BOB ANGELL HAS BRAND NEW BLUES FOR YA!

In 1966, guitarist Bob Angell started Blues Outlet, the first electric blues band to come out of his native Rhode Island, USA. He was heavily influenced by Chuck Berry and Jimmy Reed records that regularly played on local radio stations. But it was seeing Muddy Waters at the world-famous Newport Jazz Festival in 1960 that truly sealed his fate. Whether you prefer your blues with Southside swagger or London aggression, with a dash of Memphis spice or big city swing, you’ll find it here – and in spades. As Angell’s longtime mentor, the legendary Hubert Sumlin, once said, “He really is one of the best.” Angell was inducted into the Rhode Island Music Hall of Fame in 2015.

WORDS: Michael Limnios PICS: Supplied

His second release with Rawtone Records, *Brand New Blues* (2024), features the exceptional Kelly Knapp alongside a star-studded roster of guests, including Duke Robillard, Buddy Whittington, Doug James, Joe Yuele, Mark Cole, Chris Stovall Brown, and Charlz Ruggerio. Deeply rooted in the classic blues tradition, this collection pushes up against old boundaries and explores new ground. Each musician brought their own unique personality and individual take on the blues.

How has the Blues and Rock Counterculture influenced your views of the world and the journeys you’ve taken?

First off, I completely reject the idea that music is intrinsically tied to politics or, as you put it, “counterculture.” Yes, topical subjects often appear in music—J.B. Lenoir and Billie Holiday come to mind—but preaching or proselytising is something I find revolting. It’s a major turn-off. Just because someone enjoys a particular style of blues or rock doesn’t mean they align with a specific political viewpoint. I resent assumptions, even if they’re correct. (laughs)

What does the Blues mean to you? How do you describe your sound?

Blues, to me, is nothing short of American Classical Music. It has a very strict, well-defined structure that a musician must adhere to. Although playing the music of storied bluesmen is important, one cannot reach musical maturity without bringing their own emotions and life experiences into the music. Without that personal touch, you’re just another cover band, and we’ve seen enough of those. It’s in the process of pouring your heart and soul into the music that you find yourself as a musician. For me, there’s no other genre that interests me as much. I always try to tell a story from my life that listeners can relate to—because everyone has the blues at some point, right? Some of us can express it for others and help them find peace. It’s part of a universal healing process.

If I have a “sound,” it probably comes from all my influences—particularly Muddy Waters, Jimmy Reed, and especially Uncle Hubert (Sumlin). I’ve borrowed liberally from Hubert’s style (laughs), though my playing doesn’t sound nearly as good as his.

How would you describe your music philosophy and approach to songwriting? Where does your creative drive come from?

With this album, I made a conscious decision to focus on original music, deeply connected to my blues roots. There’s no sense in rehashing the same material, no matter how fertile the ground. I love classic blues standards, but I want to sing *my* blues, not someone else’s. I’ve tried to stay true to the traditional blues form, but with my own twist. When you ask about “creative drive,” it’s about creating something uniquely my own within the structure of the blues. I think *Drinkin’ Shoes* and *Blue Memphis* are good examples of what I mean.

I’ve always thought the blues, despite its flexi bility, has boundaries much like classical music, and crossing those boundaries can disrespect the forefathers. That’s why I often call blues “Ameri can Classical Music.”

Why do you think the East Coast Blues Scene continues to attract such a devoted following?

The East Coast has always been a great area for blues for a few reasons, including the Newport Jazz and Folk Festivals here in Rhode Island. Legends like Mississippi John Hurt, Ray Charles, Muddy Waters, and B.B. King were regulars. This influence spread into the coffeehouses and clubs. Radio also played a huge part. I remember hearing Chuck Berry, Jimmy Reed, and Slim Harpo on the airwaves when I was just a kid, which was key for me and many others. The local scene has always been vibrant, with musicians proliferating since the 60s. Blues is alive and well in countless venues and corner bars across the Northeast.

Your latest release, *Brand New Blues*, features a stellar list of collaborators. How did this come about?

The album is called *Brand New Blues* for a good reason. While I love the old blues music, it felt like the right time to push the boundaries of the form a bit, and that’s what the album does. One of the clearest examples is *A Woman Alone Without Love*, featuring the incredible Kelly Knapp on vocals. The entire album has a fresh, new approach. Of course, it didn’t hurt that I had some of the world’s leading blues stars helping out. Along with Kelly, who is easily one of the most exciting new female blues singers around, I was lucky enough to have my lifelong friend Duke Robillard join me on a two-guitar tribute to Hubert Sumlin. It was a magical, one-take cut that flowed naturally. Buddy Whittington and Joe Yuele, both from John Mayall’s Bluesbreakers, also contributed their immense talents, which was great fun. Doug James, of Roomful of Blues and Jimmie Vaughan’s band, added some outstanding tenor and baritone sax on the opening track. Mark Cole, my Rawtone Records label mate, flew in from the UK to lay down some world-class blues harmonica on several tracks.

“For Best Results, Play Loud.” It’s the best work I’ve ever done—hence the title *Brand New Blues*.

Do you have any interesting stories about the making of “Brand New Blues”?

The whole process of making this album could make a great (and zany) movie. Steve Rizzo, our engineer and studio chief, was a joy to work with. He took my scattered ideas and somehow made them brilliant. One moment I clearly remember was when Kelly finished her vocal on *A Woman Alone*. I turned around to see everyone in the studio standing silent, jaws dropped. It was a powerful moment, and groundbreaking. You’ll understand when you hear it—it’s a brand new, yet instantly recognisable, take on the blues.

Do you have any interesting stories about the making of “Brand New Blues”?

The whole process of making this album could make a great (and zany) movie. Steve Rizzo, our engineer and studio chief, was a joy to work with. He took my scattered ideas and somehow made them brilliant. One moment I clearly remember was when Kelly finished her vocal on *A Woman Alone*. I turned around to see everyone in the studio standing silent, jaws dropped. It was a powerful moment, and groundbreaking. You’ll understand when you hear it—it’s a brand new, yet instantly recognisable, take on the blues.

What has been the hardest obstacle for you to overcome as an artist, and how has it shaped you as a blues musician?

The hardest thing is always writing and performing your own blues. It only makes sense when the subject matter comes from your own life. Blues, by its nature, requires you to bleed a little into the material—or to laugh at life’s absurdities. It’s about feeling it and not being afraid to shout it out.

What moment changed your musical life the most? What keeps you going?

The moments that changed my music and my dedication to the blues can be traced back to the wonderful giants who have helped me along the way. Hubert Sumlin and John Mayall were two who went out of their way to encourage me, both personally and musically. Though they’re both gone now, they live on in my heart and, I hope, in my music.

What's more important in music—technique or emotion? Why is it vital to preserve and spread the blues?

Emotion always trumps technique. Sure, you can walk into any bar and see players with dazzling technique, but the real magic happens when someone reaches deep into themselves and speaks a truth. It’s about soul, about feeling. Technique can take a back seat. Ask any musician on this album, and they’ll agree. The blues doesn’t need preserving—it lives within itself. As long as people live, love, and feel, the blues will be with us.

Do you think there’s a future audience for the blues? Is there potential for younger generations to embrace it?

The blues audience is always evolving. It doesn’t matter where you find your entry point—whether it’s B.B. King, The Rolling Stones, SRV, or Bonamassa—once you’re hooked, the music gets you. Dive into the records, and let the blues take you on a journey. It’ll enrich your life, just like literature or fine art.