‘The weather suits me more than Manchester!’, when last we spoke. Always ready to chat and discuss his legacy, he had a self-deprecating manner that truly belied his significance as a multi-instrumentalist – Harmonica, Guitar and Keys, plus vocals – with a vast and deep understanding of the music and its history, some gleaned from listening to his late father - a bar-room guitarist in northern England during his childhood - and the array of US roots music the family listened to at home, mostly jazz and blues recordings from the likes of Eddie Lang and Ella Fitzgerald, Louis Armstrong and others.
After a spell at Art School in Manchester where he had his first blues band, he ventured south to London, playing the Flamingo, Marquee and all clubs of note in the world of blues music, taking his chance to create bands that reflected his own passions, a love that remained rooted in his soul to the very end. So many modern musicians owe their own careers to his forthright presence that it’s hard to overestimate his importance in global music terms.
Right to the end, he remained a pioneer with an eye and an ear for perfection and quality, reflected in his final release The Sun is Shining Down, produced by Eric Corne. In 2024, way overdue in many eyes, John finally received the accolade of induction into the Rock & Roll Hall of Fame in the appropriate ‘musical influence’ category, which he added to his OBE and numerous Grammy nominations.
When we last spoke, I phoned John in November on his 90th birthday at home in LA. We had a laugh and I closed by saying I’d call again in ten years time, to which he quipped with pleasure, ‘Yea, you make sure you do that!’
Sadly, that’s not now going to be possible.
We all like a song resplendent with a sublime melody, rhythmic groove and thoughtful narrative and multiple blues awards winner Sue Foley has crafted and grafted an enviable songbook that sets her up as an artist of subtle and considerable note. Moreover, those in the know deeply respect her skilful guitar abilities.
She produces a masterclass of fretwork and picking stylings on her latest recording, One Guitar Woman, where she has picked a carefully curated selection of mostly rare songs by often overlooked female musicians. It’s Foley’s passion play and tribute to the rich seam of known and little-known female blues singers/guitarists for whom she carries the plectrum into the next generation.
She recorded the entire album playing one guitar, her nylon string flamenco guitar that she bought from a master luthier in Paracho, Mexico as she tells me:
“It’s especially handmade. I went down there and found it. I met the builder and bought it in a great town in the mountains of Mexico, where they build guitars. If you’re a guitar player, this is amazing.” She adds: “It’s a standard size. I went to the builder’s place, and he had these guitars ready to go. I just tried out a few and I picked one that I really liked. I’ve been a fan of flamenco guitar, and I already had a guitar that was made in Mexico, and they make fabulous instruments down there and in the Spanish tradition. It’s a great option if you can’t get to Spain and you don’t want to pay Spanish prices. It’s much more reasonably priced. And they have this fabulous builder. So, I’ve known about it for quite a while.”
Known for her acuity as a blues guitarist, I enquire if she is well versed in the art of flamenco: “I’ve studied some flamenco. I wouldn’t call myself a flamenco player by any means. I’m not well versed in flamenco, but I love the art form, and I really respect it. I find it in a lot of ways like blues in its spirit. So, it just resonates with me.”
On the surface it appears to be a unique choice of instrument on which to play blues music. Its effect is to bring a concision to the arrangements as Foley’s chirpy vocals narrate the songs. In further demonstration of her fine guitar skill set, she also utilises a variety of fingerpicking
styles as she reveals:
“I do the Piedmont fingerpicking style as a tribute to Elizabeth Cotten, who was well known in folk circles. She was discovered in the late 50s by the Seeger Family and her song Freight Train was a hit in the Skiffle scene in England. That’s how the Seeger’s realised their housekeeper/ nanny, Elizabeth Cotten, was a tremendous musician. So, they started getting her out there and recording and listening to her songs, and they heard Freight Train and brought it to England.”
Her One Guitar Woman album is a history lesson as much as it is preserving off-track tunes and a style of playing that has gone down in folklore as she explains: “Piedmont folk fingerpicking is a style that dates back so far, they’re not really even sure how the guitar style developed because it goes back pre-civil war. But if you listen to it, it sounds like it developed out of piano parlour music and people just adapted those runs and that parlour music onto guitar.” She adds: “What you’re hearing is not blues at all, it’s quite different. It’s based around traditional melodies that date back hundreds of years at this point and it’s an interesting tradition. People like Cotten would have learned it from her ancestors. I’ve interviewed Piedmont style fingerpickers, and they usually say, ‘my mother taught me it’. It just kind of goes down through generations and families. But it’s an interesting way to play guitar as you’re kind of like a little one-man band with your thumb doing a pattern bass line while your top fingers are strumming out a melody and, in between, you’re getting a rhythm. So, there’s a lot going on, especially with the right hand. It’s complex, but it’s a beautiful way to play guitar and it sounds beautiful. I love it so much.”
Practice makes perfect: “It takes a while to learn it. I started learning those techniques when I was pretty young.
Paul Davies Scott Doubt, Doug Hardesty & Mark Abernathy
So, I’ve been doing it for a long time. That style was a little easier for me to kind of get under my belt, because I had already been influenced by Piedmont and fingerpicking my whole career.”
Sue Foley also demonstrates the Scratch technique on One Guitar Woman which is a completely different style and developed by another of her female guitar heroines, Maybelle Carter: “She has an influential style of guitar playing. She developed it from a banjo technique called ‘Claw Hammer’, it’s a banjo technique, and she adapted it to the guitar, but she also expanded upon it. She was strumming with her index fingers, and she used hard metal finger picks and a thumb pick, then on the bass string, she’s playing the bass notes and lead guitar lines on bass strings in between and this is a robust strumming pattern. It’s complex. But it’s completely different from Piedmont folk fingerpicking. And learning the ‘Carter Scratch’ was challenging when I really got into it.”
I ask her if interchanging between these techniques presents challenges every night when she’s playing live: “No, no. I worked really hard and tried to get these under my belt and it took me a few years. She continues: “I’d already been doing the fingerpicking stuff and, as a blues player, I’ve always used a thumb pick. So, blues and Piedmont work in my repertoire. But learning the ‘Carter Scratch’ was very specific. It took me a few years to be honest, like, just messing around with it and sort of figuring out what she was doing. I looked at videos and the thing that was so cool about Maybelle is that she was such a solid rhythm player, like her rhythm is rock solid. I mean, we’re talking technically about the guitar, and these are the things as a guitar player that separates a good musician from an OK musician. It’s your tempo and your ability to really play in time. These are rudimentary kinds of technical things you can do as a musician, and if you take the time and work with it, it makes you a much better musician.”
She furthers: “When you listen to Maybelle, you realise she’s an astoundingly good musician. All those Carter family songs, that rhythm is just rock solid. You need to have a really good tempo for that. That’s a technical thing. It’s simple. But a lot of people just skip over it. They think, ‘Oh, I just want to get flashy. I want to play some flashy leads’, and then they play their leads,
and their leads don’t have any bass to them or any foundation. So, she’s a real foundational player and I worked hard at the ‘Carter Scratch’. I sat with a metronome for hours. None of this happened overnight. So, thank you for noticing and asking about that. I worked hard on it. You don’t get too good not to practice.”
The graft, craft and creativity that has gone into producing this recording has been a passion play by Sue Foley. It’s a project that is close to her heart and is something she has wanted to release for some time:
“It’s a labour of love. It’s a labour of passion. It’s a curiosity,” she declares. “A lot of people have done similar presentations of women and music, women and guitar, but nobody’s collected it quite this way and talk about somebody like Ida Presti (pioneering French Classical guitarist), Maybelle Carter and Memphis Minnie who were all kind of around at the same time; like little universes, or their own like little planets without real role models.”
She continues: “I use Memphis Minnie as my main role model in blues because I felt, as a female guitar player, I was looking for other females to kind of latch on to and say, ‘Well, they did it’. So, I guess I can get into this club then fit in and have a good career.” She has certainly achieved this as she adds: “Memphis Minnie was important to me and just through my life it’s been important for me to not only have role models, but to acknowledge them, and these are people who have long passed, and I don’t want them to be forgotten. Their influence is so important. They weren’t just female guitar players. They were people who had the mind and vision and went to a place where no women had gone before. And they didn’t have role models. They had this vision and courage and stuff in their character that really makes them unique, and it makes them special, and that’s really what I want to highlight.”
Having immersed her heartfelt energies into One Woman Guitar, I ask Sue what she has planned next: “We’ve got some live music in the can still that we’ll eventually release; we just released a live album last year with the band. I’ve got the acoustic solo album, which I’m touring. And the next album is going to be original music with a new band that we’re going to be announcing called The Pistolas and I’m excited about that.”
SPOTIFY LISTEN
INTERVIEW WITH SUE
TO INFINITY AND BEYOND
AN INTERVIEW WITH BRYSON WILLOUGHBY
Bryson Willoughby is a dynamic musician and a core member of the band Mojo Thunder, renowned for their electrifying blend of rock and blues. As a key contributor to the band’s distinctive sound, Willoughby’s talent and passion for music shine through in every performance. With a flair for powerful guitar riffs and captivating melodies, he has helped Mojo Thunder carve out a unique space in the contemporary rock scene.
Colin Campbell Ali Ann
Willoughby’s dedication to his craft and his ability to connect with audiences make him an integral part of the band’s ongoing success and a rising star in the music world. Blues Matters caught up with him to discuss his musical journey and the new release The Infinite Hope.
What made you want to be a musician?
“When I first started taking an interest in music, it was my uncle and my grandfather who both played guitar. All the kids would be put to bed while the adults would go play music. This inspired me to sneak up and just listen to them tell stories and play through different songs. I just really wanted to be a part of that room and loved music. Growing up, my grandfather liked older traditional country music; he was a major fan of Merle Haggard as well as a lot of Bruce Springsteen. I was influenced to play guitar when my dad introduced me to Kiss, AC/DC, and Aerosmith, which led me on the old rock trajectory. Additionally, a friend of my dad gave me a blues mix CD featuring R.L. Burnside, John Lee Hooker, and Muddy Waters, which really opened some doors to other musical styles. To this day, John Lee Hooker is one of my favourite guitar players. This diverse musical exposure all moulded together to shape my musical interests. Guitar was just a family thing; the vessel that they chose to express themselves. I found myself gravitating towards the guitar because of this family influence. If they were drummers, I probably would have played drums, I didn’t have a chance at being a singer! I put my first band together at school when I was about 11 or 12 years old. It was a purposeful Black Keys sort of thing for a while. We would play in a garage and then trick-or-treaters and stuff came by. So that was our big show. And I think we played mostly Kiss and AC/DC songs as a two-piece. So, you can imagine how well or not that would have turned out!”
