Blues Matters Issue 143

JOHN PRIMER & BOB CORRITORE CHAINS AND THINGS

TERRY MARSHALL

PLUS WE SPEAK TO ABOUT HIS JOURNEY FROM SAX TO STACKS

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Cover images by

BENNY TURNER

LIONS IN THE STREET BLUES AND THE DEVIL MARCUS TRUMMER

PP ARNOLD

TERRY MARSHALL

MISTY BLUES

PRIMER & CORRITORE PRAKASH SLIM

THE SHEEPDOGS ANDY FAIRWEATHER LOW

EDDIE 9V

L.A. EDWARDS

BENNY TURNER TRUE TO HIS ART

Benny Turner, a seasoned blues bassist, singer, and songwriter, has spent decades in the heart of the blues scene, carving out his unique sound while honouring the rich legacy of the genre. As the younger brother of the legendary Freddie King, he has played alongside the greatest blues musicians of all time but has firmly established himself as a standout artist in his own right.

 Colin Campbell  Supplied

His deep, soulful voice and powerful bass lines have been heard on stages worldwide, and his contributions to the blues have earned him recognition as a living link to its golden era. Today, he continues to keep the spirit of the blues alive, both through his solo work and collaborations with other artists. Blues Matters chatted with him about his career and his newest release entitled, BT. Interview was via Zoom call Benny was at the King Biscuit Blues Festival in Helena, Arkansas, sharing the highs and lows of his remarkable musical journey.

A FAMILY OF MUSIC

For Benny Turner, music was in his blood from the very beginning. Born into a musically gifted family in East Texas, Turner’s path to becoming a musician was practically set before him. “My mother had four brothers who played guitar, so we wanted to play too, Freddie was a fast learner; he picked it up first, and then I followed. I was about five years old, and Freddie was around ten when we started playing.” His mother was a key figure in nurturing their talent. She taught both brothers the basics, and the sounds of music quickly became a constant presence in their household. “Freddie got his first guitar from our father, who worked in the Texas stockyards, it wasn’t a pretty job, but it helped Fred get started.”

EARLY DAYS OF VOCALS AND HARMONISING

Beyond their instrumental prowess, the Turner household was filled with singing. “We would harmonise like a quartet, one person would sing lead, and we’d all join in. That’s where I picked up my vocal technique. On my latest CD, I do a tune where I’m singing the lead and all the background parts. It’s something I picked up from those early days of harmonising with my family.”

CHICAGO: WHERE THE BLUES TOOK ROOT

While Benny and Freddie’s journey began in Texas, it wasn’t until they moved to Chicago in the 1950s that the blues truly took hold of their lives. “For me, it got serious in 1955, Freddie went straight into the blues after meeting Howlin’ Wolf, while I started off in gospel before eventually moving over to the blues.”

The Chicago blues scene in the 1950s was electric, with clubs scattered all over the city’s West Side. Benny and his brother were regulars at venues like the Squeeze Club. “You could go 24 hours singing, dancing, and playing. The West Side was full of blues with legends like Muddy Waters and Howlin’ Wolf up and down Madison Street. The vibrant scene fostered camaraderie among musicians, even though it wasn’t without its rough edges. At the Squeeze Club, everybody carried a knife... just kidding, but not really.” Chicago may have been tough, but it was also a haven for anyone who lived and breathed the blues.

LIFE IN THE CLUBS AND ON THE ROAD

Turner has countless stories from his time in the Chicago clubs, including late-night jam sessions that would go on until dawn. “We’d play until 3 or 4 in the morning, then head to Maxwell Street for hot dogs. After that, we’d hit the Trocadero, where they didn’t even start playing until 3 or 4 a.m.”

One of Turner’s most cherished memories is of his collaboration with Memphis Slim, the legendary blues pianist. “I did a record with him in Switzerland, and it was the only time we worked together, but I loved him. He had these long fingers, and man, could he play. He had a voice so

strong that you could hear him across the street without a microphone. That was Memphis Slim for you.”

LEARNING STAGECRAFT: CUTTING HEADS IN CHICAGO

When asked where he honed his stagecraft, he chuckled as he recalled those days. “Different guys would come into the Squeeze Club, and we called it ‘cutting heads.’ You know what I mean? They’d come in and try to outplay you, and let’s just say I got my hair cut a few times.”

One name stood out among the head-cutters. Jack Myers. “He was the one who really cut my hair,” Turner laughed. “He’d come in, and boy, he could move. Play guitar, move your face, do all these things while playing. The guys in my band would whisper in my ear, ‘He’s gonna cut your ears off,’ and sure enough, I’d learn a lesson. I learned the hard way,” he admitted, but those experiences helped shape him into the performer he is today.

INFLUENCES: HOWLIN WOLF, FREDDIE KING, AND MUDDY WATERS

Of course, his brother Freddie King played a pivotal role in shaping his journey. “Freddie was playing in bars before me, and sometimes I’d go up and sing with them, I wasn’t very good at first, but little by little, I learned how to control everything. It wasn’t natural, but Freddie was a big influence in helping me get there. I loved Howlin’ Wolf, he was such a big presence and watching him taught me so much about commanding the stage. Muddy was one of those guys you learned from just by watching, I remember seeing him for the first time, he was walking on tables at a bar! I didn’t even know it was Muddy at the time.”

Turner recalled a light-hearted moment with Muddy Waters during a tour on the American Express Blues Train. “We were getting ready for dinner, and Muddy said, ‘I gotta hurry before Freddie and his brother get here. They’re always watching how my jaws move when I eat!’”

A LEGACY OF THE BLUES

Throughout his career, Benny Turner has not only performed alongside legends, but he’s also kept their legacy

alive through his own work. “Muddy, Howlin’ Wolf, Freddie, they were all such huge influences, but Buddy Guy was another who taught me a lot. On my latest CD, I’m doing one of Buddy Guy’s songs,” he revealed. Turner’s respect for the blues runs deep, and he remains committed to preserving its traditions while adding his own voice to the genre. “It’s important to keep the blues alive, to keep playing it and passing it on.”

THE ROAD TO A NEW ALBUM: OVERCOMING ADVERSITY

“It’s taken quite a while to finish, a lot of things went down, Hurricane Ida, the coronavirus shutdown, it put everything on hold.” Living in New Orleans, he experienced firsthand the devastation of Hurricane Ida. “Then, of course, musicians were out of work for months due to COVID. The money situation went downhill, but thanks to Nola Blue Records, we got the album finished, and it’s here today. It’s a good feeling, after everything, to finally have it out there.”

A TRIBUTE TO BLUES LEGENDS

Turner’s new album also serves as a tribute to the musicians who have crossed his path throughout his storied career. “I couldn’t fit them all on the record, but I made sure to include some songs from my favourites, like Muddy Waters, Hank Ballard from the Midnighters, and Dee Clark.”

One of his fondest memories is playing “Raindrops” with Dee Clark at the Apollo Theatre in New York. “It was amazing, I went from playing in a bar on the West Side of Chicago to leading a band at the Apollo. I couldn’t read a note, but I could think, and it all just came naturally.” From there, he performed at iconic venues across the country, like the Howard Theatre in Washington, D.C., sharing the stage with legends such as Marvin Gaye and The Temptations. “It was a whirlwind, being able to play with those guys and move around like that, it’s hard to describe how happy I was at that time.”

MEETING OTIS REDDING: A HUMBLE BEGINNING

One of the more humorous and heartwarming moments of Turner’s career came from an early encounter with Otis Redding. Before Redding’s rise to fame, the two were playing at the same club, and Turner recalls a conversation in Redding’s dressing room. “Otis was sitting there reading a magazine, and he looks at me and says, ‘I got a hit record.’ I didn’t even know who he was!” Turner laughed. “I told him, ‘Okay, cool,’ but I hadn’t heard of him or the song he was talking about.”

That song was “These Arms of Mine.” The next day, Turner heard it on the radio while riding down the highway. “I realised he really did have a hit record,” he said with a chuckle.

MUSICAL ADVICE: FIND YOUR OWN SOUND

When asked about the best musical advice he can offer, Turner’s response was simple but profound: “Stay with your art. Stick with it and find your own spot. Copycats don’t get anywhere.” He often tells young musicians who idolise his brother, Freddie King, “You can try to play like Freddie King all day, but what can you do? What’s your sound?” Turner believes in nurturing young talent, and he’s especially proud of a rising musician featured on his new album, Harrell “Young Rell” Davenport. “He’s young, but he has his own thing going on. You just wind him up, hit the button, and let him go, He’s got it.”

A LEGACY OF FIRSTS: GOSPEL ROOTS

Turner’s blues career is rooted in gospel, and he’s proud of the milestones he achieved in that genre. One of his biggest thrills came from being the first guitarist to perform with Chicago’s Kindly Shepherds, a gospel group he joined in the 1950s. Later, Turner became the first bass player to tour with the Soul Stirrers, a major gospel group. “Back then, no one in gospel used bass players on tour, so that was a big deal for me,”

BLUES VS. GOSPEL: TWO SIDES OF THE SAME COIN

He feels an emotional connection to both. “When I sing blues, I have to feel it, It’s the same with gospel. When I sing gospel, it comes from the heart.” Turner’s ability to blend these two musical worlds has been one of his defining traits. Whether he’s singing about life’s struggles or spiritual salvation, Turner’s voice conveys a raw, authentic emotion that only comes from lived experience.

A TRIBUTE TO THE PAST, A MESSAGE FOR THE FUTURE

Turner’s new album BT features a range of songs that pay homage to the legends of blues and gospel, while also highlighting his own unique style. One standout track, Going Down Slow, was inspired by Howlin’ Wolf, a musician Turner admired greatly. “Wolf sang from the heart. He was something special,”

Bump My Susie is a nod to Mighty Joe Young, while Who Sang It First is a reflective piece that looks back at the overlooked contributions of black musicians. “We should think about all the musicians who came before us that people don’t even talk about,” The song was born from a conversation with his manager and evolved into a tribute to the rich history of black music.

TRUE TO HIS ART: A LEGACY BUILT ON AUTHENTICITY

When asked how he would like to be remembered in the annals of blues history, Turner responded with humility

BORN IN THIS TIME WHO SANG IT FIRST

and sincerity. “I was true to my art,” he said. “I developed my own style, and as a bass player, I definitely have my own thing going.”

The Unsung Heroes: A Call to Recognise the Sidemen Turner’s career is not just about his time in the spotlight but also about his role as a sideman, a position he feels deserves more recognition in the music world. “Nobody recognises the sidemen,” he said, his voice tinged with a mix of frustration and nostalgia. “That’s what I was for all those years, a sideman. The guys out front, they get all the glory, the money, the girls! The sidemen? They don’t get anything.

There should be something for the sidemen, because without them, the music wouldn’t be the same.”

A CAREER DEFINED BY COLLABORATIONS AND FRIENDSHIPS

Throughout his career, Turner has rubbed shoulders with some of the biggest names in blues and beyond. From performing at iconic venues like Crystal Palace and The Roundhouse in London to playing alongside legends like Eric Clapton, Turner has seen it all. Reflecting on his time in London, he recalled, “We had lots of fun. That was one of the main stops. I played gigs with Clapton and others; it was a great time.” Turner’s ties to the UK run deep, and though his performances there have been few in recent years, he remains open to the idea of returning. “If I get the chance, I probably will come back,” he said, hinting at the possibility of future performances across the pond.

A Tribute to the Blues: What’s Next for Benny Turner?

Turner’s latest album, BT is a testament to his unwavering commitment to the blues. It’s an album that not only pays tribute to the greats but also showcases his own style, honed over decades of experience. As we wrapped up our conversation, I asked if there was anything he’d like to say to the readers of Blues Matters. His response was simple but powerful: “I’m going to be playing the blues today, just like I always have.”

For further information, see website: bennyturner.com

THE STREET

ROCK’S RESILIANCE LIONS IN

Chris Kinnon is the voice of the old-school rockers *Lions In The Street*, a band known for carrying the torch for traditional blues rock with unshakable passion. In an extended conversation with Andy Hughes, Chris delves into everything from the band’s musical roots to the changes in the music industry that have shaped their journey. But first, with such an intriguing band name, there’s only one place to begin.

 Andy Hughes  Gregory Crowe

A NAME WITH A STORY

“We decided on a name change to freshen up the band a little,” Chris recalls. “We had the word ‘Lions,’ which we liked, but it seemed too generic on its own. Then someone suggested ‘In the Street,’ and it resonated with us. By coincidence, we later found out that ‘Lions In The Street’ appears in one of Jim Morrison’s spoken word pieces, recorded at the same Hollywood Sound studio in Los Angeles where we worked. I believe the phrase might also have origins in ancient Hebrew texts, similar to where *The Grateful Dead* name originated. We liked the mysterious sound of it, so we adopted it.”

A CHANGING INDUSTRY

Like many bands in the 2020s, *Lions In The Street* enjoy full control over their music – from writing and recording to distribution. However, it wasn’t always this way. Chris recalls a time when record companies held sway over every aspect of a band’s career. “It was a strange leverage that companies used to hold over bands and musicians. We signed our deal at the tail end of when companies controlled distribution and had the money to pay for stu-

dios, producers, and so on. The common belief was that record companies were filled with greedy people, but I didn’t necessarily find that to be true. Our main issue was the ‘ego’ aspect – they wanted us to create only what they approved.”

Chris explains that the conflict stemmed from their surplus of new material. “We always had about twenty to thirty songs ready to go, but our A&R guy preferred our older stuff. As a band, we wanted to keep moving forward with fresh songs, but it became a battle over our identity. In the end, we sided with our manager, and the whole deal fell apart. It was a classic battle of wills.”