Forming Mojo Thunder
“We got together in 2018; Zac the drummer and I started it. We got Andrew shortly after, he’s the bass player. He came to us by way of a mutual friend. Then we found Sean, singing online, he shared a video on one of the social media sites. He was running this blues trio at the time; he was doing his own thing. We came up, watched
one of his shows, and I just asked him to join our band! We’re all from Kentucky state but moved to Lexington which we now consider the band’s hometown. There is tremendous diversity among Lexington’s music scene, including punk bands, rock bands and a strong presence of Americana or folk music, country style stuff and a lot of bluegrass. This variety reflects a long-standing tradition here in our state. Overall, there’s tons of different music and a lot of people are doing a lot of different things. We now consider ourselves to be a rock and roll band, we don’t want to be fitted into genre boxes. My preferred medium for listening to music is via vinyl, I like the physicality but also using streaming services as they won’t let me into the gym with my record player!”
We went on to talk about the new album The Infinite Hope. This has a front sleeve depicting four superheroes....
If you were a superhero which would you choose to be? “I would be someone like Green Lantern, Batman, or maybe Daredevil. Those are the three superheroes I like the most. I might kick myself later and think of someone entirely different, but these are the ones that come to mind right now. As for the rest of the band, they would have similar answers, especially since pretty much the planet is a Batman fan at this point!”
In their hometown of Lexington, Kentucky, the band worked with producer Duane Lundy, known for his “really, really good work.” They recorded a “mostly live record,” keeping “as much as we could in the kind of inroom takes.” Lundy, who “doesn’t have a control room,” sat in with the band, eliminating separation and fostering a collaborative environment. This method made Bryson feel “very much like a part of the team” and an “incredible steward of our vision.” The band found his approach “really, really cool” and appreciated his significant role in shaping the album.
“In comparison to the first album, Hymns From The Electric Church, I think we’ve grown up a lot on this one. We’ve found a little bit more of our own sound! I’m proud of everything that we’ve put out, so certainly no negativity towards the first one. Sometimes when you start
HOLY GHOST
JACK’S AXE
writing songs, you’ll get to a point where you go, well, these all kind of sound similar. You start policing yourself, questioning if new ideas fit with existing work. Ultimately, if it’s your art and you’re creating it, then that is your sound. We explored every angle musically that maybe we wouldn’t have previously on this latest release. This approach marks a significant departure from our earlier work, it’s a more expansive creative process.”
Who would you say your influences are as a band?
“We’re big on Thin Lizzy, Little Richard, Chuck Berry and huge Lynyrd Skynyrd fans. Also influenced by Led Zeppelin and Radiohead, Kings of Leon, and a band from our home state of Kentucky, My Morning Jacket, so eclectic styles. We’re also big hip hop fans, Kendrick Lamar, A Tribe Called Quest. During the recording process, there was a ton of Wu-Tang Clan going around, which shaped our approach. You roll up to make the record listening to a Wu-Tang album, and then you go in and make a rock record!”
Track Talk
“Regardless of who writes most of the songs, it takes all four of us to get it across the finishing line.”
Holy Ghost: “I wanted to nod to older cats like Chuck Berry or Little Richard, aiming to subvert authority and comfort zones lyrically. This explores themes of trust and political infiltration into religious institutions, posing questions about who truly represents the working class’s interests. It’s a big question that we’re trying to ask. Musically, the process varied. For this one, the music came first, with lyrics evolving later, though typically we write everything at once, without a set formula.”
The Sun Still Rises: “The drummer, Zac Shoopman, sent me some lyrics and asked me if I could put some music to it. The album’s opening bells were recorded during a European tour, around Easter, as the band prepared for a show. Zac captured the bells’ beauty.”
Coming Back To You: “I wrote this one, it’s a sort of love song. Generally, a lot of times the song’s always about how the guy’s just got to leave and he’s doing all that. I found myself missing home sometimes. I absolutely love the road, but there’s nothing like being with the people you love. So, it’s sort of that, some sort of reassurance to them, that I’ll be back, and I want to be back.”
Let It Fall: “That was mostly written by our singer, Sean. He came up with the verses to that, and then I supplied the music for the chorus. Zac wrote that one of the last lines on the chorus, and the band collectively crafted the bridge of the song.”
Memphis: “Sean and I wrote that one together. We reference Martin Luther King Jr. in the song. I’ve kind of found that we sort of accept someone’s martyrdom if they’re a hero, you know, like if a hero dies, then we accept that as sort of part of the narrative. So, what we wanted to do with this song was sort of humanise it fully and just accept it for what it was, which was just a horrible trag-
edy. So, it wasn’t part of the plan and although we want to celebrate his life and legacy, it was just more about recognising our humanity.”
Caroline: “I wrote that about some protests that were going on here in the States. There are basically all these people out here, that just want to be recognised as human beings. They find it bewildering that such recognition isn’t universally granted. That’s where a lot of that came from, the song’s themes of hopefulness, struggle, and resilience amidst the journey for recognition of humanity.”
Greetings From Western Art: “The longest and last song on the record. It’s semi-autobiographical. It was about revealing my thought process! There’s like a slight nod to the greats like Otis Redding. I wrote, ‘some people call it rock and roll, but I think it’s just a faster rhythm and blues.’ We have such a wonderful lineage of soul and blues and all that so we ended up calling it rock and roll, but really, all it is, is just us putting our own spin on those early great records.”
Have all the songs been road tested yet?
“We’ve been playing a lot of them. On our last tour in Europe, we played through probably half of the songs on there, receiving a positive response from the audience. As a band, we have a habit of unveiling new songs early, often testing them out at shows to gauge reactions. Regarding the album’s production timeline, it took probably a week, a week and a half to do all the recording and then another week to mix.”
How are you finding the music business as such?
“It’s a love and hate relationship. We find ourselves navigating more business-oriented tasks than we anticipated, contrasting with our passion for writing, playing music, and talking to people. The industry presents challenges like release dates and money issues!”
The Future
“The future? Make more records, you know, write more songs,” expresses Bryson optimistically about their band’s trajectory. They aspire to improve with each album and set of shows, aiming to look back and feel they’ve done a better job. “Just growing, moving forward and, and hopefully playing some shows with you all,” expressing a desire to perform internationally, including the UK. Their enthusiasm reflects a commitment to continuous progression in their music career and a hope to expand their audience globally.
Mojo Thunder’s new album “The Infinite Hope” released by Agelaius Music Group on Friday August 16th and is available to pre-order order on CD, viny and digital from https://mojothunder.lnk.to/TheInfiniteHope Further information about the band is available from www.mojothunder.com
THE DELTA BLUES TRIO
SON HOUSE, CHARLEY PATTON & SKIP JAMES
The Mississippi Delta has long been associated with the early origins of Blues Music. It was, and still is, a fertile breeding ground for musicians who are born with the Blues in their soul.
The list of Blues artists that have emerged from this particular region would be too long to name them all, but I have chosen to write about three individuals who, in my opinion, have had the greatest influence on generations of Blues players, and Blues lovers in general.
Charley Patton
Hinds County, Mississippi
Aside from Robert Johnson, Charley Patton was arguably the most enigmatic of all Blues artists. The first mystery surrounding him is his birthdate—1881, 1885, and 1887 have all been suggested. This confusion is understandable given that records were not well-kept during that era. The second mystery surrounds his ethnicity. He certainly looked African-American, but there are suggestions that he could have been Mexican, or, indeed, a Native- American. There are rumors that Patton was in fact descended from The Choctaw. His family moved and settled at Dockery Farm where he first encountered, Robert Johnson, Willie Brown, and Howlin’ Wolf.
tells the story from the very beginning of the actual Blues history, you would be well advised to listen to The Immortal Charlie Patton, a vinyl recording if you are lucky enough to get your hands on one. Then you will realize where Robert Johnson and every one thereafter were coming from at the start of their musical journey.
Side 1
• High Sherrif
• Green River Blues
The Immortal Charlie Patton, Number 1, notices the slightly different spelling of his name, another quirk in his story, which was released around 1962 on the Origin Jazz Label, was regarded as the start of a new generation of Blues enthusiasts rediscovering the Blues. It didn’t quite have the impact as King Of The Delta Blues by Robert Johnson, released a year earlier, but it did play a significant part in the history of Delta Blues artists. Country Blues, and Delta Blues, depending on people’s definitions, are without doubt the foundations of Blues music that followed, the mantle being grasped by the likes of Muddy Waters and Howlin’ Wolf.
The album highlights the unmistakable vocals of Patton and his superb guitar playing, something that a very young Johnson certainly took on board. If you want an album that
• Elder Greene Blues
• Moon Going Down
• Going To Move To Alabama
Side 2
• Stone Pony Blues
• Frankie And Albert
• Runnin’ Wild Blues
• Some These Days I’ll Be Gone
• I’m Goin’ Home
• Poor Me.
Eddie James House
Son House
Born in Lyon, Mississippi in 1902, Son House did not choose a life as a Blues artist initially. He was for many years a church pastor, before, as many Blues artists did at that time, he spent some time as a guest of the Parchman Farm Penitentiary. At around the age of 25, Son House
turned his attention to the Blues, and quickly gained a reputation for being more accomplished than Patton was at the time. Along the way, he teamed up with Charley Patton, and the least-known, Willie Brown, whose name was immortalized in the Robert Johnson song, Crossroad Blues. The story goes that Robert Johnson had been following Son House and Willie Brown from Juke joint to Juke joint, intensely watching and trying to imitate them both.
“He begged to play between intervals”
He begged to play between intervals, but this ended in derision from the watching crowd, Johnson was average at best. So he left town, not returning for around a year, and we all know what happened. Son House continued with his career during the early thirties and forties, then began to fade into almost insignificance until like many others, the Blues had a resurgence in the sixties. In the case of Son House, via Alan Wilson, Co-Founder of Canned Heat, in around 1964.
Eddie James House
Son House - Original 1940-1942 Mississippi Recordings
The original recordings were overseen by the legendary producer, Alan Lomax, who had been very close to many of the early Bluesmen. Some of the tracks were recorded in Mississippi in 1940, with the rest being recorded also in Mississippi around 1941-42. Son House has written many memorable Blues tunes, but I think that we can all agree that Death Letter Blues is the one that he will be forever remembered for.
Having worked sporadically with Charley Patton and Willie Brown over his early years, it’s no surprise that The Pony Blues (Charley Patton) are included on this album, and also that there are collaborations with Willie Brown, (Camp Hollers) being the most well-known. This album contains the finest of Son House songs, during the most formidable and productive period of his recording life. Thank heaven for Alan Lomax and Alan Wilson who made sure that Son House would not be just a distant Memory.
Side 1
• Death Letter Blues
• Special Rider Blues
• Low Down, Dirty Dog Blues
• The Jinx Blues - Part 1
• The Jinx Blues - Part 2
• The Pony Blues (Patton)
• Walking Blues1942 Version
Side 2
• CountryFarm Blues
• American Defense
• Government Fleet Blues
• Delta Blues
• Levee Camp Blues
• Camp Hollers (Son House - Willie BrownJoe Martin)
• Four O’Clock Blues (Son House - Woody Mann)
Skip James
The Greatest Of The Delta Blues Singers - Storyville Nehemiah Curtis “Skip” James was born on the 9th of June, 1902, in Bentonia, Mississippi. He was a singer, guitarist, and pianist, as well as one hell of a songwriter. He had a complex style of playing, a finger-picking technique, and Open D tuning that was not quite what other Blues artists of the day were doing.
This led to him being considered a pioneer of Blues music, one who influenced other artists and Blues enthusiasts, simply by his unusual prowess on the guitar. Being surrounded by other Blues musicians, his father was a very talented guitar player, which had an immediate effect on the young Skip James. James, as, Son House did briefly, became a church pastor, before becoming a full-time Blues player. He signed for Paramount Records in 1931, but sadly these recordings did not sell well, mainly due to them being poorly managed, and released during The Great Depression.
“sadly these recordings did not sell well”
After many years of virtual obscurity, a Blues enthusiast, by the name of John Fahey, rediscovered the songs and presented Skip James to a whole new audience. Probably his most well-known tune is Hard Time Killing Floor Blues, although I’m So Glad was immortalized by Cream in 1966, which played a huge role in the re-emergence of James to a worldwide audience.
All the songs on the Storyville album were originally released by Paramount Records, but this, his first album for Storyville, became the stepping stone for James to enjoy what should have happened at the beginning of the thirties. Skip James died on October 3rd, 1969 at the age of 67.
I think you will agree, that these three Delta Blues artists, all hailing from Mississippi, have had some of the most profound influence on the history of Blues music.
Side 1
• Hard Time Killing Floor Blues
• Sick Bed Blues
• Washington DC Hospital Center Blues
• Devil Got My Woman
Side 2
• Illinois Blues
• I Don’t Want A Woman To Stay Out All Night Long
• Cherry Ball Blues
• All Night Long
BLUES WOMEN AND PROHIBITION: DEFIANCE AND DESIRE
By Dani Wilde
The era of Prohibition in the United States, from 1920 to 1933, was a period of profound social and cultural upheaval. Hidden from mainstream society, alcohol continued to flow in illegal establishments where blues women would perform. Blues Women became celebrated figures of this hidden world and compelling chroniclers of Prohibition’s impact on marginalised communities.
Prohibition, the banning of the manufacture, sale, and transportation of alcoholic drinks in the United States, occurred due to an interplay of social, economic, and religious factors that gained momentum throughout the 1800s. These social factors began with the Temperance movement. This movement was initially led by women who felt that men’s abuse of alcohol caused poverty and domestic violence towards women. By 1831, there were 24 women’s organisations committed to achieving temperance. Female campaigners argued that abstaining from alcohol was in keeping with good Christian values. During the Civil War, the campaign lost momentum as many turned their focus to supporting soldiers and abolishing slavery; however, when the war ended, the Temperance movement once again rose to prominence, this time aiming to change the law.
The Women’s Christian Temperance Union (WCTU) was founded in 1873. Its president, Frances Willard, led the WCTU as it grew into the largest women’s religious organisation of the 19th century. By 1901, federal law required ‘scientific temperance’ instruction in all public schools. Young Americans were taught lessons comparable to the anti-drug programs that exist in schools today, with teachings highlighting how many drinkers died because of alcohol. Sadly, in white schools, these lessons also spread racial stereotypes, including the belief that black people were unable to handle their alcohol. It is widely argued that the white evangelists at the helm of the movement used their influence to wield power over the leisure activities of America’s growing Black urban communities. A final shift in the Temperance movement occurred when the Anti-Saloon League (now known as the American Council on Addiction and Alcohol Prob-
Ma Rainey. (2024, May 21). In Wikipedia.https://en.wikipedia.org/wiki/Ma_Rainey
“Tell everybody that comes my way I’ve got those moonshine blues, I say I’ve got those moonshine blues” - Ma Rainey 1923
lems) began applying political pressure urging for government legislation to prohibit alcohol. This was achieved with the passing of the 18th Amendment in 1919.
Ma Rainey’s 1922 song ‘Booze and Blues’ expresses this new reality. Here, she tells how she was taken to the jailhouse with her partner for being “drunk and blue”:
“They carried me to the courthouse, Lordy, how I was cryin’ They carried me to the courthouse, Lordy, how I was cryin’. They gave me sixty days in jail, and money couldn’t pay my fine.”
Rainey then continued to express how the prohibition laws were the cause of her misery:
“My life is all a misery when I cannot get my booze My life is all a misery when I cannot get my booze. I can’t live without my liquor, gotta have the booze to cure these blues”
It is important to recognise that whilst the dominant Temperance movement was led by privileged white evangelicals, many Black men and women, and Native Americans also advocated for prohibition. Temperance and prohibitionism often worked hand in hand with the abolitionist movement. Black civil rights leaders including Frederick Douglass, Martin Delany, Sojourner Truth, Ida B. Wells, W.E.B. Du Bois, and Booker T. Washington all endorsed temperance and prohibition.
“Intemperance is one of the strongest foes to intellectual, material, and moral advancement.” -Ida B. Wells, Journalist, Educator and Early Civil Rights Leader,1891.
During this time, Temperance propaganda songs were composed to support the WCTM such as “Let us help the coloured people”, a song about recruiting black women and children to the temperance movement, sung to the tune of the spiritual ‘Cheer the weary traveller’.
Prior to Prohibition, blues music, with its roots in the African American cultural experience in the South, served as a platform for expressing hard ship and the pursuit of joy in the face of oppression. Women played a crucial role in its development, with pioneering figures like Ma Rainey and Bessie Smith captivating audiences with their raw vocals and unapologetic lyrics that addressed societal struggles. Despite releasing many songs that made a stance against domestic abuse, blues women also recorded songs where they asserted themselves, showing they were unafraid to break the prohibition laws in favour of a good time. This is understandable when you consider their livelihood was dependent upon the economic success of music venues that made a huge chunk of their income from the sale of alcohol. Bessie Smith rose to fame in the first year of prohibition selling one million records. In her song “Me and My Gin,” she sings “Any bootlegger sure is a pal of mine.”
Minnie’s lyrics create a sense of community among those who chose the illicit counterculture of barrelhouse booze and blues over a life of temperance.
In her song Barrelhouse Blues (1923), Ma Rainey warns listeners of the dangers of illegal moonshine:
“Got the barrel house blues, feelin’ awfully dry
Got the barrel house blues, feelin’ awfully dry I can’t drink moonshine ‘cause I’m afraid I’ll die” Because moonshine was produced illegally in prohibition, the distillation process was unregulated, and so the alcohol was sometimes so strong its volume could exceed 80%. Moonshiners would add toxic substances like methanol (wood alcohol) to make their products cheaper and stronger. Ingestion of Methanol can cause blindness, organ damage, and even death.
Prohibition, intended to limit societal problems associated with alcohol, subsequently created a vibrant underworld of speakeasies, bootleggers, and organised crime. Notorious Mafia Gangsters such as Al Capone capitalized on prohibition, establishing popular speakeasy clubs and recruiting top blues and jazz stars to perform at them from Louis Armstrong to Ethel Waters. Blues women found themselves entertaining at the heart of this illicit world. The smoky stages of illegal barrelhouse establishments provided a platform to share stories and connect with audiences yearning for an escape from the constraints of the times.
Memphis Minnie would excite her audience as she sang:
“If you listen to me good people, I’ll tell you what it’s all about If you listen to me good people, I’ll tell you what it’s all about Well that good stuff is here and it’s just pouring out”
- Drunken Barrelhouse Blues, 1934.
The US government further exacerbated the problem. By 1926, Prohibition was failing miserably as speakeasies and underground liquor sales boomed. In a desperate attempt to curb alcohol consumption, the federal government doubled the amount of methanol in industrial alcohol products. They reasoned that this would make the product so deadly it would discourage people from drinking it. This readily available industrial alcohol was a common source material for bootleggers producing illegal liquor. The government’s logic was flawed as the thirst for alcohol proved far stronger than deterrence. Many Americans, unable to obtain a legal drink, took the deadly risk of consuming this incredibly poisonous alcohol and an estimated 10,000 consequently lost their lives. The New Jersey Senator Edward I. Edwards described it as “legalised murder.”
“readily available industrial alcohol was a common source material for bootleggers”
In her 1933 song ‘Gimme a Pigfoot and a Bottle of Beer’, Bessie Smith sings of the dangers of being caught drinking and taken to the jailhouse in the police wagon:
“We gonna be rasslin’ when the wagon comes I wanna pigfoot and a bottle of beer Send me ‘cause I don’t care
Slay me ‘cause I don’t care
Gimme a reefer and a gang o’ gin
Slay me, ‘cause I’m in my sin
Slay me ‘cause I’m full of gin”
Before the Eighteenth Amendment was enforced in January 1920, many upper-class households stockpiled alcohol that could be legally consumed at home after Prohibition began.
“A rich family could have a cellar-full of liquor and get by, it seemed, but if a poor family had one bottle of homebrew, there would be trouble.” Historian Lizabeth Cohen
Songs like Bessie Smith’s “Gimme a Pigfoot and a Bottle of Beer” and Ma Rainey’s “Barrelhouse Blues” directly reference the challenges and allure of acquiring illegal alcohol. These songs, while seemingly celebratory,
“classic blues women sang songs promoting and celebrating the illegal consumption of alcohol”
concealed a deeper social commentary. They hint at the inequality between the classes and demonstrate the impact of prohibition on poorer communities. They also shine a light on the economic opportunities Prohibition offered such as women who worked as entertainers and those who participated in the production and distribution of bootleg liquor.
“They sure got to hear about liquor
Ever since this state went dry
The bootleggers have their shine
They gonna keep out of the way of the jail if they can They gonna keep out of the way of the jail if they can”
- Bootleggers Blues, Lucille Bogan
Most bootleggers were male, but there were also many women, most of whom were mothers seeking to provide for their children by brewing illegal liquor at home. Whilst Black communities generally opposed prohibition, there were few Black bootleggers; this is maybe because Black people were torn between their loyalty to the Republican Party that had ended Slavery and gave them more rights as citizens, and their desire for alcohol. Bootlegging opportunities came with significant risks, as they placed individuals in direct conflict with the law.
“I’d rather be sloppy drunk, sittin’ in the can I’d rather be sloppy drunk, sittin’ in the can Than to be at home rollin’ with my man”
- Lucille Bogan, Sloppy Drunk Blues, 1931
During prohibition, classic blues women sang songs promoting and celebrating the illegal consumption of alcohol, challenging the societal restrictions placed upon them and defying the moral codes that sought to control their behaviour. They also created a sense of community among the poor and working classes, challenging prohibition law with their rebellious lyrics.
The end of Prohibition in 1933 coincided with a shift in the blues landscape. The rise of swing music and male-dominated guitar blues led to the decline of the classic blues sound. The legacy of classic blues women during Prohibition remains deeply embedded in popular music history. Their bold, uncensored artistry and ability to document this tempestuous period continue to resonate with audiences today.