MUSICAL INFLUENCES AND ROCK ‘N’ ROLL ROOTS

Chris acknowledges that *Lions In The Street* draw inspiration from both blues rock and classic pop, mixing elements of *The Beatles* and *The Stones* with a rock and roll edge. “The record company preferred the Beat-

LIVE REVIEW SAMANTHA FISH

WORDS: Steve Yourglivch IMAGES: Laurence Harvey and Paul Hampson

Samantha and her tight-ass band turned up in sleepy Norwich on a dull damp October Monday evening and blew the place to pieces. I’ve been fortunate enough to have seen her perform live previously but this performance left me a little shell-shocked at just how much further she has streaked ahead.

Samantha has always been a shit hot guitarist but tonight her playing was stratospheric, and her vocals have gone to another level entirely, without doubt she is the full package. Bursting onstage with her version of MC5s Kick Out The Jams, Sam and her band gave us almost two hours of non-stop breathless blues of the highest order. We got fan favourites Wild Heart and Better Be Lonely early on lifting the feelgood factor instantly, other early highlights were Watch It Die and the sublime Chills And Fever. But with a Sam Fish show you get all kinds of blues, her playing of cigar box guitar on Bulletproof is out of this world phenomenal, no let up in the relentlessness whatsoever.

Then she straps on an acoustic to play the old Charley Patton number Miles To Go. Seeing Sam onstage alone at that point holding the large audience silently spellbound by her performing a 1930s old Delta blues so deftly is further evidence of the confidence and star quality she now possesses. Back to full electric blues mode for a couple of numbers before we get treated to some Mississippi Hill Country blues in the form of Po Mattie. RL Burnside

would certainly have approved of Sam’s powered-up intensity. Dreamgirl and Black Wind take us swirling to the end of the show but fear not, the encore follows quickly and is worth admission by itself. Sam plays a long superb rendition of Screaming Jay Hawkins classic I Put A Spell On You before support Zac Schulze joins onstage to swap licks and solos on another Hill Country classic, Goin’ Down South, I swear I felt ole RL looking down smiling broadly his gap toothed grin in approval. Special mention must go to Sams’s band, no histrionics, no fuss, just world-class musicianship allowing Sam to do her thing, so kudos to Mickey Finn (keys & Hammond), Ron Johnson (bass) and Jamie Douglass (drums).

Shout out too for Zac Schultze Gang for a top class support slot. A high-energy power trio with more than a nod to Rory Gallagher in style, they gave us a no-holds-barred blues rock barrage. There were plenty of covers, Rory Natch, Feelgood, Peter Green and a stomping Walkin The Dog but on the evidence of recent single “Woman”, we should look forward to an album of originals soon. They certainly are winning a stack of new fans on this tour and are the ones to watch.

BETH HART UNVEILS NEW SINGLE AND ALBUM, YOU STILL GOT ME

Grammy-nominated singer-songwriter Beth Hart has released the official video for her inspiring new single, “Wonderful World,” from her upcoming album You Still Got Me, out 25th October via Provogue / Mascot Label Group. The album features guest appearances by Eric Gales and Slash of Guns N’ Roses. The touching song was written in honour of her niece and the women in her family, reflecting Beth’s deeply personal songwriting style.

In 2024-2025, Hart will embark on a US and European tour, with several UK dates, including performances in London, Brighton, and Bristol. The new album promises a mix of soulful ballads and powerful collaborations, with tracks like “Savior With A Razor” featuring Slash’s electrifying guitar. You Still Got Me follows Hart’s A Tribute To Led Zeppelin and War In My Mind, both critically acclaimed albums that solidified her global presence in the blues-rock world.

Catch Beth Hart live and experience the emotional intensity she brings to every performance.

TYNESIDE AMERICANA BLUES FESTIVAL 2025

Tyneside Americana Blues Festival is back for another incredible year, offering three days of unforgettable live music at The Exchange 1856, North Shields, from 10th to 12th January 2025. Celebrating the heart of blues and the soul of Americana, this festival features a fantastic lineup of over 30 artists across three days.

Headlining on Friday, Medicine Head and the Deborah Bonham Band kick off the festival, followed by John Verity (ex-Argent) and the Davey Pattison Band on Saturday. Sunday closes with powerhouse performances from Animals & Friends and Rhinos Revenge, featuring members of Status Quo.

In addition to these headliners, the festival promises standout acts like Dr. Feelguid, Ian McNabb, Fargo Rail Co, Phil Caffrey, and Sensational Alex Harvey Experience, to name a few. The event will also include performances from rising stars like Ally Lee Solo Acoustic and Holly Rose Clegg.

Whether you’re a die-hard blues fan or

new to the Americana scene, this festival offers an exciting mix of classic hits and modern sounds, delivering a weekend packed with electrifying performances and memorable moments.

Tickets are available now for £89 (weekend pass) at tynesidefest.co.uk. Don’t miss out on the North East’s premier blues and Americana festival!

LINEUP HIGHLIGHTS:

Friday, January 10th: Medicine Head, Deborah Bonham Band, Phil Caffrey, Robbie Reay and Cran, Fleeting Rumours, and more.

Saturday, January 11th: John Verity (ex-Argent), Davey Pattison Band, Dr. Feelguid, Ian McNabb, Stan the Band, and more.

Sunday, January 12th: Animals & Friends, Rhinos Revenge, Sensational Alex Harvey Experience, Jed Thomas Band, Fargo Rail Co, and more.

For full details and ticket information, visit tynesidefest.co.uk.

The Blues and the Devil have a longstanding relationship. With mention of this relationship, most blues fans are quick to recall the legend of Bluesman Robert Johnson and the bewitching tale of how he sold his soul to the devil at a Mississippi crossroads in return for his musical talent. Johnson released Cross Road Blues in 1936, but this was far from the Blues’ first encounter with The Devil.

In 1924, Classic Blues Lady Clara Smith released her song “Done Sold My Soul to the Devil”, composed by Porter Grainger. This was likely the first time that the Blues’ connection to The Devil was captured on record. The song was a good fit for Smith, a strong and independent character who was not afraid to rebel against society’s moral code in order to embrace her true self. In Prohibition, Smith performed at speakeasies, where ‘The Devil’s Music’ became a soundtrack to the illicit and vibrant underworld of illegal moonshine and promiscuity.

THE BLUES AND THE DEVIL

BLUESICOLOGY WITH DANI WILDE

While performing, Smith met a young Josephine Baker and committed to mentoring her. Having given Baker her start in the record business, Smith is said to have had a romantic relationship with Baker, being referred to as “lady lovers” by a colleague. Their relationship would have been viewed as a sin by both the church and the law in the 1920’s. I have huge admiration for Clara Smith and can see how she was a wonderful role model for those whose identity was not accepted by the mainstream.

Many blues performers turned their back on their religious upbringing as they found their calling in The Blues. Bessie Smith’s father was a Baptist Minister. Sadly, both her parents died when she was very young, leaving Smith and her six siblings in poverty. As a child Bessie Smith would sing on street corners for Nickles, accompanied by her brother Andrew on guitar. Smith’s older sister would punish her, telling her that singing was not a respectable job. Bessie Smith refused to give up; she would go on to become the highest paid Black entertainer of her time! In

1928, Smith released a track entitled “Devil’s gonna get you”:

“It’s a long, long lane that has no turning And it’s a fire that always keeps on burning Mister devil down below Pitchfork in his hand

And that’s where you are going to go Do you understand?

Devil’s gonna git you

Devil’s gonna git you

Oh, the devil’s gonna git you Man, just as sure as you’s born”

In the later verses of the song, the Devil is identified as a two-timing man. However, in the opening verses, the Devil could be a symbol of many evils that impacted on Bessie Smith’s life, from racial oppression and poverty to the work accident that stole her Father from her when she was so young.

That same year, Sara Martin, who was billed as ‘The Famous Moanin’ Mama’ would release ‘Death sting me blues’ whereby the Devil becomes a metaphor for alcohol and cocaine abuse. Just a two years later, Martin would retire from singing The Devils Music, instead performing Gospel songs with Thomas A Dorsey.

Many artists felt they had to choose between their relationship with God, and the Blues. The Father of The Blues WC Handy once described how “Musicians were idlers, dissipated characters, whisky drinkers and rounders...My Father was a preacher and he was bent on shaping me for the ministry. Becoming a musician would be like selling my soul to the devil.”

Classic Blues and Jazz artist Ida Goodson also told of how the blues was banned from her childhood home, but that didn’t stop Goodson and her school friends from singing the blues when her parents were away. If her parents showed up unexpectedly, they would transition back to gospel music without skipping a beat:

“My mother and father were religious persons. And they liked music, but they liked church music. Just the moment they would turn their back, go to their society or church somewhere or another, we’d get our neighborhood children to come in there and we’d get to playing the blues and having a good time. But still we’d have one girl on the door watching to see when Mr. Goodson’s coming back home, because I knew if they came and caught us what we would get....”

In the deeply religious communities of the South, the Blues was seen as a threat to spiritual and moral well-being. As a young man, the Father of The Blues, Son House, trained and worked as a preacher but then found himself drawn to Blues guitar music, and the temptation of alcohol. “I began to wonder, now how I can I stand up in the

pulpit and preach to them” he would later tell his audience. I’d “tell them how to live, and quick as I dismiss the congregation and I see ain’t nobody looking and I’m doing the same thing. I says that’s not right, I can’t hold God in one hand and the Devil in the other one. I got to turn one of ’em loose. So I got out of the pulpit!”

Son House not only ‘sinned’ by drinking and performing the Devils music; In 1928, he was performing in a Juke Joint when a gunman named Leyroy Lee embarked on a shooting rampage. House, who had been wounded in the leg, acted in self-defense and shot Leeroy Lee dead. Son House received a 15-year sentence for Murder at Parchman Farm, the Mississippi State Penitentiary. He was let out after serving just two years. Upon his release, banned from his hometown, he moved to Lula, 16 miles North of Clarksdale where he met fellow Bluesman Charley Patton - together they would make Blues history.

“Good Lord send the sunshine, Devil he send the rain

Good Lord send the sunshine, Devil he send the rain

I will be here tomorrow, on the morning train” - Charley Patton

The roots of the Blues’ relationship with the Devil are complex and continue to be debated by folklorists and scholars. Melville J. Herskovits and Zora Neale Hurston argued that the ‘Devil’ in Black American culture is a different character to the biblical ‘Satan’ of white Christianity. They suggest that the Christian Devil is fused with Legba, an African deity who is more of a trickster creature with whom one might do business. In West African Vodun, Papa Legba serves as an intermediary between the spirit world and humanity. Legba stands at a spiritual crossroads where he gives or denies permission to speak with the spirits. This description of Legba is in keeping with the legend in which Robert Johnson bargains with The Devil at the Crossroads.

This association began in the Middle Ages, when the Church proclaimed that the fiddle was an instrument of merriment that encouraged people to dance and had no place in the house of God.

As a 12 year old boy, Gospel star Pops Staples was banned by his father from playing guitar as he believed it to be ‘the instrument of the devil’. Pops would sneak out of the house to see Charley Patton and Howlin’ Wolf play the ‘Devils music’ at house parties. The parties had smaller rooms for gambling, drinking bootleg liquor and playing cards whilst in the large front room, people would dance to blues performances.

In his book ‘Beyond the Crossroads: The Devil and the Blues Tradition’, Scholar Adam Gussow describes how the Church viewed Blues music as immoral, to the extent that during a 1929 Sermon, Reverend CC Lovelace preached that “the blues we play in our homes is a club to beat up

Jesus!” Gussow’s insightful book has informed much of this article and is a great read!

Growing up in the 1930’s a young BB King sang in a gospel choir at Elkhorn Baptist Church in Kilmichael. King was attracted to the church because during services, the Minister performed with a Sears Roebuck Silvertone guitar. This Minister taught BB King his first three chords.

“The guitar has also long been viewed as the Devil’s instrument.”

In his book, Gussow quotes Music Historian Ted Gioia, who recalled how “BB King found many Delta churches would cancel the performances of his gospel singing group when they learned that the vocalists relied on guitar accompaniment – the six string instrument had been so tainted by its association with the blues that many ministers could not bear seeing it inside the house of God.”

Meanwhile Sister Rosetta Tharpe, who fused Blues guitar licks with Gospel vocals, was labelled by many Christians as a traitor who scandalised the church! “If you were in the Baptist Church”, BB King would recall, “they didn’t want you to bring a guitar in...You can imagine what church I belonged to and enjoyed the most – the Sanctified Church, of course. They didn’t care what instrument you played!”

Muddy Waters once sang “The blues had a baby and they named it rock ‘n’ roll”. Richard Penniman, better known as Little Richard - the ‘Architect of rock ‘n’ roll’ - started his career singing in church, before becoming a pioneer of this exciting new secular genre. As a thirteen-year-old boy, Richard’s father discovered that his son was gay and threw him out of the house. As Little Richard grew up, he turned away from gospel music, instead finding a passion for secular rhythm and blues, which he would perform in drag with fantastic outfits and makeup. In 1955, Richard’s Tutti Frutti became a huge hit, not just in the Rhythm and Blues charts, but also in the Pop Charts.

A star was born – Little Richard would go on to have a run of rock ‘n roll hits that would integrate the pop charts in racially segregated America. Despite his huge achievements, Little Richard struggled with ongoing inner turmoil. As the son of a Church Deacon, raised in a very religious household, he often felt that his sexuality and

his secular music were a sin.