Bessie Smith. (2024, June 4). In Wikipedia. https://en.wikipedia.org/wiki/Bessie_Smith
BREZOI 2024 FESTIVAL
Set against the stunning backdrop of the Carpathian Mountains in Romania, the Brezoi Open Air Blues Festival 2024 offered a unique blend of world-class music, natural beauty, and community spirit. From July 16th to 21st, this six-day extravaganza attracted around 13,000 fans, cementing its place as one of Europe’s premier blues events.
The festival’s three stages - Main, Big White Tent (Night Stage), and Forest - each provided a distinct atmosphere, from high-energy performances to intimate, acoustic sets. The Forest Stage, reached by traversing a rickety swing bridge, was particularly noteworthy for its cool, laid-back vibe complete with hot tubs and hammocks. From the moment attendees arrived, the warmth of the organizers and staff was palpable. As a representative of Blues Matters Magazine, I can attest that the hospitality was unparalleled, thanks to Mihai Razvan, the Director/ organizer, and his dedicated team.
Day 1 - Tuesday, July 16th
The festival kicked off with a bang on the Forest Stage, featuring The StoryTellers, a collective of Romanian musicians who set the tone with their eclectic mix of blues-infused gospel. Their unplugged renditions of classics like “What A Friend We Have In Jesus” and “All Along The Watchtower” created an intimate, communal experience.
Stephen Harrison & Colin Campbell Laura Carbone
On the Main Stage, French trio Mazingo, winners of the France IBF award, delivered a powerful set that blended rock and blues with a unique twist. Their crisp sound and energetic performance left the audience buzzing with excitement.
Jonathon Boogie Long and his band followed, showcasing deep blues roots with a modern edge. Despite losing most of their luggage in transit, they delivered a captivating performance highlighted by Long’s virtuosic guitar work and gritty vocals.
The night reached its peak with Mr. Sipp, the Mississippi blues master, whose electrifying and soulful set was a journey through the heart of the blues. His charismatic interaction with the crowd, including leading children and adults through the audience like a pied piper, added an extra layer of excitement to the performance.
Anthony Gomes closed out the Main Stage with a bluesrock swagger that left the crowd in awe. His set, featuring hits like “Blues in Technicolour” and “Peace, Love & Loud Guitars,” was a masterclass in blues-rock virtuosity.
The night concluded at the White Tent Stage with Argentinian artist Vanesa Harbek, whose blend of blues, soul,
and Latin rhythms kept the party going into the early hours.
Day 2 - Wednesday, July 17th
The Dutch blues crew of Bas Paardekooper opened the Main Stage with electrifying guitar work and rich, gravelly vocals that set the tone for the day.
Danielle Nicole Band followed, delivering a stellar show that mixed grooves, rhythm, blues, and soul. Nicole’s powerful vocals and masterful bass playing, combined with the band’s tight musicianship, created an unforgettable atmosphere.
The night stage featured Noa & The Hell Drinkers, recent winners of the 2023 European Blues Challenge. Their unique brand of blues and rock ‘n’ roll, coupled with Noa’s powerful vocals, left the audience in awe.
Day 3 - Thursday, July 18th
The Forest Stage hosted OCRU, a Romanian trio blending traditional folk with contemporary sounds, providing a perfect tonic for the balmy day.
DeWolff, a Dutch trio, brought their psychedelic bluesrock to the Main Stage, captivating the audience with their vintage sound and modern rock elements.
INTERVIEW WITH DOM MARTIN
A CHAT WITH SELWYN BIRCHWOOD SHEMEKIA COPELAND BLETHERS WITH US
TALKING WITH MR SIPP
Shemekia Copeland and her five-piece band delivered a first-class performance, mixing soul, blues, and gospel. Her charisma and connection with the audience made for an unforgettable evening.
The night concluded with The Night Losers, a local band that celebrated blues and Romanian folklore, creating a unique and engaging sound that had the crowd dancing and clapping along.
Day 4 - Friday, July 19th
The Forest Stage welcomed Ralu Stoica and friends, who delivered a set of unplugged reinterpretations ranging from Guns N’ Roses to Edith Piaf.
Selwyn Birchwood took to the Main Stage next, offering a masterclass in contemporary blues with his unique blend of modern blues, roots, and funk.
Albert Cummings followed with a stellar
performance that showcased his fiery guitar work and soulful vocals, further cementing his status as one of the premier blues artists today.
The Southern Cockroaches, a local seven-piece band, closed out the night with their energetic blend of southern rock and blues.
Day 5 - Saturday, July 20th
Despite a deluge of biblical proportions that disrupted the schedule, the music played on.
It’s the fifth night already, and it has got an Irish tinge to the line up. First up, an early billing for the amazing Dom Martin and his band. His performance at Brezoi was a masterclass in modern blues, blending soulful vocals with virtuosic guitar work. His dynamic stage presence and emotive delivery captivated the audience, making each song feel deeply personal. Highlights
included a spellbinding opening salvo of 12 Gauge and later Unhinged; that showcased his technical prowess and heartfelt interpretation. He even got off the stage and did a walkabout, this was particularly well received by an adoring public. A true talent in the contemporary blues scene, Dom Martin left a lasting impression at Brezoi. Flair, charisma and style this was a fantastic performance.
Grainne Duffy and her band delivered an excellent set on the Main Stage, highlighted by her exquisite rendition of “I’d Rather Go Blind.”
The Damn Truth electrified the crowd with their dynamic stage presence and powerful vocals, showcasing their blend of classic rock influences with modern flair.
Kaz Hawkins, a festival favorite, managed a short set on the Night Stage before the weather intervened, but promised more for the following day.
Day 6 - Sunday, July 21st
The final day began with performances by George Sarluceanu and Soul Serenade on the Main Stage, providing a perfect soundtrack to a sunny Sunday afternoon.
Kaz Hawkins delivered on her promise with a fantastic acoustic set at the Forest Stage, creating an intimate and unforgettable experience for her adoring fans.
Matt Schofield’s trio brought their exceptional blues mastery to the Main Stage, followed by the powerful, energetic soul-blues of Southern Avenue.
Dana Fuchs and her band closed out the festival with a powerhouse performance that seamlessly blended rock, blues, and soul. A surprise duet with Kaz Hawkins on “I Just Want To Make Love To You” provided a special moment to cap off an incredible event.
The Brezoi Open Air Blues Festival 2024 was more than just a music event; it was a celebration of blues culture set in one of Europe’s most beautiful locations. With its mix of international stars and local talent, intimate forest gigs and main stage spectacles, it offered something for every blues fan. As the festival came to a close, one thing was clear: Brezoi has established itself as a must-visit destination for blues lovers around the world.
BYWATER CALL SHEPHERD
Bywater Call is a relatively new band from Canada. But already they’re making their mark on the blues stage, rocking Europe and the USA with a fabulous full-on, wrap-around sound that is both distinctive and commanding.
Iain Patience Juan Perez-Fajardo & Denis Carpentier (live)
With a UK tour scheduled for late October, and an excellent new album, Shepherd, about to launch in early August, we sat down for a chat with front-lady, writer and singer, Meghan Parnell, immediately after meeting her at Romainia’s Open Air Blues Festival in Brezoi:
We start by shaking our collective heads over the crippling tour schedules that often dominate a band’s life:
“It can be really tough but we had a harder one from Europe back in May, back here to Toronto then 4 days later to West Coast USA. Very tiring but we managed anyway but hadn’t recovered from the travel from Europe,” she explains.
As a band with a horn section and a rock-cum-blues , soul, funk and roots feel, Bywater Call cannot be easily categorised, I suggest. Meghan instantly agrees:
“It’s very difficult to categorise – all our work, all albums are difficult to pigeonhole – but this new one ,in particular, is really difficult. “
“From the time we started the band, we knew that was what we wanted, a good horn section. We had to think about what we wanted, what we were going to be doing before we decided who we could reach out to for that role. So, we got a few tunes under our belt, got going, started playing, won a couple of little contests that really helped us on our way. Then when we got our first festival slot, which was part of the prize for competition we won, we thought, ‘Right now is the time,’ we wanted to bring those horns into the mix for that first festival performance and that was when we added them in.”
Asked about that tour schedule, she adds:
“we cook it into something we’re ready to put on stage”
“One of the main influences I would say is The Wood Brothers, we’ve been listening to a lot of that from the States, Tennessee, I think. I absolutely love those guys; there’s just a vibe they capture and we aim to do that too. Others, I’d say, would be a bit of Black Crowes, a bit of Little Feat, there’s Aretha Franklin; Otis Redding.”
“We started beginning of 2017, starting as a five piece. Then we added a horn section, in 2018, I think. We made them a prominent part of the band before we finished writing the first record, before we really started touring. We had definite aspirations and wanted to tour a lot and play a lot. But we didn’t imagine we’d be touring like we are!”
Meghan again laughs: “We’re like a seven-piece band, so right, let’s go! It’s not easy logistically at times but it’s definitely the sound we want. Tedeschi Trucks are also a big influence on us. I mean, they really do it! Their band is something like fifteen pieces at this point! “
“I have to say, we do play more in the States and Europe than we do in Canada. That’s something we’re hoping to remedy but when we first started touring the very first tour we did was in Europe for maybe six or eight weeks around January and February of 2020. Then we were supposed to do a bunch of Canadian festivals I the summer of 2020 but then Covid hit and that really diidn’t happen so we still haven’t had a chance to visit some of those places we were supposed to visit. But we also feel that Europeans the States have really welcomed us so well. But now we do feel we’d like to put a bit more focus on Canada. It’s starting to happen, like we’re heading out west for the first time this summer, Vancouver area, which will be really nice. “
“I’ve always identified myself as a singer. Even when I wasn’t doing it professionally, I just can’t remember a time when that wasn’t a part of how I identified myself. When I was younger, I did choirs, I did community theatre musicals, I did full show musicals, and I was really into serious musical theatre for quite a while. In fact, that was really my first aspiration as a singer. I did really want to do it but I never pursued it really hard! So, I started playing in a couple of cover bands and really enjoyed it. I remember thinking ‘Oh, so I get to sing all the songs!’ instead of just the ones assigned this character or that, and having to memorise lines and play a character. Instead I could and can be myself! And sing all the tunes. I really just loved that. That’s
how I ended up in the position of fronting the band! Growing up there was always music around. My mum taught herself guitar, and she’s fro a family of six girls and six boys; every one of them plays some selftaught instrument. So, we always had her guitar, and we would sing together, sing like harmonies to say the Beatles, the Everly Brothers - maybe a bit of Janis Joplin or Jimi Hendrix. So, there was always music in the house. Music is definitely in there, it’s definitely part of the family in a sense. Everybody has a bit of that music in them, `I guess.”
We move onto the all-important writing process:
“Most of the tunes start with Dave (Barnes). He’ll come up with maybe a chord progression, or the start of a melody idea or some lyrical idea. Then what usually happens is that we both work on the ideas and bounce them back and forth to get to a point where we like what we have. Then when we feel we have a good enough structure we take it to the rest of the band and ask them all to help us. That way we cook it into something we’re ready to put onstage.”