In his autobiography, Little Richard would recall how during a flight from Melbourne to Sydney, his plane ran into trouble; he saw the plane’s red-hot engines, and felt angels were ‘holding it up’. Thankfully, the plane landed safely. At the end of Richard’s Sydney performance, he saw a bright red fireball shooting across the sky above him. Although he was told afterwards that the fireball was Sputnik 1, the Earth’s first artificial satellite, Richard felt “deeply shaken” and took the sighting as a “sign from God” to turn away from performing the Devil’s music and to repent his lifestyle. Returning to America ten days earlier than planned, Richard later read a news report describing how the flight he was originally booked on to had crashed into the Pacific Ocean. Richard took this as a further sign that he must “do as God wanted.”

Stepping away from Rock n Roll, in 1959, Little Richard surprised those who knew him well when he married Ernestine Harvin, a secretary from Washington D.C. In 1961, Richard signed to Mercury Records and released a Gospel album entitled King of the Gospel Singers. His vocals on this record are astounding. Little Richard’s childhood hero Mahalia Jackson wrote in the liner notes of the album that Richard “sang gospel the way it should be sung”. In the track ‘Joy Joy Joy’ Richard sings about his struggles with the Devil:

“I know the devil doesn’t like it, but it’s down in my heart Down in my heart, down in my heart I know the devil doesn’t like it, but it’s down in my heart Down in my heart to stay”

By 1962 Little Richard’s marriage had failed, and he returned to secular music on a tour of Europe where he would struggle to love and accept himself. In 1982, on Late Night with David Letterman Richard explained: “I believe I was one of the first gay people to come out. But God let me know that he made Adam be with Eve, not Steve. So, I gave my heart to Christ.”

Today, when we look back at Little Richard’s legacy, we can see he was a hero. I greatly admire Little Richard, not just for pioneering an exciting new genre, but also for being open about his sexuality, refusing to conform to gender expectations, and for bringing people of all races together for a shared love of music. The blues, and its baby ‘rock n roll’ may carry the label of ‘Devils music’, but for me, it’s that rebellion and excitement in breaking all the rules and refusing to conform to oppressive moral codes, that makes me love and respect the pioneering blues and rock’n’roll artists so much.

GIBSON GARAGE IN LONDON - A HUB FOR GUITAR LOVERS

London is now home to an exciting new destination for musicians and music lovers alike: the Gibson Garage. Following its tremendous success in Nashville, Gibson has brought its immersive experience across the Atlantic to the UK, marking the latest chapter in the brand’s storied history. Nestled in the heart of London, this flagship store is more than just a retail space—it’s a celebration of music, craftsmanship, and heritage, designed to capture the imagination of guitarists everywhere.

A ONE-STOP DESTINATION FOR ALL THINGS GIBSON

The Gibson Garage London isn’t your average guitar shop. It’s a one-stop destination for players, collectors, and fans to explore and experience everything Gibson has to offer. This 4,500-square-foot space features not only an extensive range of guitars but also other iconic instruments from Epiphone, Kramer, and Mesa/Boogie amplifiers. Visitors can test out a vast array of Gibson’s renowned models, from the iconic Les Paul to classic SGs and newer signature artist editions.

The store’s interactive setup invites guitarists to come in and try out their dream instruments. With dedicated soundproof rooms and expert staff on hand to help, you can truly get a sense of the instrument’s tone, feel, and character before making a decision. The store also has a custom shop area, where players can learn more about Gibson’s bespoke services and even commission their very own customised masterpiece, making the Gibson

The opening event set the bar high, featuring performances from well-known artists and surprise appearances that left fans buzzing. With the promise of more events to come, the Gibson Garage is set to become a lively centre for guitar culture, offering something for both experienced players and those just starting out on their musical journey.

BEYOND GUITARS: MERCHANDISE AND EXPERIENCES

The Gibson Garage also offers a wide range of merchandise, from branded clothing to accessories, making it a destination for fans of the Gibson brand even if they aren’t guitarists. Whether you’re a collector looking for a special piece of memorabilia or just in need of some high-quality gear, the shop delivers on all fronts. The store’s design reflects the brand’s classic, stylish aesthetic, offering a welcoming environment for browsing and exploring.

For those looking to dive even deeper into the Gibson world, the store offers behind-the-scenes experiences and insights into the craftsmanship behind their iconic guitars. Visitors can learn about the art of luthiery, understand what makes different models unique, and discover how some of the most famous guitars in history are made.

CELEBRATING GUITAR CULTURE IN LONDON

The opening of the Gibson Garage in London signifies

more than just the arrival of a flagship store—it marks the establishment of a cultural hub for guitar enthusiasts in one of the world’s greatest music cities. London has a deep connection to the history of rock and blues, having given rise to countless legendary bands and musicians. The Gibson Garage feels perfectly at home in this vibrant music scene, bringing a new energy to the heart of the city.

For local musicians, the store provides a rare opportunity to access a range of instruments that were once only available across the pond. The combination of exclusive gear, community-driven events, and a celebration of Gibson’s storied past makes the Garage a must-visit destination.

A MUST-VISIT FOR GUITAR FANS

The Gibson Garage London offers an unparalleled experience for guitar enthusiasts of all levels. Whether you’re a seasoned player looking to try out the latest Custom Shop model, a collector seeking a rare gem, or simply a music lover eager to connect with Gibson’s iconic legacy, this new space is worth the visit. It’s not just a store—it’s a living, breathing tribute to the guitar, an instrument that continues to inspire generations of musicians.

From its incredible collection of instruments to its engaging events, the Gibson Garage London is more than just a place to shop—it’s a celebration of the passion and craftsmanship that has defined Gibson for over a century. This new London outpost promises to be a hub for creativity, community, and all things guitar, right in the heart of the city.

Canadian blues, soul, and rock guitarist and singer-songwriter Marcus Trummer will release his highly anticipated studio album From The Start via Gypsy Soul Records on Friday 15th November 2024.

Despite his young age, Marcus Trummer has already stocked up his trophy cabinet with a whole raft of awards and accolades. In September 2019, Trummer was the recipient of the “Prophets of Music Emerging Artist Award” at Calgary’s YYC Music Awards. In 2022, he won “Blues Recording of the Year” at Calgary’s YYC Music Awards.

Furthermore, in 2022, Trummer received a nomination for “New Artist of the Year” at the Maple Blues Awards in Toronto. The following year, he travelled to Colorado to perform as a finalist in the 2023 Telluride Blues Challenge, which he would go on to win.

Speaking about Telluride, Marcus said: “I just got back from Colorado. We played my first-ever US festival down in Telluride - Telluride Blues and Brews, which was really cool. So, it’s been good to get out there a bit more ahead of releasing my debut. And then obviously, we’ll be doing a lot more once the record’s out there.”

As the old saying goes, you’ve got a lifetime to write your debut album. And subsequently, the songs on Trummer’s debut offering have been accumulated over a long period of time. “These songs, most of them I wrote over the last five years or so. And I compiled the best ones. This is definitely a good statement

for where I’ve been in the past few years. So, I can’t wait to put it out and then on to the next,” he says.

There seems to be a strong blues scene coming out of Canada now, with artists like Madison Galloway and Bywater Call flying the flag high for the US’s Northern cousins.

Members of Canadian rockers The Commoners have often been found close to the console on blues/rock projects in their homeland.

From The Start was produced and mixed by The Commoners’ guitarist Ross Hayes Citrullo and Renan Yildizdogan. “It was my first time travelling to record. So, I’m in Calgary and flying out to Toronto. My brother came with me. He’s my drummer. And then we met up with the rest of the musicians out there and the studio guys in Toronto. And it felt like flying out there made it feel like a very serious experience,” he says. “Ross’s personality, especially is very laid back and helped us not be so nervous.”

Once in Toronto, the talented collective quickly got to work. “We had a few days to record. So, it wasn’t super rushed, but we were going pretty quickly. I think it was cool to have the pairing of Renan and Ross, and have two different perspectives,” said Marcus.

Both Renan and Ross put Marcus to the test and challenged the

 Adam Kennedy  Heather Saitz

young artist to get the best out of him in the studio. “They weren’t just saying yes to everything I wanted. And it was cool. That was the first time I’ve really worked with a producer in that capacity where they’re really getting involved. I’m glad about how it worked out,” he said.

The artist’s recent single Waiting For Change feels somewhat pertinent in the present time. “I think it’s the type of song that I wanted to write for anyone that can relate to it, no matter what they’re going through. Because everyone’s got different struggles and different challenges,” said Marcus. “I guess, the main perspective I was coming from is there’s not a lot you can do to change these big problems. But if you let it affect you, you end up wasting your time and wasting your life. And I wanted to focus on what can you do. And you can take it into your own hands. And it’s not about changing the world, it’s more about how can you make your community better. How can you make your family, and your life better?”

It has been said that Marcus Trummer is a young artist with an old soul. His influences are far-reaching, delving back to the bluesmen of yore, along with the soul greats. “I’m definitely into the older stuff,” he says. Although, the soulful bluesman discovered a lot of these artists through his contemporaries. “We were playing Telluride, and Gary Clark Jr. was playing there. And it’s through him that I got into these older blues cats, like Albert King, BB King, Freddie King. And that’s been big on my guitar playing,” said Marcus. “And through some of the soul music coming out these days, if you go back, you can see where all this influence was coming through with Aretha Franklin, Marvin Gaye, Bill Withers, all these great mostly 60s and 70s blues and soul artists as well. So, I’m into all that.”

When it comes to the blues, BB King is up there at the top of the tree. The artist is a big fan of his work and took influence from the late great bluesman on a song called The Only Thing. “That was one of the older songs that I’ve written that made the record. And it’s definitely influenced by that ‘60s blues thing. And BB King on the solo and that phrasing. I was looking towards him as inspiration,” he says. “I never really wrote traditional style blues. And this one’s kind of the most similar. It’s not a 12 bar per se, but it’s got a few more jazz things thrown in

there, but it’s essentially traditional blues. And I think, it’s always been hard for me to write that traditional blues, just because I want to be authentic with what I’m writing.”

Marcus elaborates further: “I don’t want to be a caricature or some sort of novelty performer. I want to write stuff that feels authentic to my experience.”

The blues is at the centre of everything that Marcus Trummer does musically. “I obviously have a deep appreciation for blues. It is the source of all the music that I listen to and that I’m into. So, I think putting one more traditional blues song, at least, on the record was fitting.”

Trummer’s latest single to be released from his debut album is titled Hard Time. “There’s a lot of similar themes to some of the songs. We were talking about Waiting For Change. It’s kind of a similar message, but maybe more of an emphasis on pushing people towards the solution, which I would say is loving each other and focusing on that. So, the verses kind of make it sound more like a relationship-type thing, which sometimes I find helps me communicate a message if it is put into that context. But really, I just wanted to get across that anytime is a good time for love regardless of what’s happening.”

With his debut album in the bag, Marcus Trummer has strong ambitions to take his album as far as possible around the world. “I love touring. And I think it’s a big world out there. There are a lot of fans in faraway places who are either waiting for me to come there or are yetto-be-made fans. And so, I think my goal is just thinking big, thinking about getting out there,” he said. “I think we’re looking at the UK and parts of Europe. And if I can get back to the States, that’d be great, too depending on what sort of opportunities come about. And then Canada is always good, too.”

“I will hopefully start to hit on all that in the next year or two. And as I get out another record, we’ll see what happens, if I can get some support tours. But I’m definitely hoping to get out as much as I can,” concludes Marcus.

Marcus Trummer’s debut album

“From The Start” is released by Gypsy Soul Records on November 15th. The album is available from www.marcustrummermusic.com

LIVE, ON THE ROAD AGAIN PP ARNOLD

PP Arnold is one of those amazing artists known to all. A true A-lister, she has been at the forefront of modern music for decades. Since bursting onto the UK scene in the 1960s as an Ikette, a backing singer with Ike & Tina Turner – she sings on the triumphant ‘River Deep, Mountain High’ – to her own glittering solo career with huge hits like ‘The First Cut is the Deepest’ – written by Cat Stevens for her! – and ‘Angel of the Morning’ she has been little short of a musical whirlwind, blown by musical changes but always remaining strong, powerful and resolute in her own undimmed ability and determination to keep performing at all costs.

 Iain Patience  Arnie Goodman

Speaking with PP is both an honour and a huge pleasure, much as one would expect and hope for. Topics range widely across a huge spectrum from live performances, through her current stage set based on a remarkably revealing autobiography to her latest album, a full-throttle, roaring live album captured as a closing set on a tour a few years ago – ‘Live in Liverpool.’

This an album that really captures the still hugely powerful and demanding vocal delivery of the singer while covering a huge amount of musical ground. Featuring her previously mentioned huge hits, other tracks range from Paul Weller’s wonderful ‘Shoot the Dove’ through Steve Craddock’s ‘Magic Hour’ and the Beatles’ ‘Eleanor Rigby’ – here delivered with a rarely heard passion.

Based on her successful 2019 release, ‘The `New Adventures of ….PP Arnold’ the subsequent live tour of the project culminated in this recording at Liverpool’s Grand Central Hall before a wildly enthusiastic audience, keen to see the UK’s ‘First Lady of Soul’ in action.

As we chat about her career, PP recalls how she became involved in the UK music business as a shy, introverted youngster on a first British tour with Ike & Tina Turner:

“There’s two tours, the Soul Survivor Tour – and my own story, based on my book. I’m enjoying it now cause it all seems to have come together and it’s going really well. It’s been like a lot of hard work. Sure, it can be tiring but that’s how the business works. I’m a survivor and I can handle that stuff.”

“I want to cover everything about my life and career but it’s difficult to know what to keep in, what to remove. I want to include as much as possible; I’ve my times with Eric Clapton, Steve Marriot, Ronnie Lane, Rod Stewart, Ronnie Wood, Mick Jagger. All that stuff, central to my life really.”

“On the album is the whole set from my tour in 2019. It is a lot of stuff with a great time organised by Steve Craddock. Steve is Paul Weller’s guitarist and he has a great studio down in Devon.”

“I was with Ike & Tina in London. I never planned on being in show business or looking for stardom or anything like that. It all sort of started as an answer to a prayer. But back home in the USA, I was told there was an audition for a backing singer with them, so I went along and sang and they gave me the job!”

”I started with gospel, and I still do that on my show. I take it way back to when I had church in my Aunt Catherine’s living room. That was a sort of original Call and Answer kind of thing, maybe more like blues really.”

“I had Steve Craddock with me, it was great working with him and he produced the new album. It was just great that he was able to get out on the road with me, MC it

all and organise the best band, a full nine-piece band. A really fabulous affair.”

“I’m independent and I have to fight every step of the way. I love to sing and I work on my voice. Cause I never want it to sound like an old lady! I just love to sing. I go to a studio and work on that all the time. My singing is my happy place.”

“I’ve never been into that celebrity thing. I believe God gave me a gift and my job is to inspire and uplift with my voice. I’ve suffered in this industry but I’ve always given it my all. I love every gig I do.”

“Artists just have to be so proactive these days. As an independent artist it’s so tough nowadays. I think I just need to have real strong team around me and without that things just don’t happen. I think of what Michelle Obama says, ‘When they go low, I go high!”

“I was very shy. I was very introverted. I never planned to be in show business and perform until I was offered that opportunity. I took it because I was going to leave the Ike & Tina Review when we went back to the States because I’d had enough of Ike and the way he treated Tina. It was just a job to me anyhow back then. I didn’t know what I’d do when I got back. But I’d taken it cause I had to support my children and to get out of an abusive relationship and marriage I was in.”

“So, when Mick (Jagger) and Andrew (Loog Oldham – the then Stones manager) – offered me the opportunity to stay here I kinda felt that my whole life, I’d come this far and there were people believing in me so I had to start believing in myself. I didn’t know about my talent. I just knew that I loved to sing. I was really blessed to be able to start off with people like Andrew and Mick Jagger. He didn’t know exactly what to do with me, but I was lucky to be with peo ple who were so creative at that time.”

“Andrew was cool, he was out there. As I always say, he was very young. We all were then. `People put him on a sort of pedestal at times but he was just as young as all and he was wrapped up in that drug-culture of the time. And that affected what hap pened to his Immediate label really. But as my manager, he had a vision. I didn’t have a vison for myself back then. I didn’t know who I was or where I was going. He did.”

“First Cut was just such

a blessing. And to think, he (Cat Stevens) wrote that song for me. I lived that. I think my version is the best. I did it ten years before Rod (Stewart) and I don’t even know if Sheryl Crowe was born! I really think my version is a classic!”

“I had the opportunity to sing it with Yousef at a Parkinsons’ charity concert, three weeks ago. It was the first time I had the opportunity to sing it with him. It was truly a beautiful thing. I hadn’t seen him for a while, since around 2007 when I was with Roger Waters where we were doing Earls Court. I saw him and went to hug him and he said, ‘No, you can’t hug me!’ cause of his belief thing. But his daughter was with him so I asked if I could hug her instead! But when I saw him this time he was a lot more relaxed and hugged me. So, it was really beautiful. We had a good time reminiscing and talking and sadly remembering mutual friends who have passed.”

Steve Marriot comes to mind as one of her previous famed partners, and as soon as I raise the name:

“Oh yes, oh yes! What a voice! I loved Stephen. I sang on Tin Soldier and Itchycoo Park, of course. We just instantly connected. What a force he was. We messed around a bit too,” she confirms with a chuckle. “And why not. Steve and I were more like a soul brother and soul sister. In those days everybody was young. We were all so young and just growing up together. Then just when he was getting his stuff back together, he died so young! That

“Back as a youngster in London I wanted to be part of that whole British Invasion of music thing, like Eric and all those others did, but I forgot about that racist attitude of America. I was really trying to be a part of that. That was a tragedy for me. It led to the death of my daughter, Debbie, an absolute tragedy. But I came back from that and got a part in Starlight Express and my career was

“I love to sing, that’s my happy place”

TOP 10 BLUES ALBUMS TO WATCH FOR IN 2024

BETH HART – YOU STILL GOT ME (25th October 2024)

Beth Hart’s emotionally charged album features Slash and Eric Gales, delivering raw, powerful blues and rock.

EDDIE 9V – SARATOGA (22nd November 2024)

Eddie 9V’s Southern blues, soul, and Americana shine through on his newest album.

MARCUS TRUMMER – FROM THE START (15th November 2024)

A soulful debut filled with blues, rock, and heartfelt lyrics.

LIONS IN THE STREET – MOVING ALONG (8th November 2024)

Classic rock and blues blend with vintage guitar tones on this highly anticipated release.

BYWATER CALL – SHEPHERD

(Available Now)

A blend of blues, soul, and roots rock with powerful vocals.

JOE BONAMASSA – BLUES DELUXE VOL. 2 (Late 2024)

A tribute to his early career with reimagined blues classics.

SAMANTHA FISH & JESSE DAYTON –DEATH WISH BLUES

(Available Now)

A mix of blues and rock that highlights Samantha Fish’s fiery style.

CHRISTONE “KINGFISH” INGRAM –662 DELUXE EDITION (Early 2024)

An expanded version of his award-winning album, with bonus tracks.

KEB’ MO’ – GOOD TO BE (January 2024)

A fusion of blues, soul, and Americana that is uplifting and introspective.

TEDESCHI TRUCKS BAND – I AM THE MOON

(Ongoing Release in 2024)

A sprawling conceptual project filled with blues, soul, and rock, divided into four albums.

ROBERT JON & THE WRECK ANNOUNCE SPRING 2025 UK TOUR FOLLOWING RELEASE OF RED MOON RISING

Southern California’s own Robert Jon & The Wreck are gearing up for their highly anticipated UK tour, set to rock eight venues across the country in April and May 2025. Fresh off the release of their critically acclaimed album, Red Moon Rising, the band is bringing their signature Southern rock sound to the UK once again. Produced by the legendary Kevin Shirley (Joe Bonamassa, Black Country Communion), the album marks a bold new chapter for the group, with the title track blending funk grooves and reflective lyrics about rebirth and change.

Fans will be treated to Robert Jon Burrison’s soulful vocals and guitar work, accompanied by Andrew Espantman (drums), Henry James Schneekluth (lead guitar), Warren Murrel (bass), and new keyboardist Jake Abernathie, who recently joined the lineup. Known for their dynamic live performances, the band’s soaring guitar solos, lush harmonies, and infectious energy make them a must-see on stage.

The band’s partnership with Joe Bonamassa’s Journeyman Re-

cords has opened new doors for their creativity, allowing them to continue releasing music that captures the essence of their sound while pushing the boundaries of traditional Southern rock. The new album embodies the band’s journey and evolution, with “Red Moon Rising” being a clear standout track.

Pre-sale tickets will be available via Planet Rock on 30th October, with general tickets on sale starting 1st November. Fans can grab tickets at robertjonandthewreck.com and other ticket platforms like Gigantic and The Gig Cartel.

Don’t miss the chance to catch Robert Jon & The Wreck live, as they celebrate the release of Red Moon Rising and embark on another memorable UK tour. Whether you’re a longtime fan or discovering them for the first time, this tour promises to deliver their signature mix of heartfelt rock ‘n’ roll with a fresh twist.

Be sure to secure your tickets early, and get ready for a soulful, Southern rock experience with Robert Jon & The Wreck!

BLUES MATTERS MAGAZINE CO-OWN-

ER STEVE HARRISON APPEARS ON BLUES IN THE OUSE RADIO SHOW

On 23rd October 2024, Steve Harrison, co-owner of Blues Matters Magazine, made a special guest appearance on the radio show Blues in the Ouse. During the show, Steve shared his journey into the world of blues, discussing how he first fell in love with the genre and how Led Zeppelin II played a pivotal role in expanding his musical horizons.

Steve talked about the impact Led Zeppelin II had in introducing a generation of rock fans to blues roots.

“Tracks like The Lemon Song bridged rock and blues, leading me to discover the original blues artists who inspired the band,” Steve explained.

As co-owner of Blues Matters Magazine, Steve emphasised the magazine’s mission to support blues artists, both legendary and emerging. “Blues Matters is about keeping the blues alive, showcasing the diversity of the genre and promoting the next wave of talent,” he said.

Steve’s appearance on Blues in the Ouse provided a glimpse into his deep passion for the blues and his dedication to its future, as he shared stories from his musical journey and discussed the evolving landscape of the genre.

LISTEN TO BLUES IN THE OUSE

ORKNEY BLUES FESTIVAL 2024

Various Venues, September 20th-22nd

Words: Colin Campbell | Photos: Thibault Gras

Nestled in the rugged Orkney Islands, where dramatic cliffs meet the North Sea, the Orkney Blues Festival 2024 brought warmth and soulful music to the community. Over three days, from September 20-22, blues fans from near and far gathered to celebrate a shared love of music, with performances that felt authentic, intimate, and deeply personal.

The festival spread across several unique venues in the islands, from Kirkwall to Hoy, Westray, and Burray. However, the main events took place in Stromness, and it’s there that our coverage focuses. The performances highlighted a blend of traditional blues with modern elements, creating a sound that felt both familiar and refreshing. A special shout-out goes to Dylan Pepper and his dedicated committee for organising this ever-improving event, as well as the sound and lighting team in Stromness Town Hall. From the hospitality extended by local venues to the special VIP guests and even the artists themselves enjoying some local adventures—fishing trips included—the Orkney Blues Festival was truly an experience to remember.

FRIDAY – STROMNESS TOWN HALL EARLY SHOW

The Stromness Town Hall, a converted church, provided a beautiful setting for the festival, with fantastic acoustics enhancing every performance. The weekend kicked off with Paolo Fuschi, a singer-songwriter and guitarist from Manchester, whose solo acoustic set captivated the crowd. His original songs like “Me And The Devil Blues” and “Locked Down With You” were delivered with power

and authenticity, paying homage to John Mayall and BB King with renditions of “All Your Loving” and “Rock Me Baby”.

Next up were Danny Britt and Spider MacKenzie, an incredible duo blending Americana and blues. Their set was highlighted by a stunning rendition of “Mr Bojangles,” which had the audience enthralled. Dr Tom Attah then took the stage, delivering a mesmerising acoustic set filled with traditional blues and gospel. His humour, stage presence, and emotional delivery made for an unforgettable performance.

The evening concluded with Tom Attah’s band, The Bad Man Clan, who delivered an electric set full of rhythm and blues, joined by Spider MacKenzie on harmonica for a standout performance of “Help Me” by Sonny Boy Williamson. The headliner, the Jimmy Carpenter Band, rounded off the night with a dynamic 90-minute set, featuring tracks from his album *Just Got Started*, sax-driven tunes, and crowd favourites like “Shine A Light”.

SATURDAY – WORKSHOPS AND PERFORMANCES

Saturday afternoon was filled with workshops, including Spider MacKenzie’s harmonica session and Paolo Fuschi’s guitar workshop. Both were well attended and provided valuable insights into the craft. Performances continued in venues across Stromness, with highlights including the Andy Taylor Group’s energetic show at the Royal Hotel and The Violet Hours’ laid-back acoustic vibes.

Back at the Town Hall, the Jimmy Carpenter Band delivered another stellar set, with tracks like “Leap Of Faith” and “Wrong Turn” filling the hall with soul and rhythm. Ian Siegal followed with a brilliant solo performance,

captivating the audience with his storytelling and powerful renditions of songs like “Working On A Building” and “Psycho”. The Kyla Brox Band then brought their powerful sound to the stage, with highlights including “Run You Off That Hill” and the goosebump-inducing “Hallelujah”. The night ended on a high with an All Star Midnight Blues Jam, featuring most of the artists who had performed that day, creating a truly unique and memorable experience.

SUNDAY – WORKSHOPS AND FINAL PERFORMANCES

Sunday afternoon saw Dr Tom Attah lead a fascinating workshop on the history of blues, delving into topics like forced migration, slave music, and the roots of the genre. This was followed by more live music at the Royal Hotel, including another outstanding set from Danny Britt and Spider MacKenzie. The final night of the festival featured The Violet Hours’ melodic set and a powerful performance from Ian Siegal, whose renditions of “Whiter Shade Of Pale” and “K.K.’s Blues” were simply breathtaking.

The closing act, Kyla Brox and The Manchester Blues Train, brought a rhythm and blues supergroup vibe to the stage, featuring Paolo Fuschi, Tom Attah, and guest appearances from other artists. The highlight of the set was a spine-tingling duet between Kyla Brox and Ian Siegal on “I’d Rather Go Blind,” bringing the festival to an unforgettable conclusion.

A BLUES WEEKEND TO REMEMBER

The Orkney Blues Festival 2024 was an amazing weekend of music, connection, and community. With incredible artists, a wonderful atmosphere, and the stunning Orkney backdrop, it’s easy to see why this festival keeps growing in popularity. The date for next year’s event has been announced—April 25th to 27th, 2025. Mark your calendars, because this is one blues event you won’t want to miss!