“We’re heading back to Europe for the month of October and the back half of that will be In the UK. It will be our second time touring there and we’re really excited to be coming back. Last tour of UK in October, we had a really great time . There wasn’t a single gig I can think of that was, say, a downer. The audiences were good and we were playing mostly smaller venues. But we think that was the right way, the right move there. It felt good everywhere we went. The audiences were super-receptive. We’ll be doing bigger venues this time, playing like a bunch of major cities. So, we’re really excited to try that out in October!”
When we consider the new release, Shepherd, Meghan is clearly delighted with the recording:
“We’ve been playing lots of it already on tour, in our shows. We like it and most of the tunes come out most nights! In the band we have guitarist Dave Barnes; Bruce McCarthy, the drummer. For most of the new album, ‘Shepherd,’ he did the sound engineering for it. In fact we recorded about 95% of it out of his apartment where he has a studio; and he did all the mixing too. Then we have Mike Meusel on bass. John Kervin, the newest member, with us about two years on keys; John actually brought the ideas for Roll and Sweet Maria on the album. He’s the only new member and hasn’t played on all our other albums. Julian Nalli is on saxophone, Steve Dyte on trumpet -that’s our powerhouse horn section and they write all those horn lines for the tunes and everything.”
“I feed off the audience’s energy! I’m constantly watching what’s going on out there and trying to sort of connect with the people, then I step back to interconnect with the band members too during each set. I think people that about our show, I take some moments to step away and let them all do what they do. They all play off each other really nicely.”
I joke about about Meghan’s hi-energy performances, covering the stage, on the move throughout and we end with a peel of laughter:
“Yea, that’s about right. I’ve got to get my steps in!”
Bywater Call’s new album “Shepherd” is released Friday August 9th. The band tours the UK from October 16 – 26th. Album and tickets available from www.bywatercall.com.
Madison Galloway is a roots / rock / blues musician from Fergus. Ontario who has been making waves in the Canadian music scene when she dropped her debut EP Who Knows Where all the way back in 2015.
She has gigged constantly and continued to write and perform and gave us her debut LP Moon & Mercury in 2019 which brought her to the attention of fans, pr, venues and record labels from far and wide, Madison was named as The Southern Rock Artist of the year @ Josie Music Awards last year.
2024 will be a massive year for this proud Canadian as she has just released her new self titled album which has given us a slurry of singles and has allowed her to hit the road in support of this fantastic new release. Tonight Madison stops off in Edinburgh at the impressive Caves to bring us a fast paced rock n roll show that will certainly put her on the map, the place is filling up nicely as Madison together with Nik on keys & George on drums hits the stage to rapturous applause as we kick off this rocking night of blues rock that will certainly grab our attention.
A fantastic gig that was just awesome as they delivered a real energy driven set that will certainly see them back on our shores real soon.
The Commoners are a real force of nature with their deep blues filled riffs and powering vocals that really set them apart from the rest, they decided to bring in ‘in his own words ‘the most important member of the band’- Miles Evans - Branagh to fill the void that the Hammond style keys brings to this outfit. I feel privileged to call these boys
Darren McIntyre Ian Potter
friends as we have spent so much time together as they navigated their way through the rock n blues world cutting their teeth with various support slots and dual headline slots. The boys dropped their new album Restless on July 5th and to support that new release they are out on the road and tonight they stop off in what I can only describe as one of the best small live venues in Britain in my honest opinion, The Caves is a small intimate, warm and mesmerising venue that just throws it’s arms around you and just wants you to feel the energy oozing from this colossal venue, the place is rammed to capacity with everyone waiting with baited breathe for the arrival of 5 dudes from Toronto that are gonna give us a night to remember.
The lights dim the intro music commences and from the dark shadows of the green room comes the force of nature that is The Commoners, the place erupts in a hail of clapping and hollering as the boys belt out Hello Edinburgh as we ready ourselves for this epic night of blues rock n roll with a twist.
Every single person in The Caves tonight as we stand motionless and really don’t want the night to end as this highly personal and touching track let us leave tonight with our hearts full of hope.
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THE BIG BLUES CHART
THE TOP 50 BLUES ALBUMS
ALBUM LABEL #1 TORONZO CANNON SHUT UP & PLAY ALLIGATOR RECORDS
#2 RICK ESTRIN AND THE NIGHTCATS THE HITS KEEP COMING ALLIGATOR RECORDS #3 SUGARAY RAYFORD HUMAN DECENCY FORTY BELOW RECORDS #4
JOHNNY BURGIN
RAMBLIN’ FROM COAST TO COAST STRAIGHT SHOOTER
#5 CURTIS SALGADO FINE BY ME LITTLE VILLAGE FOUNDATION #6 FABULOUS THUNDERBIRDS
STRUCK DOWN STONY PLAIN RECORDS #7 BOBBY CHRISTINA’S CARAVAN TRUE BLUES BROTHER: THE LEGACY NOLA BLUE #8 ALASTAIR GREENE STANDING OUT LOUD RUF RECORDS #9 KID & LISA ANDERSEN SPIRITS & SOUL LITTLE VILLAGE #10 DAMON FOWLER BARNYARD SMILE LANDSLIDE RECORDS #11 BILLY PRICE PERSON OF INTEREST LITTLE VILLAGE
#12 SUE FOLEY
ONE GUITAR WOMAN STONY PLAIN #13 GERALD MCCLENDON DOWN AT THE JUKE JOINT DELTA ROOTS RECORDS #14 CANNED HEAT
FINYL VINYL RUF RECORDS #15 BIG HARP GEORGE COOKING WITH GAS BLUES MOUNTAIN #16 JEFF PITCHELL BROWN EYED BLUES DEGUELLO RECORDS #17 ANTHONY GERACI TEARS IN MY EYES BLUE HEART RECORDS #18 SIERRA GREEN & THE GIANTS HERE WE ARE BIG RADIO RECORDS #19 JOHN PRIMER & BOB CORRITORE CRAWLIN’ KINGSNAKE VIZZTONE LABEL GROUP #20 EDEN BRENT GETAWAY BLUES YELLOW DOG RECORDS #21 LITTLE FEAT SAM’S PLACE HOT TOMATO PRODUCTIONS #22 RORY BLOCK POSITIVELY 4TH STREET. STONY PLAIN #23 CELSO SALIM & DARRYL CARRIERE ABOUT TIME TOWER HIGH MUSIC #24 JP SOARS BRICK BY BRICK LITTLE VILLAGE #25 CHRIS ‘BADNEWS’ BARNES BADNEWS TRAVELS FAST GULF COAST RECORDS #26 DEB RYDER LIVE AND HAVIN’ FUN VIZZTONE LABEL GROUP #27 ELIZA NEALS COLORCRIMES E-H RECORDS #28 CEDRIC BURNSIDE HILL COUNTRY LOVE PROVOGUE #29 CHRIS O’LEARY THE HARD LINE ALLIGATOR #30 TINSLEY ELLIS NAKED TRUTH ALLIGATOR RECORDS #31 CHRIS CAIN GOOD INTENTIONS GONE BAD ALLIGATOR #32 DENNIS JONES ABOUT TIME BLUE ROCK RECORDS #33 THE NAME DROPPERS STARSHINE HORIZON MUSIC #34 FRANKIE BOY & THE BLUES EXPRESS YOUNG MAN’S BLUES S/R #35 MIKE ZITO LIFE IS HARD GULF COAST RECORDS #36 SAUCE BOSS THE SAUCE SWAMPSIDE RECORDS #37 JUBU SMITH JUBU LITTLE VILLAGE #38 RICK VITO CADILLAC MAN BLUE HEART #39 SETH LEE JONES TULSA CUSTOM HORTON RECORDS #40 SAM JOYNER COME WHAT MAY S/R
#41 MARKEY BLUE RIC LATINA PROJECT BLUE EYED SOUL SOULOSOUND RECORDS #42 REVEREND FREAKCHILD BARE BONES TREATED AND RELEASED RECORDS #43 VAL STARR & THE BLUES ROCKETS TO THE BLUES AND BACK SANDWICH FACTORY RECORDS #44 DANIELLE NICOLE THE LOVE YOU BLEED FORTY BELOW RECORDS #45 JENNIFER LYN & THE GROOVE REVIVAL LIVE FROM THE NORTHERN J&R COLLECTIVE #46 EDDIE COTTON THE MIRROR MALACO #47 ERIC BIBB LIVE AT THE SCALA THEATER STONY PLAIN #48 THE WICKED LO-DOWN OUT OF LINE GULF COAST RECORDS #49 BART BRYANT BACKSTAGE II HMG RECORDINGS #50 KATIE KNIPP ME S/R
BIG BLUES REVIEWS
CEK & THE STOMPERS
MR RED
Gulf Coast Records
SUE FOLEY ONE GUITAR WOMAN
Stony Plain
She’s the multiple award winning finger smith queen of fine blues guitar stylings and One Guitar Woman is her acoustic masterpiece. This is her tribute to the pioneering female guitarists and song writers who preceded her. Amongst the dozen carefully selected tracks, Foley breathes sweet life into partly known and obscure songs with her mastery of fingerpicking styles and refreshingly cool vocal arrangements. To begin, she opens with Elizabeth Cotten’s Oh Babe It Ain’t No Lie and elsewhere resurrects Cotten’s Freight Train to alluring effect. Played on her Flamenco Blanco acoustic guitar she purchased from a Mexican luthier, all the tracks are one guitar, one voice record ings. Her execution of complex rhythms and fingerpicking variations possess a spellbinding magic which she particularly showcases on Mother Maybelle Carter’s Lonesome Homesick Blues and on her original homage composition, Maybelle Carter. Two instrumentals, Romance In A Minor and the intoxicating flamenco La Malaguena, further display Foley’s ravishing guitar technique. In many ways, One Guitar Woman is a tribute to Sue Foley’s musical brilliance as it is to the pioneering female artists who continue to inspire her.