More details will be posted at orkneyblues.co.uk/festival

FROM SAX TO STACKS

THE TERRY MARSHALL STORY

Terry Marshall, son of the legendary Jim Marshall, might have grown up surrounded by amplifiers, but his own musical journey began with the soulful sounds of the saxophone. In this exclusive interview with Stephen Harrison, Terry reflects on his life in music—from his early days as a saxophonist to his pivotal role in the creation of the iconic Marshall amplifier. Along the way, he shares stories of rock and roll legends, innovation, and his enduring love for the blues.



Stephen Harrison  Arnie Goodman

Terry’s musical career began when he was just 14 years old, already earning money as a musician. By the age of 16, he had turned professional, playing the saxophone in a band called The Flintstones, although copyright issues with the TV show meant they had to record under the alias “The Stone Age Men.”

“I bought my saxophone when I was 16,” Terry recalls. “I still use it to this day. If the house caught fire, I’d save that sax before anything else.” That saxophone has been his constant companion through decades of musical exploration, from blues to rock and roll.

Terry’s first recording experience was under the guidance of the innovative producer Joe Meek, known for his unconventional methods. “Joe Meek was a genius,” says Terry. “He made me record in a bathroom with different levels of water in the bath to get the right reverb. He even had our bass player use a matchbox and a paperclip to create the clicking sound he wanted. It was incredible.”

THE BIRTH OF MARSHALL AMPLIFIERS

While Terry’s personal love for music re-

mained strong, it was his father’s business— Marshall Amplification—that would soon take centre stage. Jim Marshall’s drum shop in Hanwell, London, was a meeting point for musicians like Pete Townshend of The Who, and it wasn’t long before they were asking for more powerful amplifiers.

“Pete wanted something bigger, something more,” Terry explains. “We started by using an RCA circuit similar to the Fender Bassman, but we boosted it from 35 watts to 45 watts. The result was the first Marshall amplifier.”

This creation revolutionised rock music. The signature Marshall sound became synonymous with the growing rock scene in the 1960s and beyond. “We had regulars like Ritchie Blackmore, Eric Clapton, and Big Jim Sullivan coming into the shop. They knew what they wanted, and it was my job to make sure they got it.”

LISTENING TO THE LEGENDS

Terry’s success with Marshall Amplifiers came from his ability to listen to what musicians needed. “I’d listen to how they played

and then design the amps to match their sound. It’s the art of listening, really,” he says.

The demand for Marshall amps skyrocketed, turning them into a defining feature of rock and roll. Soon, the iconic Marshall stack became a visual and sonic backdrop for the biggest bands in the world. “I was lucky to be part of that,” says Terry. “It was like a domino effect—one band used them, and then everyone else wanted them.”

JAMMING WITH ROCK LEGENDS

As Marshall Amplification grew, so did Terry’s network of rock legends. His connections with musicians such as Mitch Mitchell (drummer for Jimi Hendrix) brought him into the heart of the rock and roll scene. “Mitch and I jammed together when I was 18, and it just worked. He was 16, but we clicked.”

Terry recalls attending Cream’s first gig at the Marquee Club with Clapton, Jack Bruce, and Ginger Baker. “We met at the pub beforehand, and we all walked across to the venue together. It was an electric atmosphere. Everyone had their supporters—Eric’s fans, Jack’s fans, and Ginger’s fans. It was something special.”

But his fondest memories are perhaps the informal jam

“Pete wanted something bigger, something more,”

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sessions. “Eric and Jack used to come down to the shop and grab acoustic guitars. I heard them play together long before they were in Cream. They were already something else.”

ALICE ARMSTRONG AND KRISSY MATTHEWS ON THE ALBUM

Adding depth and diversity to the album are singers like Alice Armstrong and Krissy Matthews, both of whom joined Terry for this unique project. Reflecting on their experience, Alice and Krissy shared their excitement in an interview with Stephen Harrison.

“It was surreal,” Alice said, still processing the previous night’s performance. “There was so much love, community, and support in that room.”

Alice and Krissy loved the live recording experience, even with the pressure of capturing the performance in one take. “There’s an element of ‘red light fever,’ but it keeps the music wild,” Krissy says. Alice adds, “It’s like a gig. It’s real, and that’s how it should be.”

FROM ROCK TO BLUES: IRON MAIDEN AND BEYOND

Terry’s adventures in music extended beyond rock and blues, even joining Iron Maiden on tour. “I flew with Bruce Dickinson to Moscow. He’s got a commercial pilot’s license, and it was surreal seeing him flying the plane and doing the safety instructions.”

Moscow was unforgettable for Terry and his wife, Lesley, who were invited on the tour as part of Iron Maiden’s inner circle. “It was a special trip,” Terry reflects. “The architecture, the food—everything was so different. But what stuck with me most was the music, always the music.”

THE SOUL OF THE BLUES

“The only drug I’ve ever taken is music. I have to play, and I’ll never stop”

Despite his history with rock and roll, the blues remains Terry’s first love. His latest project, a live-recorded blues album, features musicians he has played with over the years. “We recorded it in four and a half days—no overdubs, no second takes. Just live performances. That’s why it’s called Live,” Terry explains.

The album, which captures the raw emotion of blues music, was a labour of love for Terry and his friends. “We didn’t rehearse too much. I let the singers choose their own songs because I wanted them to feel confident and to give their all.”

NURTURING THE NEXT GENERATION

Terry and Lesley are passionate about supporting young blues musicians. They sponsor the youth stage at various blues festivals and actively encourage the next generation. “There’s a young band I’m really keen on helping—the Blues Bandits. The drummer is just 12, and the guitarists are 13. They’re incredibly talented.”

Krissy added, “It wasn’t about competition. Music isn’t a competition. It was a night filled with every bit of ourselves.” The camaraderie that pervaded the recording process helped shape the album into something special. When asked how they got involved, Alice recalled, “Terry invited me to jam, and you know, you don’t say no to Terry.”

The spontaneous approach to recording surprised them both. Krissy remembered calling Terry a week before, asking what to prepare. “He just said, ‘Don’t worry about it. We’ll figure it out when you get here.’” That’s exactly how it unfolded, with the two artists pairing up for an electrifying duet of Hoochie Coochie Man.

Through sponsorship and mentorship, Terry hopes to keep the blues alive. “Young musicians are the future, and it’s our responsibility to give them the opportunities they need.”

BACK TO THE BEGINNING: THE SAXOPHONE AND THE BLUES

Though amplifiers and rock legends have defined much of his career, Terry’s heart still beats for the blues and his beloved saxophone. “I’ve played rock and roll, jazz, and blues, but the blues is where I belong,” he says.

Terry’s saxophone journey began with the big band sounds of Count Basie and saxophonists like Eddie “Lock-

jaw” Davis. “I was drawn to their showmanship and the raw emotion in their playing,” Terry recalls. “That’s what inspired me to pick up the sax, and I haven’t put it down since.”

THE FUTURE OF MARSHALL AND THE BLUES

As the interview comes to a close, Terry reflects on his journey. “People ask me when I’ll retire, but my heart is in this. I’ll be part of Marshall Amplification and the

Blues until the day I die.”

Whether it’s crafting amplifiers for rock gods or playing saxophone with the next generation of blues musicians, Terry Marshall remains a vital figure in the world of music. His story is one of passion, innovation, and an enduring love for the art of sound.

In his own words: “The only drug I’ve ever taken is music. I have to play, and I’ll never stop.”

“We recorded it in four and a half days—no overdubs, no second takes”

PHONE BOOTH

VOODOO WOMAN WORRIED DREAMS

 Rick Pauline

MISTY BLUES

AN INTERVIEW WITH GINA

COLEMAN

Blues Matters caught up for a chat with Gina Coleman, the powerhouse lead singer of the acclaimed Misty Blues Band. Known for her soulful vocals and magnetic stage presence, Gina has been the driving force behind the band’s unique blend of blues, jazz, and original music for over two decades.

 Colin Campbell  As credited

Words: Colin Campbell Pictures: As supplied Gina’s deep connection to the roots of blues shines through every performance. Today, she shares insights into her musical journey, the evolution of Misty Blues, and the passion that keeps her inspired. We discussed her career and her newest project honouring the songs and music of Odetta.

THE DARE THAT SPARKED IT ALL

“I became a musician on a dare. After graduating from college, I had moved to a new town in western Massachusetts, far from my roots in the Bronx, New York. I worked as a teacher’s aide in a school for children with behavioural disabilities, a demanding job that left me looking for an escape after work. One night, my co-workers decided to show me around town. They took her to a local club on a Wednesday night for an open mic event, not karaoke, but a stage for real musicians with real instruments.” Fuelled by the spirit of the night and a few drinks, she found herself being dared to sing. “I said, well, I don’t check,” she recalls, smiling. But then came the double dare, and for Gina, turning down a double dare wasn’t an option. “This was the first time I had ever been in that club, and I thought, if I do really, really bad, I can just leave and never come back.”

With that thought in mind, she stepped up to the mic and sang an a cappella version of the classic “Mercedes Benz,” a song written by Kris Kristofferson but made famous by Janis Joplin. “The place erupted in applause,” she says. To her surprise, she had not only won over the crowd, but she also won the night’s open mic competition, walking away with a $75 prize. “I thought, $75 for two minutes of work. That’s not bad!”

BUILDING A MUSICAL CAREER

After that fateful night, there was no turning back. Coleman returned the next week, a guitarist approached her, suggesting they collaborate. They formed a group called The Siblings, “That’s when I knew I was a professional musician.” Growing up in the Bronx, music was always a part of her life. “I had piano lessons starting at the age of five, I played until my teens, and I also took guitar lessons. Plus, I played in a Latin drum corps.” Her time in the drum corps honed her skills in Latin percussion, adding another layer of versatility to her musical abilities.

EMBRACING THE BLUES

Reflecting on her journey, Coleman acknowledges that her path hasn’t always been easy, but it’s been deeply rewarding. “My career has been going downhill ever since,” she jokes, referring to that first $75 win, “but in the best possible way.”

Her story is a reminder that sometimes the most unexpected beginnings can lead to the most fulfilling destinations. From a double dare to a career in the blues, Gina Coleman’s musical journey is a celebration of spontaneity, passion, and the undeniable power of music.

FROM FOLK FUNK TO THE BLUES: THE BIRTH OF MISTY BLUES

Before Misty Blues came to life, Coleman was exploring other musical avenues. “I had a duet partner, and after we split up, I started a band called Cole- Connection,” she recalls. The group played an eclectic mix they labelled “acoustic folk funk.” However, as the summer of 1999 approached, Gina got a unique opportunity to perform at the Williamstown Theatre

Festival, where she was cast as a gospel singer in a production of Lorraine Hansberry’s A Raisin In The Sun. The role required her to sing gospel blues from a fire escape built above the main stage, distracting the audience as the acts transitioned below.

Enter Ruben Santiago-Hudson, the play’s star, who had a transformative influence on Coleman. “He came to me and said, ‘You need to stop that folk funk nonsense you’re doing,’” Coleman laughs. Santiago-Hudson handed her a collection of forty-six tracks, Men Are Like Streetcars, featuring all-female blues singers from 1928 to 1969. “I consumed it, and I was hooked! “I told the remaining band members, ‘Let’s become a blues band,’” They embraced the idea, and on a whim, she christened the band Misty Blues. “There was no rhyme or reason for the name, it was just the first thing that came to mind.”

25 YEARS STRONG: MISTY BLUES AT SEA

In 2023, Misty Blues celebrated a milestone with a blues cruise to Bermuda. “We had about 75 people come specifically for our special cruise package, but there were 2,500 folks on the boat. Our people got first dibs on the venues we played each night, and then it opened to the rest of the ship. We tried our hardest not to repeat any songs throughout the week. But 90% of what we did was all different songs. The legacy of Misty Blues is still being written, one soulful note at a time.”

PASSING THE TORCH: DIEGO COLEMAN AND THE NEXT GENERATION

“Diego Coleman, a talented musician in his own right, and my son is making waves in the blues world. In January, he’ll be heading to Memphis to compete in the International Blues Challenge (IBC) for the second time with his band. I always tell him there’s always someone better, so don’t get too full of yourself. Stay grounded, because no matter how good you are, someone can come along and knock you out of the game. As much energy and effort as you put into this work, someone can pull the rug out from under you. You must be able to get back on your feet and pivot.”

THE QUEEN OF GETTING CLIPPED AT THE KNEES

When asked about the advice she passes on to her son Diego, Coleman had a knowing smile. “Oh yeah, I’m the queen of getting clipped at the knees,” she laughs. Her career has been a testament to resilience, a lesson driven home during

 Jax Devine

the pandemic. “We made it to the finals of the International Blues Challenge in 2020. I mean, we were on a rapid ascent, everyone wanted us,” she recalls. But then, as for many artists, the pandemic hit hard. “The pandemic comes and takes all of that forward progress away. And now we’re just, like everyone else, trying to be heard more, trying to be seen more. When all else fails, I’ll keep producing music.”

UK TOUR: A DREAM COME TRUE

“It was fantastic,” she says with a smile, her enthusiasm palpable. “It was affirming, you know? We got to these venues and found folks who have been listening to our music for years. We always spend time at the end of each show meeting the audience, chatting with folks. That’s everything to me. There wasn’t a night on tour where someone wasn’t asking for a song that I barely even remembered writing!”

ODETTA TRIBUTE: A PERSONAL MISSION

In August, Misty Blues released I’m Too Old for Games, the second album in Coleman’s tribute series to Odetta, the legendary folk and blues artist. The project is close to Coleman’s heart, not only because of her admiration for Odetta’s work but also due to a sense of responsibility. “We had great success with the first tribute album,” she explains, but what struck her was how many people asked, “Who is this Odetta person?” For Coleman, the idea that younger audiences might never discover Odetta’s legacy was “frightening.”

Coleman decided to double down and create another tribute. “This time, I selected songs more clearly in the blues realm, as opposed to folk,” she explains, distinguishing the new album from the first. She notes that this latest album

sounds more like a Misty Blues record while still paying homage to Odetta. “Where I charged myself to stay true was in the lyrics. I didn’t want to breach her lyrics because Odetta re-envisioned a lot of traditional music, and I felt like we needed to hold firm to that.”

ADAPTING ODETTA’S LEGACY TO MISTY BLUES’ STYLE

“Her vocal range is totally different from mine, she was operatically trained, and you can hear that in a lot of her songs,” Coleman says. To adapt, she focused on diction rather than vocal acrobatics. “Odetta was known for her clarity. You heard and understood every word she sang, and I tried to maintain that level of clarity while still being more mysterious musically.”

Recording the album live added another layer of complexity. “For the first album, we performed the show three times and got to pick the best version of each track. But this time, we only did two shows. We managed to correct any mistakes from the first show in the second, and we didn’t have to piece anything together from the between-session recordings.”

A PERSONAL TOUCH ON “JIM CROW BLUES”

One standout track from the latest album, Jim Crow Blues, holds special significance for Coleman. “The first time I heard it was on a video of Odetta performing with Levon Helm, Dr John, and Kim Wilson. It was magic,” she recalls. For this song, Coleman allowed herself the creative freedom to change a lyric. “The original lyric opens with ‘John Johnson told me, ‘But I didn’t know who John Johnson was. I thought about the message of the song, and it hit me, Joe Louis Walker would be the one to tell me something like this. So, I changed it to ‘Joe Louis told me, and it just fit.”

BALANCING TRIBUTE AND ORIGINALITY

Balancing a tribute to a legend like Odetta while maintaining her own originality was no easy task. “Politically charged songs aren’t usually my style. I’m more about the human condition, love, heartbreak, that’s the blues,” Coleman admits. However, she approached the politically potent material as a “vessel for Odetta” while also ensuring Misty Blues signature sound came through. “We didn’t want to be disrespectful to her work, but we also wanted to honour what we do best. It was a lot of work to merge the two.”

REACHING A YOUNGER AUDIENCE THROUGH FUSION

“Lyrically, our music is very blues-based, but we infuse other genres we enjoy. It’s that fusion that captures younger audiences. We draw them in with something familiar from other genres they listen to, and then show them the heart of blues. We love funk and folk, and we’re experimenting with some Latin vibes in our blues. It’s magical when it all comes together.”

SUCCESS AND THE GLOBAL REACH OF BLUES

“For me, success is when people from across the globe reach out to me, having heard our music. That’s more valuable than anything.”

She shares a touching example with the song “Hold On,” a track she didn’t write but has garnered immense praise. “I’ve had people from all over find me because of that song. I didn’t write it, but the fact that it’s brought us a new audience, that’s success to m Blues is about the human condition. It’s about love, heartbreak, and everything in between. That’s what keeps me motivated, every day, every song.”

POSITIVITY AND RESILIENCE: THE COLEMAN CURSE

Her ability to rebound from adversity is rooted in what she humorously calls the “Coleman Curse.” “Generally, I’m a positive person, but there’s this other side, bad stuff is going to happen, and I just must navigate it quickly and get back on my feet. It’s in the lyrics to my song Silver Lining. Whenever something wonderful happens, I run right into a brick wall. I keep positive because every incident that has knocked me down, I’ve been able to rebound. I don’t fear too much. Yes, it happened, but I know I’ll rebound. It’s the only outlook I have.”

LOOKING TO THE FUTURE: TOURING AND EXPANDING HORIZONS

As Coleman looks ahead, her focus is on spreading her music to more places around the world. “This next summer, we’re coming back across the pond,” she says excitedly. “The hopes are that we’ll hit Ireland and Scotland and go back to England for a few venues. We’re just looking forward to performing live in more places across the globe. That’s our main focus going forward, to do more extensive travel.”

For further information see website: www.mistybluesband.com

A JOURNEY THROUGH THE BLUES WITH

JOHN PRIMER & BOB CORRITORE

When it comes to the blues, few names carry the weight of John Primer and Bob Corritore. Together, these two musicians embody the heart and soul of Chicago blues, each with a career that spans decades and is deeply rooted in the genre’s traditions.

 Colin Campbell  Eric Kriesant

Their shared passion for the blues has brought them together in ways that have enriched both their personal and musical journeys. In this interview, we explore their early influences, experiences, and the remarkable bond that keeps their music alive today, ensuring the blues remains relevant for generations to come.

EARLY LIFE AND INFLUENCES

John Primer was born in Camden, Mississippi in 1945, into a world where the blues was as much a part of daily life as work in the fields. “I grew up around a lot of musicians in my family,” Primer recalls. “They were playing guitar and all kinds of music, so I guess it was just in my blood.” His earliest memories are filled with the sounds of guitar strumming and voices singing the blues, which would eventually become the foundation of his life’s work. By the age of six, Primer had picked up his first guitar. “I knew I was born to play the blues,” he says. “It’s all I ever heard growing up—my grandma, my parents, they played blues records all the time. Muddy Waters,

Howlin’ Wolf, B.B. King… those were the sounds that shaped me.”

For Primer, the blues was more than just a genre of music; it was a way of life. His community, his family, and his surroundings breathed the blues. “When you’re growing up in Mississippi in the ‘40s and ‘50s, you’re living the blues every day. It’s not just music; it’s how you get through tough times,” he explains. His upbringing gave him an emotional connection to the music that goes beyond notes and chords—it’s in the stories of hardship and resilience that his playing and singing convey.

Meanwhile, Bob Corritore’s journey into the blues began in an entirely different place, but with the same sense of destiny. Born in Chicago, Corritore was bitten by the blues bug at the age of 12. “I heard Muddy Waters on the radio,” he remembers with a smile. “That was it for me. I got my hands on his record, Sail On, and I was hooked.” Despite dabbling with other instruments like the guitar, it was the harmonica that truly spoke to him. “My brother had a harmonica, and he showed me

a couple of licks. I picked it up right away. From that moment on, I never looked back.”

Growing up in Chicago gave Corritore an unparalleled opportunity to immerse himself in the blues scene from an early age. Even as a teenager, he found himself in the presence of legends, witnessing the likes of Sam Lay, Koko Taylor, and Howlin’ Wolf perform live. “Chicago was the place to be for the blues in those days,” Corritore says. “I feel so fortunate to have been there at that time, to see the originators up close.”

CHICAGO: THE GATEWAY TO GREATNESS

In 1963, Primer made the life-changing decision to leave Mississippi and move to Chicago, where the blues was thriving in a way that seemed impossible in the rural South. “Chicago was like a dream come true for me,” he says. “When I got there, I was just another young man trying to make a name for himself. But I knew if I could play the blues in Chicago, I could play it anywhere.” At just 18 years old, Primer quickly

“I was just another young man trying to make a name for himself”

found his place in the city’s West Side blues scene, joining his first band, The Maintainers. “We played a little bit of everything—blues, soul, disco—but I was always the blues guitarist,” Primer recalls. His natural talent and passion for the music soon set him apart.

The turning point in Primer’s career came in 1980, when he was invited to join Muddy Waters’ band—a dream that many young blues musicians could only fantasise about. “When they asked me to play with Muddy, I jumped for joy,” Primer says with a smile. “It was like going to blues school every night. Playing with Muddy was everything I had ever wanted.” Before joining Muddy, Primer had already been discovered by Willie Dixon, another titan of the Chicago blues scene. “Willie Dixon spotted me playing at Theresa’s Lounge with Junior Wells and Sammy Lawhorn. He took me on tour to Mexico in ’79, and that’s when Muddy noticed me.” Joining Muddy Waters’ band was a pivotal moment that solidified Primer’s status as one of the greats.

For Corritore, the journey to becoming a key figure in the blues world also involved paying his dues in Chicago’s blues clubs. “I was still in high school when I saw my first blues show— Sam Lay with Eddie Taylor and Wild Child Butler,” Corritore recalls. But things truly took off when he turned 18 and could finally get into the legendary blues bars. “That’s when everything opened up. I’d go from club to club, seeing Carey Bell, Johnny Littlejohn, and Koko Taylor one weekend, and Howlin’ Wolf the next. It was an incredible time.”

THERESA’S LOUNGE: A CRUCIAL CHAPTER

One place that both Primer and Corritore hold close to their hearts is Theresa’s Lounge. For Primer, it was a critical chapter in his development as a musician. “Theresa’s was more than just a gig; it was a blues school,” he explains. “I played rhythm guitar there, and I met so many greats—Dick Lewis, Hound Dog Taylor, Blue Philip. Sometimes I had to step in when the lead guitar player got too drunk to finish the set.” It was here, playing alongside some of the finest musicians in the Chicago scene, that Primer truly honed his craft.

Corritore also holds fond memories of Theresa’s Lounge, where he first saw Primer perform. “Theresa’s Lounge was a special place. It was a blues institution, and the energy there was like nothing else,” Corritore recalls. The

LISTEN TO THE ALBUM RIGHT HERE ON YOUTUBE MUSIC:

 TAKE A MESSAGE

 CRAWLIN’ KINGSNAKE

 DOWN IN THE BOTTOM

 HIDING PLACE

 CHAINS AND THINGS

 STUFF YOU GOTTA WATCH

 ROSALEE BLUES

 YOU’RE THE ONE

 BOW DOWN ON YOUR KNEES

 THIS LITTLE VOICE

 GRAVEL ROAD

 FEEL LIKE GOING HOME

“Theresa’s was more than just a gig; it was a blues school”

venue was a breeding ground for talent, and both men credit it with helping shape their careers. “Theresa’s gave me the chance to learn from the best,” Primer adds.

THE COLLABORATION: “CRAWLING KING SNAKE”

The paths of John Primer and Bob Corritore finally converged when Primer’s booking agent reached out to Corritore about a possible collaboration. “We had crossed paths many times before, but we hadn’t worked together yet,” Corritore says. “John always used harmonica in his music, so it just made sense for us to collaborate.” Their first project together, Crawling King Snake, was a deep dive into the raw, authentic Chicago blues sound that both musicians had grown up with and dedicated their lives to preserving. “We really tried to capture that late ‘60s Muddy Waters band sound, and I think we nailed it,” Corritore explains.

The album quickly gained critical acclaim, and Primer and Corritore’s partnership flourished. “Bob liked the way I sang ‘Crawling King Snake,’ so we named the album after it,” Primer recalls. “We’ve recorded a lot together over the years, and this one feels special.” Their collaboration not only reinvigorated their careers but also brought renewed attention to the traditional Chicago blues sound. Both men remain hopeful that Crawling King Snake will earn them a Grammy, something Primer has been nominated for multiple times but has yet to win. “Maybe this will be the one,” he says with a laugh. “People need to get out there and vote for me!”

MENTORING THE NEXT GENERATION

Despite their individual successes, both Primer and Corritore are deeply committed to passing on the blues tradition to the next generation of musicians. Primer, a traditionalist at heart, stresses the importance of staying true to the roots of the music. “Real blues is just you, your guitar, and your amplifier,” he says. “All these pedals and effects, they take away from the heart of the music.

“this one feels special”

You’ve got to stick to the roots.” His advice for young musicians is simple but powerful: “Play your music, respect your band, and respect your leader. Always stay true to the blues.”

Corritore shares Primer’s commitment to preserving the authenticity of the blues, but he’s also optimistic about the future of the genre. “There are a lot of young musicians who are carrying the torch,” he says, mentioning Chicago’s Mike Wheeler and the Cinelli Brothers as examples of artists blending tradition with contemporary elements. “They’re keeping the blues alive in their own way, and it’s great to see.”

REFLECTING ON CHICAGO’S BLUES SCENE

Chicago has always been the epicentre of the blues, but both Primer and Corritore have witnessed changes in the scene over the years. “Back in the day, every club had live music,” Primer recalls. “The South Side and West Side were buzzing with blues. You’d hear people rehearsing blues all the time. Now, it’s different—technology has taken over, and there’s less of that live, raw sound.” Despite the changes, Primer remains loyal to the city that gave him his start. “Chicago is still the heart of the blues,” he says. “Every time I play at Rosa’s Lounge, it feels like home.”

Corritore echoes Primer’s sentiments, noting that while the landscape has shifted, the soul of the blues remains intact. “Chicago’s blues scene has changed, but the heart of it is still there,” he says. “It’s just about adapting to the times without losing what makes the blues special.”

LOOKING AHEAD

Even as they reflect on decades of success, both Primer and Cor-

ritore are looking to the future. Primer continues to tour internationally, recently returning from sold-out shows in Europe. “The crowds in Europe are a little different,” he admits. “They seem to enjoy the music just a little bit more because they don’t get to hear real blues as much as we do in America.” Despite being 78 years old, Primer shows no signs of slowing down. “I still get excited to travel, to meet new people, and to play the blues,” he says with a smile. “The blues has taken me all over the world, and I love every minute of it.”

Corritore, too, has a packed schedule, with plans to release multiple albums in the coming year, featuring collaborations with blues legends like Bobby Rush and Thornetta Davis. He’s also revisiting his earlier work with the Early Blues Sessions, a project that reimagines tracks from his first album and includes previously unreleased material featuring blues icons like Jimmy Rogers and Little Milton. “I just want to keep making music that I believe in,” he says. “That’s what it’s all about.”