Cek Franceschetti leads this Italian based traditional blues band who play a good selection of mainly acoustic based music, while deep rooted in the Blues, they do incorporate some Jug Band and Rock n Roll influences into their sound. The title song is a dedication to the great late American Bluesman Louisiana Red. It is an excellent up-tempo song with guitarist Luca Manenti switching to an electric guitar on this track, Cek handles the vocals and plays a Resonator guitar, which he does with plenty of skill and enthusiasm. These guitars have a distinctive sound and for me are under used by Blues bands, so it is good to see its usage on this album. All but one of the thirteen tracks has been written by Cek and Luca which allows for some uniformity across the album. The remaining band members
Fredrica Zanotti on Standing Percussion and Upright Bass player Pietro Ettore Gozzini. The only cover is JJ Cale’s Thirteen Days which is fitting as there are definitely some “Cale” influences across this album, particularly on the song Once Upon A Time In The South, where Cek creates a “breathless” sound to his vocals on what is a dark and menacing tale. This is an excellent original album on which tive sound for themselves, drawing on traditional Blues Roots and then applying a twist resulting in a dark and captivating sound that grabs your attention, the song Breaking Deal is the standout track and one that emphasises their sound perfectly. With an American label behind them this album could be a very successful
Multi award-winning Doug Duffy And ‘Bayou Funk’, ‘Swampadelic’, Bluesiana and Delta soul music. Duffy was born in Louisiana in the Mississippi Delta, he spent time in Little Rock, New Orleans,
ADRIAN BLACKLEE
Hollywood and Nashville, where he lived and performed on and off from the ‘60s to the ‘90s all the while developing his seminal style. BADD includes Duffy on vocals and Keyboards; Dan Sumner on guitars including electric and acoustic bass, percussion, vocals, and trumpet; Adam Ryland on drums and Ben Ford on bass, with Dave P Moore on Harmonica. Johnathan Patterson on trombone and Bert Windam on trumpet completing this line up, Ain’t Goin’ Back contains eleven originals from Duffy and Sumner. Whirlpool opens the album with a lonesome guitar, a solid backbeat and ethereal harp leading into Duffy’s deep blue tale of a troubled mind. This is followed by the old school funk and soul of You Got What It Takes. Rock It All Night, a harp and guitar driven pleaser, and the Delta blues of Front Porch Blues, play out on an acoustic guitar-soaked rhythm awash with howling harp and gritty vocals, while the wonderful gentle ballad Turn It Around, has a more rootsy vibe going on. The wonderful ballad Turn It Around features gentle acoustic playing with soulful vocals and harmonies adding a little depth. A solid rhythm with piano and harp fills drives the up-tempo Gallus pole, more
BYWATER CALL SHEPHERD
JUDITH OWEN COMES ALIVE
????
Bywater Call Records
Originating out of Toronto, Canada, Meghan Parnell and Dave Barnes are the driving force behind this amazing 7-piece band. Don’t think that the rest of the band plays hardly any part, far from it, each musician in the band contributes as much as each other. Now, I’ve been lucky enough to catch this band in a live scenario twice, the Brezoi Blues Festival in Romania being the latest time. So, the new album, Shepherd, now I can say this in all honesty, I’ve yet to hear a poor Bywater Call song. And this new album doesn’t contain anything short of top-notch tunes. Kicking off with,
this band will evolve, I’m sure, into one of the greatest bands in the world
Everybody Knows, it’s like putting on your favouite pair of shoes, you know you’ll have a wonderful day walking around because they almost mold to your feet. The level of professionalism and the ability to keep getting better speaks volumes, each song is brilliantly written produced, and played. Meghan’s vocals and Dave’s guitar playing are fundamental to the overall sound, but the five other guys certainly bring their expertise to the table. The horn
towards the moon. Soul and Gospel oozes out of every pore on Roll, with Meghan straining every sinew leaving nothing behind. Bywater Call has produced what could be the album of the year. Take it from me, Bywater Call has a very bright future, this band will evolve, I’m sure into one of the greatest bands in the world of, Soul, Funk, Gospel, and of course, the Blues. The album is released on August 9th.
STEPHEN HARRISON
CHRISTOPHER WYZE & THE TELLERS
STUCK IN THE MUD
Big Radio Records
Debut album from singer/songwriter Christopher Wyze with thirteen original songs recorded in musically historic places – ten tracks in Muscle Shoals and three in Clarksdale. Wyze is a seasoned performer having fronted blues bands for fifteen years singing the songs of others and now needing to tell his own stories. Opening track Three Hours From Memphis rocks along nicely with strong forthright vocals telling the tale of a journey of someone determined to make it on his own. Title track Stuck In
a man on a mission, excellent songs
harmonies and hand claps add to the fun on this dance floor filler. The album closes with the title track Ain’t Goin’ Back, a poignant reminder of slavery with gentle guitar and haunting harp while the powerful and upfront vocals add an aching evocative cinematic landscape of the blues, an enjoyable album, with the band capturing a range of styles coaxed from the timeless mists of the blues
SHIRL
GREG
IZOR
WITH THE ROYAL WE SUSTAINED WINDS
For The Road
The Mud is a bluesy rocker featuring tasty slide guitar from Eric Deaton, wailing harmonica and impassioned vocals from Wyze. Cotton Ain’t King is an emotional tale of the demise of the cotton belt. Soul On The Road features Wyze accompanied on lovely finger picked acoustic National resonator guitar. Standout track Back To Clarksdale crashes out of the speakers with the band driving hard as Wyze rediscovers his spiritual roots. This album grows with every listen – a man on a mission, excellent songs and a great band with plenty of feel and passion. Money Spent Blues swings along nicely with an amusing spoken section. The muscular, funky Caution To The Wind features emphatic vocals and a particularly forceful guitar solo. The autobiographical blues Hard Work Don’t Pay states “you sell your soul to the devil man and lose your sense of right and wrong”. The sad tale of a Life Behind Bars is a gentle acoustic melancholic piece. A change of pace comes with Looking For My Baby a jumping upbeat number featuring honking saxes optimistic vocals and a shimmering honky-tonk piano solo. Wake Up and the Chicago blues of Good Friend Gone both feature blueswailin’ harmonica but closing track Someday has a lazy late night feel proclaiming “Someday I’ll win the big game”. Making a fine album like this is a good start!
I honestly have no idea who this guy is. However with the aid of the Interweb it ap-pears that I am coming to the party well behind a career which has already produced five previous albums under his own name and dozens as a guest musician. There is a lot of information out there so forgive me if I skip that as you can seek it out by your-selves. It is clear that he has a lot of experience. Currently residing in Spain I believe his band mates on this release are mostly Spanish. This album is all in English and with lyrical ideas, to be frank, which follow nicely to the typical ideas to be found throughout the Blues. So that is the background now, in a bit more detail, the im-portant thing is that Greg handles all the main vocals, blows the heck out of his harp and on the odd track adds some guitar and bass. All ten cuts are originals and the general production is crisp and clean, nicely balanced and very accessible. Five out of ten are well under three minutes. Here On Ice and All The Same a touch over five minutes. So there are not many lengthy solo outings for the harp or other instru-ments. This works nicely, keeping your attention focussed on what is heading down your ears. Once Was Enough feels straight out of the Spotted Cat in NOLA as indeed is I Never Gamble. I get the feeling that this is going to be a keeper for me. I like it very much. It has a really good authentic feel throughout, so do check it out. You won’t be disappointed.
GRAEME SCOTT
DAVE DRURY
JANTSO JOKELIN
SPARK OF LUCK
Independent
With a swinging bluesy guitar, spirited harmonica and a story-telling song style the mutli talented writer Jantso Jokelin creates several sound vignettes on Spark of Luck. Although he wrote all of the pieces and played most of the instruments (with the exception of a guest double bassist and banjo-player) this is not a self-indulgent album. The guitars and harmonica are recorded clean and with plenty of rhythm and character, and t e vocals are both care-worn and lively depending on the mood. There are also two contrasting instrumentals, with the lively Chickadee Stomp, and the more plaintive and sombre Picaresque showing the different moods that a dobro can create. Over the 11 tracks, a lot of ground is covered, from the bluesy opening Last Night with its piedmont guitar, and growly harmonica, Old Banjo Roll features the banjo of Ville Salonen, and Gambler’s
HALF & HALF
JUDITH OWEN COMES ALIVE
???? LARA PRICE
JUDITH OWEN COMES ALIVE
Gulf Coast Records
????
Lara Price’s debut album, is a vibrant testament to the enduring spirit of blues and soul, tinged with a contemporary edge that sets her apart from her predecessors. Drawing on influences from the likes of Janis Joplin and Genya Ravan, Price’s vocal prowess shines brightly throughout the record. Her voice resonates with a raw, unbridled energy that effortlessly navigates between soulful delicacies and powerful rock-infused moments. Produced by Kid Andersen, the album is a masterclass in blending modern production values with the timeless grit of blues and funk. Each track on the ten-song collection is meticulously crafted, displaying Price’s ability to infuse familiar blues elements with fresh perspectives. From the high-octane guitar solos to the subtle brass accents, every musical nuance adds depth to Price’s storytelling. Standout tracks like Fools Like Me and The Way Love Goes highlight Price’s knack for delivering incendiary performances while maintaining a keen focus on melody and thematic direction. Her interpretation of Duke Ellington’s Solitude further demonstrates her versatility, seamlessly weaving jazzy undertones into the album’s fabric. This is a testament to her ability to breathe new life into the blues genre. With tracks like Things Ain’t Everything, steeped in the Muscle Shoals tradition, and the intro-
spective Rain, Price invites listeners on a journey through the emotional landscapes of love, loss, and resilience. Overall, Lara Price’s debut is a triumph, a compelling blend of soul, blues, funk, and jazz that not only pays homage to the genre’s roots but also propels it forward with a modernised individualism. For both longtime blues aficionados and newcomers alike, this offers a refreshing take on what it means to be a powerhouse vocalist in today’s music scene.
COLIN CAMPBELL
DIDI BLUES DELUXE
WORTHY
Independent
I have to be honest with you, this band is completely new to me, I knew nothing about them until I started to listen to the album. Well, let me tell you, I want to know everything about them from now on. Hailing from Western Sweden is not the most Blues kind of place that immediately springs to mind. But having said that, Scandanavia does produce some great Blues artists and it also has some of the best Blues Festivals in Europe. I digress, the album is one of the best that I’ve heard in a long time. The vocals are
Blues is a slow-paced blues with accomplished slide dobro carrying the tune and bass. The longest songs are four minutes, and the shortest, Gambler’s Blues clocks in at less than two. This is the work of a young man with plenty to say, and a persuasive (both vocally and instrumentally) way of saying it.
BEN MCNAIR
MARTIN BURCH BAND GONE TOMORROW
UNPLEASANT PHEASANT RECORDS
the album is one of the best that I’ve heard in a long time
provided by Sative “ Didi” Anderson, her vocal range and delivery are just sublime. I don’t know anything about the rest of the band thus far, but I can tell you that they are serious musicians. The album begins with, Help Me, a soul-type ballad with some superb orchestration from the band, this has grabbed my attention straight away. From that moment on, I swear that this album gets better with each and every tune. Wade In The Water is not the original Gospel tune that springs to mind, but it does have Gospel-type melodies and a feel to it, this is part of the album’s magic and drawing power, the ability to bring you into the song, emotionally and physically. Lord Have Mercy kind of reminds me of mid70s Fleetwood Mac, it takes you to the laid-back Stevie Nicks of pre-Rumours days. I love this album even though I know hardly anything about the band. I will get to know about the band, they are inevitably going to become a bigger band and have huge success outside of their native land. I’ll even go as far to say, this could be a contender for album of the year.
STEPHEN
HARRISON
Take a trip back in musical time to Britain in the early 1970s, when men were men and blues-rock power trios stalked the land. Leicestershire’s Martin Burch Band channels the period perfectly on this eight-track collection, albeit with greater emphasis on the rock side of the balance sheet. But the reference points that will be instantly familiar to those who were around at the time. The opener, Keep Karma, starts with a slide guitar faux intro before rapidly switching to chugged power chords, with even a lyrical acknowledgement to its obvious debt to Black Sabbath. Born With The Blues is technically a 12-bar, I guess, and does feature minor pentatonic soloing from band leader Burch. Hyde and Jekyll in intended as a tribute to Rory Gallagher and if it doesn’t quite attain the heights of the Irish Strat Meister’s freewheeling fretboard wizardry, that’s because such a task is clearly beyond the capabilities of, we lesser mortals. Hundred Watt Smile is openly flagged up as homage to Free, with Martin Piranha’s bass work tastefully modelled on Andy Fraser’s playing on Mr Big and Burch getting his inner Kossoff on to good effect. The discerning ear will pick out the recycled Ted Nugent riff on Part Of The One. A traditional offering for the genre, as you can probably guess. But if you’re from the era, this lot will instantly appeal. They have live shows in the East Midlands.
DAVID OSLER
MOTEL SUNDOWN
This three-piece band are based in Liverpool, which as you know, does have a
history of music. Motel Sundown are an Americana band with influences ranging from, Fleetwood Mac, Bob Dylan, The Band, and Sheryl Crow. So, an eclectic mix of bands and artists within their DNA gives them a basis to produce a brilliant EP of fine songs all written by the band, Naomi Campbell, Robert Johnson, and Karen Tyler. The titletrack opens the album, and leaves you in no doubt as to their Americana roots. I’ve had the pleasure of seeing Naomi and Robert playing with Sons Of Cream earlier this year, so I had a very good idea as to how this album would take shape. If anyone is unsure as to what American music is, may I suggest that they get a copy of this EP and play it relentlessly. They have already established themselves in the live Liverpool music scene, and are also enjoying country-wide acclaim. Five songs, five fine examples of just how good these gys are. I predict big things ahead.
STEPHEN HARRISON
MUDSLIDE CHARLEY
MAIN STREET
Independent
Mudslide Charley are a fine band but not an immediately accessible sound. They combine elements of the Blues greats –
MADISON GALLOWAY
JUDITH OWEN COMES ALIVE ????
MADISON GALLOWAY
Purple Bee Records
Madison Galloway is a rising star in the indie music scene, blending raw, soulful vocals with an eclectic mix of blues, rock, and folk. Hailing from Fergus, Ontario, this young singer-songwriter has captivated audiences with her authentic storytelling and dynamic performances. Galloway delivers a sound that is both timeless and refreshingly original, earning her a spot on stages across Canada and beyond. Her latest album showcases not only her impressive musical talent but also her ability to connect deeply with listeners, marking her as an artist to watch in the coming years. She wrote or cowrote ten of the eleven songs here, the other one being a fine interpretation of Grace Slick’s White Rabbit. The album was mixed at RHC Music Studios, Toronto and the producer was Ross Hayes Citrullo and features fellow members of his band The Commoners. The opener, The River is a masterclass in storytelling. Galloway’s words paint vivid images of nature’s beauty and its power to heal and transform. The chorus, with its soaring harmonies and poignant delivery, captures the essence of finding solace in the flow of life’s challenges. The instrumentation is equally compelling, with harmonica interludes that add a touch of rustic charm and depth to the composition.
Whiplash slows the pace, her vocals are fierce and unapologetic, delivering each line with a powerful conviction that matches the song’s kinetic energy. Open Your Eyes strikes a perfect balance between melody and meaning, poignant lyrics with a driving beat, great sonics. Devil At My Door is a highlight an infectious blues infused stomper. A fantastic release, no fillers just great music. Madison Galloway can be seen live in the UK from Friday 19th July supporting The Commoners on their tour.
COLIN CAMPBELL
NEIL SADLER
PAST TO PRESENT INDEPENDENT
The helpful Band mix website references the playing skills of Neil Sadler as Vocalist, Lead Guitar, Rhythm Guitar, and Acoustic Guitar – all excellent.
straight out of the late Gary Moore sound of blues
And based on the offerings on this album, it would be difficult to argue. Some musicians, and there are very very many of them, have the chops in all the right areas. They are blessed with gritty bluesy voices, seriously impressive instrumental skills, and a deep love for the very best blues classics, and they make albums like this one. Every time I hear an artist like Neil Sadler and colleagues rocking out on a song like A Bad Case Of Company Blues, I wonder why they are not massively successful, and hitting the stadiums of the world playing to millions of people? It must be the breaks, because a musician as able as this should be heard by far more people than no doubt appreciative audiences in his Devon constituency. The production on this album reminds listeners of vintage Fleetwood Mac, the passionate vocals, the echoed guitar, the atmospheres created. And those guitar solos – they are something very special, never overplayed, each note counts. Jewel in the crown has to be Neil’s interpretation of When The Levee Breaks, the Memphis Minnie classic, devoid of the bombast and attack given to it by Led Zeppelin and stripped back to some slide and a wonderfully passionate vocal. It’s hard to believe, given the epic aural landscape of a song like What Goes Around Comes Around, that it was recorded in a small studio, amen to modern technology that allows music like this to complete on a level playing field with the bigger-selling blues artists. The album ends with No Rush, straight out of the late Gary Moore sound of blues, and I can pay no higher compliment than that. If there is any justice, one of the rocking blues giants we love will pick up on this album and hitch Neil Sadler’s blues waggon to their stadium rock-outs, and let the world hear how good he is. I always live in hope.
ANDY HUGHES
influences include Muddy Waters & John Lee Hooker as well as others – but they sneak in some New Orleans, Chicago Blues and Delta Slide. It took a few listens to get to grips with the band, but they really are a superb listen, and well worth the effort. Hailing from Missoula Montana, they have had a lot of success with their last three albums all entering the Living Blues Top 30 album charts. Consisting of Marco Littig on Slide/Lead guitar and vocals, Liza Ginnings on Lead Vocals, Paul Kelley on Bass and vocals, Roger Moquin on Drums and vocals, Phil Hamilton on Harmonica, Saxes and vocals, Russ Parsons on Keyboards and Piano, they have Jeff Stickney guesting on Trumpet and Naomi Siegel on Trombone. To quote Liza Ginnings, “This record was written and recorded in our home over the past two winters. In many ways it is an ode to Missoula – the lives we’ve lived here and yearning to return to when distant. No matter what, we always end up on Main Street.” Their sound varies on every track, making changes where you might not expect them but always feeling just right when they do. Opener Judgement Day has a slide guitar entry, but the piano is to the fore before a mini ‘jam’ with slide, piano and harp and back to Liza’s vocals and only then bringing in the horns. All changes are exactly in the right place but not necessarily predictable. There is an almost Jazz-like switch up and come back in much of what they are doing here, and it keeps the listener
PIPER &THE HARD TIMES REVELATION
Indepe£ndent
This is the band’s debut release, a twelve-track tour de force steeped in a New Orleans groove, delivering a tense, eclectic mix of blues, R&B, soul, and rock. Piper & the Hard Times prove their mettle with this powerhouse collection. The album kicks off with Trouble Man, where Nashville’s Al “Piper” Green’s gritty vocals resonate with every lyric, delivered with style and emotion. Green, alongside guitarist Steve Eagon, co-wrote most of the album’s material. The ensemble’s synergy is palpable, with Amy Frederick on piano and Hammond organ, Eddie Meyer on tenor saxophone, and a tight rhythm section featuring Parker Hawkins on bass and Dave Colella on drums. The Hard Times backing band has Dick Aven on tenor and baritone sax, with Shaun Murphy on background vocals. Heart For Sale, written by Eagon, features Aven’s saxophone mastery and Frederick’s keyboards. Preacher Blues introduces harmonica virtuoso Chris Floyd. The title track, Revelation sees Aven and vocalists Lisa Oliver and Melissa Gardener elevate Green’s proclamation throughout this powerful track. Working Farm Blues, a poignant Green and Eagon collaboration, features Meyer’s saxophone, while Crave You features Floyd’s harmonica
MOJO THUNDER
THE INFINITE HOPE
JUDITH OWEN COMES ALIVE
????
Agelaius Music Group
Mojo Thunder is an American rock band hailing from Kentucky, featuring Bryson Willoughby on lead guitar, Sean Sullivan on vocals and guitar, Andrew Brockman on bass, and Zac Shoopman on drums. This ten-track odyssey is a masterclass in genre fusion and musical prowess, showcasing the band’s evolution and depth. From the opening track, The Sun Still Rises incorporating church bell into and punctuated with a cello played by Seth Murphy who also plays on the track, Grace, listeners are immediately drawn into a sonic landscape that blends the raw energy of rock with the soulful undertones of blues, seamlessly incorporating elements of funk and psychedelic rock. One of the standout tracks, Holy Ghost highlights the band’s exceptional songwriting skills. The intricate guitar riffs and compelling lyrics paint a vivid picture of nostalgia and longing, while the rhythm section lays down a
a masterclass in genre fusion and musical prowess
groove that is both infectious and emotionally resonant. The production is polished yet retains a raw, organic feel that keeps the listener connected to the music’s roots. Tracks like Step By Step and the Southern rocker, Let It Fall demonstrate the band’s versatility, seamlessly shifting from high-energy anthems to introspective ballads without losing cohesion. The band’s chemistry is seamless, and the tone and sonic landscape slows on the mesmerising, Memphis that references Martin Luther King Junior, so many layers to this a real highlight sung with such emotion.
The tune, Caroline is a resilient tune about humanity that builds to an almost Celtic symphonic twist. Final tune, Greetings From Western Art is the longest tune and full of powerful riffs and a laid-back swagger in parts, a faster rhythm and blues is the tag line a dancefloor filler. Play it loud, this band is not messing, they’re the real deal, highly recommended.
COLIN CAMPBELL
AMANDA FISH
KINGDOM
Vizztone
I have a confession to make, this is my first encounter with an Amanda Fish album. Kingdom is actually her third album, and let me tell you, it is a stunningly good album. The songs on the album have a serious message, a conscience about the world in which we live, and from Amanda’s point of view, some harsh barbs about the state of American politics. All ten of the tracks on the album are original songs, each one with a message or opinion set to some amazing music. Don’t be misled into thinking that this is some sort of protest, far from it, it’s a collection of great songs with a conscience. Mockingbird opens the album with some force, power-house vocals, and heavy guitar, with tremendous backing from the likes of, Terry Midkiff, and Glen James, and guest appearances from Jerimiah Johnson
Mother is one of the most powerful songs that I’ve heard in a long time
With Me underpin the album’s emotional depth. The last track, Twenty Long Years, finds Green, reflecting on his journey with Frederick’s soulful piano accompaniment. This is a stellar debut from Piper & the Hard Times, brimming with raw energy and heartfelt blues.