KEEPING THE BLUES ALIVE FOR FUTURE GENERATIONS

For both Primer and Corritore, the blues is more than just music—it’s a way of life. “The blues is about telling your story, whether it’s good or bad. It’s about life,” Primer says. “People think blues is sad, but it’s healing. It makes people feel good.” Corritore adds, “The blues has a way of connecting with people on a deep level. It’s real, it’s raw, and it’s honest.”

As they continue to carry the blues torch, Primer and Corritore remain united in their mission to keep the spirit of the blues thriving for future generations. Their music, rooted in tradition but always evolving, stands as a testament to the power of the blues to inspire, heal, and endure.

FROM NEPAL TO THE AMERICAN DELTA

In a world where Blues music often feels like an American legacy, Prakash Slim has emerged from an unlikely background, proving that the soul of the blues transcends borders.

Born in a small village in Nepal, Prakash’s journey to becoming a renowned blues artist is a testament to the power of passion, persistence, and an innate connection to music. In this interview with Stephen Harrison, Prakash shares his story of discovery, hardship, and triumph, all woven into the rich tapestry of the blues.

FROM THE FIELDS OF NEPAL TO THE BLUES

Prakash’s humble beginnings are a far cry from the stereotypical image of a blues musician. Born in a small Nepalese village that didn’t even have electric light until the 1980s, he grew up in a family with limited resources. His father passed away when Prakash was young, leaving his mother to raise three children on her own by working in neighbours’ fields. Despite the hardships, Prakash found his solace in music.

“I was interested in music since I was a child,” Prakash reflects. “I would play music by drumming against a white garland and sing songs all day, whatever I heard on the radio. But I didn’t have the money for a guitar. When my sister gave me a bicycle, I traded it for a guitar.”

This first guitar would ignite a passion that would take Prakash far beyond the fields of Nepal. He began learning basic chords from a local guitar teacher, and after completing school, he gave up everything to find a mentor who could teach him music theory.

“I found a teacher and joined his band, where we played a mix of rock and instrumental blues. But it wasn’t until I heard Robert Johnson, Charlie Patton, and Mississippi Fred McDowell that I knew I had found my true path,” he says.

DISCOVERING THE ROOTS OF THE BLUES

For Prakash, the blues has always been more than just a genre. It’s a feeling, a connection to something deep and spiritual. While his early influences included modern artists like Jimi Hendrix and Eric Clapton, it was the Delta blues legends that truly captured his heart.

“When I heard Robert Johnson and Charlie Patton, I felt it in my soul. There was something about their music, the way they played guitar and expressed their lives through their songs. It resonated with me.”

Although separated by vast oceans and different cultural experiences, Prakash felt a deep connection to the African American roots of the blues. “The blues isn’t just music,” he explains. “It’s a culture, a history, and a way of life. I’ve spent years researching the history of the blues, and it’s important to know where it comes from if we want to keep it alive for the next generation.”

A DREAM REALISED: RECORDING AT SAM PHILLIPS STUDIO

One of the pinnacles of Prakash’s musical journey has been recording at the historic Sam Phillips Recording Studio in Memphis. The studio, where legends like Elvis Presley, Johnny Cash, and Howlin’ Wolf recorded, was a surreal experience for Prakash.

“It felt like I was part of history,” he recalls. “To be in the same room where these iconic artists recorded their music was overwhelming. I could feel their presence in every corner.”

The atmosphere at Sam Phillips Studio, with its vintage equipment and storied history, left a lasting impression. “I saw the table where Elvis burned a hole with his cigar. The chairs where Johnny Cash and Elvis sat… it was like stepping into a sacred place.”

FROM THE STREETS OF CLARKSDALE TO THE CROSSROADS

Prakash’s connection to the blues deepened further during his time at the Juke Joint Festival in Clarksdale, Mississippi—a town synonymous with the blues. Walking the same streets as Robert Johnson, B.B. King, and Muddy Waters, Prakash felt like he had arrived at the heart of the music he had spent years studying.

“Clarksdale was like a dream come true,” he says with a smile. “Every bar, every street corner had someone playing the blues. It was a welcoming community, and every-

 Sujan Khana

one was so supportive. Even walking down the street at midnight, I heard someone call my name. They recognised me and invited me to sing. I was overwhelmed.”

Prakash had the chance to visit some of the most iconic blue’s landmarks, including Robert Johnson’s grave and the Riverside Hotel, where many blues legends once stayed. His experience in Clarksdale reinforced his belief that the blues is more than just music—it’s a way of life that has shaped communities and cultures across America.

WRITING THE BLUES FROM THE HEART

For Prakash, songwriting is a deeply personal process. “I always start with the lyrics,” he explains. “The lyrics come from the soul, and then I build the music around them. It’s important to me that the music reflects the purity and emotion of the words.”

Prakash’s focus on the lyrical aspect of the blues sets him apart from many musicians who begin with the music first. “The lyrics have to feel right,” he says. “Whether it’s a driving rhythm or a slow slide guitar, the music needs to complement the story the lyrics are telling.”

His passion for the authenticity of the blues has earned him the admiration of fans and musicians alike, including his close friend and mentor, Johnny Burgin. “Johnny has been instrumental in helping me get to the U.S. and navigate the blues scene here,” says Prakash. The two have toured together, playing at festivals like Juke Joint, where they were warmly welcomed by blues enthusiasts from around the world.

KEEPING THE BLUES ALIVE

Prakash Slim’s dedication to the blues goes beyond his performances. He is passionate about preserving the roots of the music and passing on its traditions to future generations. “It’s important that we keep the history of the blues alive,” he says. “We need to educate young musicians about the African American culture that gave birth to the blues and help them understand its true essence.”

BLUES

Despite the modern twists many artists add to the blues, Prakash remains grounded in the traditional Delta and country blues style. “I don’t mind that people are evolving the genre,” he says. “But we can’t forget where it came from. The blues is about life, about telling stories, and expressing emotions. It’s a universal language.”

THE FUTURE OF PRAKASH SLIM

Now living in the U.S., Prakash is continuing to share his love of the blues with audiences across the country. Based in New York, he has plans to tour extensively and dreams of one day playing at iconic venues such as the Ground Zero Blues Club in Clarksdale. He’s also looking to expand his career internationally, with hopes of performing in the UK and Europe.

When asked about his dream collaboration, Prakash’s eyes light up. “I would love to record with Rory Block. She’s one of my idols, and I think we could create something special together.”

For now, Prakash is focused on promoting his latest album and continuing to write songs that reflect his deep connection to the blues. “I’m just happy to be here, playing the music I love and sharing it with others. That’s what the blues is all about.”

Prakash Slim’s journey from the fields of Nepal to the blues clubs of America is a story of passion, perseverance, and an unwavering connection to the soul of music. With a deep understanding of the history and culture of the blues, Prakash is committed to keeping its traditions alive while adding his own voice to the genre.

As he continues to tour, record, and collaborate with blues legends, Prakash Slim’s name is sure to become synonymous with the next generation of blues artists. His story is proof that no matter where you come from, the blues can find its way into your heart, and if you follow that calling, the world will listen.

Find out more about Prakash at www.prakashslim.com

 Suzi Petrucci

ROCK, ROLL, AND REBEL ROOTS THE SHEEPDOGS

Far from being Outta Sight, as the title of their highly acclaimed 2022 album release states, The Sheepdogs have been champing at the bit to release new music for their growing worldwide audience to enjoy. So, it should come as no surprise that they have just released two tranches of new material across two EPs.

Far from being Outta Sight, as the title of their highly acclaimed 2022 album release states, The Sheepdogs have been champing at the bit to release new music for their growing worldwide audience to enjoy. So, it should come as no surprise that they have just released two tranches of new material across two EPs.

Yet, the surprise is that the thirteen recorded tracks also form a tantalising album’s worth of complementary music. The tight and powerful harmonies remain present, as do the beguiling, tuneful melodies. Also present are the harmonious guitar interplay and immersive instrumental breaks. Plus, Ewan Currie’s distinctive and slightly plaintive singing translates his compositions with a vocal gravity that few artists possess and listeners remember.

RYAN GULLEN’S NEW ROLE AS LABEL HEAD

Both EPs, Paradise Alone and Hell Together, suggest a connective storytelling narrative at play. This narrative, as trucker’s cap–wearing bassist and band manager, original member Ryan Gullen, reveals to me via a Zoom call from his Toronto home office (with platinum and gold records proudly framed behind him), connects deeply with their ethos. “It makes me feel like a record executive in here,” he wryly observes. “Now that we have our own label, I’ve got to feel like a record executive,” he firmly declares. “I was away on tour a few years ago, and my partner, as a Christmas present, redid my whole office. It’s very much in the style of a 1970s record executive’s office… like I got a bar and things like that... it’s nice,” purrs this cool cat who is enjoying the success of their hard touring and recording work.

RECORDING ON THE ROAD: CAPTURING MOMENTS IN TIME

Ryan explains the product of their recent musical labours: “We actually recorded those two EPs separately. Paradise Alone was

recorded last spring in Memphis in five days with our good friend Matt Ross-Spang, who we worked with on our Future Nostalgia (2015) record. Back then, he was a young, up-and-coming engineer. He’s now gone on to win Grammys and is a very celebrated engineer and producer.” A feat achieved from working with The Sheepdogs, no doubt. Ryan continues, “It’s been about a decade since we worked with him, so we really wanted to go back there. He has an amazing new studio that he’s built in Memphis. So, we did those songs there.” All the songs were recorded live in the studio. Ryan continues, “The Hell Together songs were sort of recorded whenever we could fit in time on tour, in Toronto, at a studio with Tom D’Arcy, who we’ve collaborated with on several projects.”

A CREATIVE FREEDOM IN INDEPENDENT RELEASES

The familiar feel of being with old comrades in music shines through both sets of songs, which easily become new musical friends. Ryan continues, “We find these windows of time and we’re not overly precious about how we release them. Instead, we just continually put out music.” This freedom comes from a hard-won independence: “We were able to get out of our record deal with Warner, and we’ve started our own label with the idea that we reinvest the money we earned from our catalogue by continuing to put out music.”

INFUSIONS OF CLASSIC ROCK: SOUNDS OF CSN&Y, EAGLES, AND ALLMANS

Ryan agrees with me when I state that both separately recorded EPs create a wholesome album infused with the sounds of CSN&Y, Eagles, Allmans, and Barefoot Jerry: “I think what’s kind of funny about it is, in hindsight, they work really well together. I think the goal was really that we’re very much in the mindset that the best content you can put out is music. Our goal was to release things consistently. So, we recorded these two separately and released them separately just so they could come out.

 Paul Davies  Mat Dunlap

Rather than waiting to release in November, it was nice to have something come out at the tail end of summer to coincide with our US tour in the autumn and vice versa. It’s cool how they complement each other, even though they were recorded in very different places.”

“can you imagine writing just one of those, let alone all twenty?”

BRYAN ADAMS CONNECTION: A SHARED JOURNEY IN MUSIC

This tale of the tape also brings a global Canadian superstar into play: “We were on tour in rural Quebec with Bryan Adams, and we had a few days off. We rented a cottage just to stay between shows and ended up setting up some recording equipment and finished a lot of this record in that space,” Ryan reveals. “It’s funny how they all work together. I always look at records as capturing a moment in time. When I go back and listen to old records, I can remember all the various senses of what was going on in life and within the band, or even just the setting of the recording. While these two were recorded and written in very different places, there’s a cohesiveness that wasn’t necessarily anticipated either.”

ON THE ROAD SONGWRITING: FINDING TIME TO CREATE

Ryan further explains the creative compositional process of conjuring up songs during their intensive touring schedule: “Ewan is our primary songwriter. He wrote all the songs, except for one which was written by Shamus, who is his brother,” he confirms. “A lot of ideas happen off the road, but many times we’ll try them out while we’re on the road or once we get to the studio. It’s challenging with our schedule to find that time. Ewan will often try to find moments where he can escape. So, on our last tour, for example, he went to a hotel room with an acoustic guitar and some recording equipment just to try demoing for a bit. But for the most part, the writing happens off the road, and then it’s just a matter of finding the time to get everyone together to record them.”

SUPPORTING BRYAN ADAMS: A LESSON IN INDEPENDENCE

I take the opportunity to ask how they ended up supporting fellow Canadian Bryan Adams on tour: “He’s a fan. We have some mutual friends who connected us, but I know he’s a big fan. He likes our music, and we share a lot of musical tastes, which is cool.” Ryan continues, “Interestingly, I’ve managed the band for many years now. And

Bryan, in the last couple of years, has parted ways with his management and is managing himself. So, he really loved that we were an independent band managing ourselves and starting our own label because he’s essentially doing the same thing but on a much larger scale.”

He says of the Ontario-born rocker, “Most of his songs are some of the top-selling songs in music history. Unfortunately, we do not have the luxury of that. But it’s really inspiring to see a guy that, as he ages, doesn’t want to relinquish control or just let things go. He’s the opposite. He’s basically decided, ‘I should be in control of this. I’m the one who has the ideas and the inspiration to do this.’ So, yeah, we spent a lot of time talking about that backstage, sharing tips and talking about different things. It was an interesting experience. I’ve always been a Bryan Adams fan. As I grew up, he was on the radio. My mum was a big Bryan Adams fan. You gain a whole new appreciation later in life, watching him perform, hearing these songs again live. It’s great.”