COLIN CAMPBELL
SIRJO COCCHI & BALTA BORDOY HEADS
UP
Independent
and Richard Rosenblatt on harmonica. Sell The Record is straight out of the Blues/Rock box. Hard-edged vocals and a guitarist who is playing as if his very life depends on it. Broke Ass Blues doesn’t need much of an explanation, the story is in the title, but it’s delivered in a Country music style, both genres are closely entwined when talking about bad luck and trouble. A nice little ditty nonetheless. Work is a song that millions of people around the world can easily identify with, hard-working people never giving up, no matter what the circumstances, the type of people who build countries and don’t wear suits and ties. Mother is one of the most powerful songs that I’ve heard in a long time, describing the love and emotion of being a Mother, or sadly losing a Mother, tear-jerking, but brilliant. I said at the beginning that this is my first introduction to Amanda Fish, I’ll look for her first two albums, if they are half as good as this, they will be very special. Bravo Amanda Fish.
STEPHEN HARRISON
When SirJo’s dynamic vocals and piano prowess lock in with Balta’s raw, authentic guitar licks, it’s like the universe itself nodding in approval. Their debut album, recorded in the vibrant heart of Barcelona, is where these two musical forces finally collide in a cosmic explosion of blues brilliance. The magic behind the mixing and mastering is by Kid Andersen. If that is not enough to get your mojo working, the album boasts guest spots from harmonica maestro Victor Puertas and the soulful wails of Nil Mujal on tenor sax. Backing SirJo and Balta on this sonic journey is a rhythm section that’s as tight as a drumhead and as experienced as they come. Santi Ursul lays down the bass lines that groove with the best of them, while Micky Izquierdo’s drumming keeps the heartbeat steady and true. This quartet has played togeth er for years, and it shows in every note of these ten well-crafted tunes. The opener, Love And Pain Blues, lyrics cut deep, laying bare the universal truths of love’s trials and tribulations. It’s a gut-wrench ing yet cathartic experience, with every word delivered like a preacher at Sunday service, speaking truths that resonate deep within. SirJo & Balta aren’t just playing music, they’re baring their souls, inviting listeners into their world of love, pain, and everything in between. The title track Heads Up, is a spirited anthem that rallies blues aficionados with its infectious groove, powerful chorus, and tight ensemble playing, highlighting the band’s seamless chemistry. Good Smelling Woman adds humour to the release and has an infectious beat. Closing out the album, Strangely Happy Blues, blends upbeat tempo and cheerful melody with poignant lyrics, offering a uniquely memorable listening experi
ence that leaves the listener simultaneously joyful and introspective about life’s deeper truths.
COLIN CAMPBELL
STEVE
CROPPER & THE MIDNIGHT HOUR FRIENDLYTOWN
Mascot label/Provogue
Steve Cropper, the legendary guitarist known for his work with Booker T. & The M.G.’s, The Blues Brothers, and countless other acts, returns with a vibrant new album. This latest project is a testament to Cropper’s enduring talent and his ability to blend classic sounds with modern sensibilities. Always pushing the envelope and never looking back, Steve Cropper has brought in the legendary Billy F Gibbons to lay down some licks on this record. This album is a testament to Cropper’s relentless innovation, featuring guest spots from none other than Queen’s guitar wizard, Brian May, and the country-rock dynamo, singer-songwriter, and guitarist Tim Montana. With such a stellar lineup, Cropper is setting the stage for a blues masterpiece that’s
JUDITH OWEN COMES ALIVE
CHRIS BADNEWS BARNES
????
BAD NEWS TRAVELS FAST
Gulf Coast Records
The brilliant combination of Tom Hambridge’s music and the lyrics of Chris Barnes has served them well in the past, and it has not deserted them on the new album either. In fact, it has, in my opinion, only enhanced their reputation as collaborators. Blues, Funk, and Rock & Roll are all in plentiful supply here, and with a couple of guest appearances, it
the ability to fill you with the feel-good factor
all makes for one hell of a musical experience. The title track kicks us off, with wonderful harmonica work courtesy of Jimmy Hall. No-nonsense, in-you-face get-up-on-your-feet type of tune. On True Blues, Walter Trout guests on lead guitar, and brings all his skills as a major Blues artist to this particular party. He’s such a talented guy, and alongside Chis on vocals, he excels, but that is what you expect from Walter Trout. Sugarray Rayford pops up on vocals to join Chris on the brilliant, A Bluesman Can’t Cry, leaving me to imagine what it would be like to see the two of them performing this song in a live setting. Tabitha Fair, who has been showing off her vocal greatness since the age of eleven, does sterling work on Backing Vocals on every track, Chris Barnes has certainly surrounded himself with a stellar line-up of musicians, that’s for sure. Blesballer Baby brings the Boogie Woogie to the proceedings, I just love how much fun some of these songs are, great tunes with the ability to fill you with the feelgood factor. They call him, Chris “Badnews “ Barnes, there ain’t nothing bad about this album, the future will be very good for him and the rest of the band, the only bad thing is the badass songs and badass playing of these cool cats. Get this album, you will not be disappointed.
STEPHEN
HARRISON
CAITLIN KRISKO & THE BROADCAST
BLUEPRINTS EP
Independent
This is a new experience for me, I knew nothing about the band until I heard this EP and I dug around on the internet for a short while. The band is from America and has American Roots music, Motown, and the odd slice of Rock & Roll in their arsenal. The album is loosely written about the varying emotions that Caitlin has recently been going through, the sad loss of her mother. Don’t be fooled into thinking that this is an EP of sad songs, far from it, it’s a collection of songs about
I’m sure that they will become a big name in the UK
feelings, and each track is brilliantly orchestrated. The opening track, Devil On My Side is quite funky and fun, with great vocals from Caitlin, a nice teaser for the rest of the EP. The single, Piece Of You has a rockier edge, absolutely amazing vocals, and great guitar from Aaron Austin, I can see why they chose this as the single. It is brilliant, it is simply brilliant. Operator is another funky tune the more I listen to Caitlin, the more this
uting organ, adding to his roles as producer and studio co-owner. Title track Friendlytown sets the pace on this Texas blues style tune, Roger’s vocals are guttural and suit the style. Thirteen tracks of eclectic musical styles, continue with Too Much Stress, Brian May duets and adds to this groove laden track, Gospel backing meets rock guitar tones, joy throughout. Hurry Up Sundown has a punchy beat a real dance floor filler with a New Orleans vibe. Let’s Get Started keeps the mellow tones going with catchy chorus. Other highlights include the slows blues tune, I’ll Take Tomorrow, just sublime vocal delivery and production. A standout blues record with a rich collaborative spirit very uplifting a must for any collection, highly recommended.
COLIN CAMPBELL
THE CURST SONS NEW SIGNS AND OLD VISIONS
EP grows on me. The band will be touring the UK from September 25th until October 4th, I would love to see these guys live. I’m sure that they will become a big name in the UK as they have been in the USA, and all over Europe. Go check them out, oh, and buy the EP.
STEPHEN HARRISON
Independent “Americana” is a vague term that covers many forms of music, but one thing is
IMAGE: Anna Caterina
aware of “old weird America” - I mean, what else do you expect from a song called The Love Song Of The Cuttle Fish? Probably not the kind of skiffle/ rockabilly hybrid with strange harmony vocals that you do get here. Then Black Heart Town has a lovely restfully cantering rhythm (!) - and yes, it could be a mysterious vintage cowboy song. Opener Shine A Smile has more than a tinge of classic old timey gospel with blues touches. The blues touches are even stronger on the mutated electric John Lee Hooker boogie of The Stealers (I don’t recall The Boogie Man ever using a jaw harp!) and Living With The Country - Sleeping With The Blues, another electric based number (nice guitar from Dave Simmer) with an accurate title, blues with a hint of country. Nice stand-up bass playing too, which gives me an opportunity to mention the great attention to detail these guys have. They also have a sense of humour - try What You Don’t Know, for example, but I confess I am glad I am not the subject of the very pointed In A Sea Of Shame. Not Going To Listen again draws on the boogie and closes out this very enjoyable release in fine fashion.
NORMAN DARWEN
THE NAME DROPPERS STARSHINE
Horizon Music Group 2023 New England Music Award’s “Best Blues Act”, The name Droppers, have a 4th studio Album out, Starshine. Following on from the 2023 release of Blue Diamonds, its packed with 10 tracks, 8 original and two revitalised and revisited covers, 10 tracks full of Blues, Rock & Soul. This Connecticut based super group (Drummer Bobby “T” Torello, bassist Scott Spray, keyboards Ron Rifkin and guitarist Rafe Klein, are talented, multi award winning, seasoned musicians, songwriters and singers bringing every bit of their long history at the top of their game with this album. Including
the revisit of a 2nd million selling single by Lennon & McCartney, I Want To Hold Your Hand, making it all their very own. With Klien and Torello sharing vocals, backing vocals from Simone Brown and Carol Sylvan and special guests; Dave Lowrie and Johnathan Dubose on piano, legendary Charlie Karp (R.I.P) on guitar, this is an ensemble that weave the magic of talent and confidence. The 10 tracks include a Texas style shuffle, a tender ballade, lessons on sobriety in the track “Whisky”, southern fried gospel to mellow down easy, something for everyone! Starshine continues the fine tradition of old school Blues tweaked with pure talent to create an album both reminiscent of as music genre as old as time with a twist of life lived in the 20th century and then impression that leaves.
JEAN KNAPPITT
BONES OWENS LOVE OUT OF LEMONS
Thirty Tigers Records Bones Owens, a compelling figure in contemporary music, effortlessly melds the raw energy of rock with the soulful introspection of Americana. With a distinctive sound that echoes the grit of the South and the restless spirit of the
open road, Owens captivates listeners with his heartfelt lyrics and electrifying guitar prowess. Hailing from Nashville, Tennessee, his music resonates with a timeless quality that nods to both classic rock roots and modern indie sensibilities, making him a standout presence in today’s musical landscape. This 11-track album includes collaborations with Henry Brill on Born Again and Austin Jenkins on Higher Than I Wanna Be, featuring Julian Dorio on drums and Owens and producer Moak handling all other instruments. The opener, Love Out Of Lemons sets the tone, a laid-back guitar infused tune with thought provoking lyrics. Devil Gonna Getcha is a rocky number with an infectious beat and anthemic chorus. For Keeps, is a bass driven heavy tune. Get It On has a swagger and is a powerful driving rocking tune. Summer Skin has a laid-back summer vibe, vocals are delivered well some good harmonies here. Sinking Like A Stone has a similar vibe, a love song of sorts. Goin’ Back Where I Came From is a highlight full f rhythm and catchy chorus. Final song, You Some more again has good harmonies, a psychedelic feel to this. Whether you’re looking for a soundtrack to a road trip or a contemplative evening at home, this album delivers on so many levels, something for any music lover.
COLIN CAMPBELL
To celebrate ten years since the band was formed, five times UK blues award winners
Catfish release their new five track mini album ‘London’ on Friday 16 August . Available from the website at www.catfishband.com/shop.