MEMORIES OF THE TOUR: LESSONS FROM A LEGEND

Ryan generously shares more memories from this memorable supporting tour: “When we got out of Montreal and Quebec City, we’d get to these rural areas, and we’d be playing in towns with populations of 30,000, and there’d be 45,000 people at the concert. It was a very surreal experience. We were watching his set at one of the first shows, and there’s twenty-plus songs, and they’re all

hits—you know every single one of them. I thought, can you imagine just writing one of those songs, let alone all twenty? It’s wild!”

LOOKING AHEAD: MENTORING CANADIAN ROCKERS, THE COMMONERS

In a twist of fate, Ryan and his fellow Sheepdogs can now provide a step-up experience to fellow Canadians, The Commoners, on their upcoming UK headlining tour: “It’s fun for us to bring another Canadian band over with us and expose them to the audience we’ve built over many years,” he generously asserts. “It’s awesome that a group of guys from Canada are doing some rock’n’roll, and we’re happy to have them along for that.” Just like the title of their debut album, Trying To Grow, The Sheepdogs are carefully managing their future independent development while benevolently giving a leg up to fellow artists in the rock’n’roll game of snakes and ladders. That’s sure to be a paradise-together experience.

BLUESMAN

ANDY FAIRWEATHER LOW

As a lad, Andy Fairweather Low had one driving ambition – to be a professional footballer, a goalkeeper, no less. He now jokes that despite having the jumper – ‘My mother even made me the shirt with the number 1 on the back’ - he would never have made it anyway given his height!- frankly, I was never going to be tall enough!’ In this case, it’s definitely a case of football’s loss being international music’s gain!

 Iain Patience  Supplied

His life and ambitions took a serious diversion in 1964, as he explains:

“I had ‘66 to ‘71 in London with Amen Corner. I went off aged 17, I’m now 76 and I’m still playing! I’m not playing at moment but I will be again next year.”

“Someone in school said – ‘There’s a show tonight at Sophia Gardens (Cardiff), we should go. It was the Stones on a bill with Mike Sarne and Jet Harris, the Leroys – and I was just in the audience when the Stones came on. They finished the first half then started the second half with ‘Talkin’ About You’ - and that’s how I remembered it and a few years ago Bill Wyman put together this coffee-table book and it had the set-list from that night in it. February 28th, 1964! I was able to say to Bill, ‘I was there!’

“From that moment - there was no plan – it was like catching a virus, that’s all. I got it and I couldn’t get rid of it. I was just a schoolkid absolutely fixated on playing football, every weekend, every evening, after school, all through the summer, whatever it was, football!”

We tackle the new, upcoming album, ‘Invisible Bluesman” and Andy runs through few tracks and why they’re included. His first true hit back as a lad was Gin House Blues, and that is included. But as a highly respected and admired UK player, I question the title and why ‘Invisible’?

“When Things Go Wrong’, I got that from Eric, really. Rollin and Tumblin’ another great song, Gin House, of course. All tracks that mean something to me.”

‘This whole idea came from Malcolm Mills who used to have Proper and now has Last Music Company.I always have this problem with blues music. If I hadn’t been in Amen Corner it would have been easier to be taken seriously and break in but I was playing with the Big Time

Playboys and we played this club round Leicester way. We finished the gig – and every gig with the Playboys is just great and I loved being with them, it was absolutely fantastic. Well, we finished the gig and I just went into the toilet to wash my hands and one of their real ardent fans popped his head in the dressing-room and said ‘How am I gonna tell them that I liked Andy Fairweather Low?! Even Eric went???? It was summer of 96 and it was a gap when Eric was in the studio doing a film soundtrack and I wasn’t involved. But some other band-members were. But he asked another band member what was Andy doing? He replied, Andy’s with the Big Town Playboys.’ And this is exactly what Eric said – ‘What’s he gonna wear!’ They’re a fifties outfit, so he asked’ What’s he gonna wear?’”

But I got on with it anyway. And it’s a hurdle at times but it’s also a good thing that my history brings people to the gigs. It was only three years really, and my solo career, only three years! But I’ve made a living playing guitar for twenty-six years.

I mention the inescapable fact, he’s played with almost everyone of musical note and he laughs, agrees, shakes his head in wonderment and adds: ‘Yup, and that’s what paid the bills. I got very little money with Amen Corner. Got very little money with A&M! When things went titsup for me in London, I came home but I didn’t have a car.”

He points to a photo of a Hillman Imp on a worktop nearby: “That was my mother’s car. She said, you can borrow it and I loved it. I still love it to this day! When it wouldn’t start on a cold day, you could actually get in it, push it and get it going. If I had it now, I’d actually have it in the house. I obviously don’t have room big enough but I think it’s an iconic motor. It was a fabulous design and very small as well.”

“As in all things, sport or music, writing or whatever, there’s those that are gifted then there’s the others like me and we have to work at it, literally I practise, I must have that facility to work on it every day – unlike maybe Eric or Hendrix “

“Back to Malcolm Mills, it was his idea. He said, I don’t think people know about it. We need to just focus on it and he came out with this phrase, ‘The Invisible Bluesman.’ And that’s exactly how I feel! Keep in mind that Ian Jennings, who was with the Playboys and is in the Low Riders, he was doing an album with a bunch of people and a Lightnin’ Hopkins song – and I play a Lightnin’ Hopkins instrumental – but could I get on that album – NO! Then there was a track, Mississippi John, part of my own history, background, and again could I get on that – NO! I accept it now, I just get on and do what I do but that’s why I thought ‘why not, let’s go ahead, let’s do this album!”

We chat about influences and pickers he admires:

“For me, to this day, Gary Davis – I try to explain it to other people, so I meet more modern guitar players and they say ‘But he’s out of tune!’ I say, so, what he’s doing it’s off the bloody scale! It’s like Joseph Spence. People go, oh, who…. He invented a style, it’s like not that easy, inventing a style on that guitar that thankfully Ry Cooder focused on and made his own. There’s so many guitar players that hit that mark – Lonnie Johnson, Roy Smeck. These were people who were just off the scale with their playing ability-wise. Smeck was a virtuoso. His work just hits me – not that I’m anywhere in the league with him – I saw a documentary but he finishes his show with a thank you, someone says, ‘You’re a genius’ and he says, ‘No, I’m a very lucky man and I’m very grateful!’ And that’s me, I’m a very lucky man and I’m very grateful.”

I mention having caught a set by US player, Mike Farris at Skegness a few years ago and how Mike came on stage and talked about working with Andy who until then he’d never heard of. Mike launched into ‘La,la, la, la…’ and everyone in the crowd joined along in the ‘If Paradise’ chorus:

“That was a Paul Jones concert, I think,” he says with a wide smile of appreciation. “I was a guest and went on and just did that!

I mention Cerys playing Gin House Blues on her BBC Radio 2 Blues show the night before we meet and he laughs and says: ‘She did, and that’s another thing, I couldn’t get on that show either. I’ve played with BB King, Otis Rush, Eric Clapton , so many and instead she has these modern groups and I’m not being invited on any of the shows. Then, because of this new one – and Malcolm Mills – she played it last night, thanks, but up until then not a scratch!”

We briefly consider the show itself and the tricky tightrope she must have faced taking over as presenter on the legendary programme:

“I listened to her, after Paul, and she grew into it. I used to think it would be good to get on that programme, but it never came! Now, I’ve gone past caring.”

“I didn’t get to London till October ‘66, but Paul Jones already was there at the very beginning! Those bands had been going since ‘62 or ‘64. And that gap, they all are, still are, the people I used to go and see; my kind of heroes and luckily I’ve got to pay with most of them!”

“Back then, Amen Corner would play soul music all night! Gin House Blues, that came from Zoot Money’s big band – it was so good that band’s like Zoot – Paul Williams was his bass player and sang it – that’s where I got it from. Georgie Fame and the Blue Flames, Chris Farlow, they all came and played round this area so I’d go see them, and think – wow, I’ll never be that!!”

“And of course, we never were that, we were a pop group but we’d play soul numbers and it was only after “Bend Me, Shape Me’, that things changed. Our manager, Roy King, suggested we try ‘Bend Me, Shape Me,’ so we did. I wasn’t overly keen on it. I didn’t like the American version, it was a hit in America already. I changed the arrangement, I got a piano riff from Smoky Robinson, a song that he recorded – More, More, More, I think the song is called – and the riff is ‘Da,da,da,da,da,da,da, da…’ So, we recorded it that way and I liked it till we put the brass on! There’s a trumpet, and we never had a trumpet in Amen Corner. But I did like it being successful,” he jokes!

“We followed it with High in Sky, Roy Wood’s Hello Suzie and stuff in that vein and we became a pop group!”

It’s common knowledge that he took some time out from touring and playing following the tragic loss of his wife recently and we touch on this briefly:

“I was persuaded by Eric Clapton to go and tour with him for two weeks in America, then I said no again. He knew I was sitting here at home ruminating so he asked me to come open for him for ten days at Albert Hall. I did that and again thought, time for a break, I’m done now!”

I mistakenly ask if he did the Jeff Beck RAH gig and he says: ‘No, I didn’t do that one. I was away doing something, playing somewhere, otherwise I’d have been doing it! I was a big fan of Jeff; he came to a gig in a fabulous old theatre, can’t remember where it was, but normally I think ‘Well, he won’t be there at the end of the gig.’ But he was. Normally, it’s like, ‘We left at half-time’ so you miss them! Robert Plant came too, at Worcester. He’s a lovely guy! He was also so supportive.”

But with a new album in the works, he again looks to the future:

“So, John Taylor, my manager, has set up this tour for next year; there’s got to be something in the diary, and that’s it for now! Two months full on – February and March next year.”

“We’re on a round we know well, been playing it since around 2007. I know the venues and I like it. Crowds of maybe three or four hundred, and I like that size. I’ve played arenas and stadium gigs over the past 24 years but I’d rather play theatres and arthouses nowadays. Though I wouldn’t mind the money from the big ones but for the feeling and satisfaction of playing and controlling the dynamic, give me where we play!”

Looking back, he is content with his truly remarkable career:

“I was sixteen when I picked up a guitar and within two years we were in London! In ‘64 I saw a Stones show, in ‘66 I’m actually in London playing clubs. Bloody Hell! I had a level of self-belief with so little talent but it got us through. And the band was good enough in one of the clubs we used to play – the Speakeasy - where we’d play half hour sets till the club was quiet and Laurie who run the club would tell us it was okay to pack-up. Jimi Hendrix came up, certainly played with us twice. On one occasion he wanted to play bass. We were dong ‘Can’t turn you Loose’ and he asked to join. So, I flipped the bass upside down and he played with us. And I know the first tour Amen Corner did was the Hendrix tour, with Pink Floyd, The Nice, The Move. That was a fabulous time. Cathy Etchingham, his girl at the time, was asked a question about that tour – she says, he (Jimi) said he didn’t know much about the other bands on the tour but he thought Amen Corner were alright!’ I’ll take that!”

“We were playing soul numbers, we weren’t a pop group then.” I interject asking was Hendrix an immediately remarkable talent back then:

“Listen he came on – I was at a sound check at the Albert Hall for the first gig – the word had gone out, Hey Joe was released, we’d all seen and heard that on Top of the Pops and on radio – then you got to see this thing live and it was, like, incredible. And – not just at Royal Albert Hall – but on tour. We got to see him twice a night at about nineteen venues. It was unbelievable. He was raw, he

was unfiltered. Sometimes the guitar couldn’t cope with what he was doing with it; it’s all more advanced now, but it was just fabulous! Nothing processed – just in and out straight, Marshalls, loud – that was it! “

“He was a lovely man, lovely, quiet, peaceful man – not that I had too many conversations with him but he seemed to have a fabulous attitude that everybody liked, he was really polite and cared.”

“I was in New York for Andrew Loog Oldham in 66 – I’m not a fan and he’s not a fan of mine, so it works out rather well – I got a phone call from our then manager that Jimi wanted me to get down to the studio and do some backing vocals with him. When I got there Roger Chapman was there too. We cut a version of Stone Free which in my humble opinion was nowhere as good as the original but I was glad to be there and myself and Roger did some backing vocals.” Andy explains, singing, some super-high out of comfort range notes – then adds, “I love Roger too, a lovely man. So yea, looking back it was all good!”

When the question of media exposure and support over the years crops up, Andy shrugs, laughs and concludes he is mystified at times:

“There was a Welsh TV programme - I’m not bitter, by the way,”– he laughs – “ they did a show on the acoustic guitar and it featured lots of people. I was on ‘Unplugged’ - the revered Clapton multi-million selling album , Clapton credits to AFL- and I didn’t get invited. They were all modern groups, and it was shot by a Welsh company too but I didn’t get a thing. So where do I see myself now, if I carry one, if I get the flame going, it’s like my show with the band, the Low Riders, we do surf, rockabilly, Rocknroll, blues, soul, the old songs, the pop songs, I pick up a couple of gospel songs, Mississippi John Hurt, a Magic Sam number – they say, ‘You’re not doing that are you?. I do, because I can!”

Unplugged, leads to him expanding:

“In ‘91, to do unplugged, Eric phoned up and said ‘Have a look at Malted Milk by Robert Johnson.’ So I put it on and went ‘ Do you want to do that. Okay, I’ll have a look at it but it’s the only untypical Robert Johnson number. It’s got a diminished chord in it and as I found out later it’s more in the style of Lonnie Johnson -on a Texas Alexander album, gawd knows how many years earlier and some of the parts are on Malted Milk. So that’s how it went. Back then we had no DVDs, there wasn’t a book on it, I had to play it and play it and play it, and sort it out. And I did and Eric sings it absolutely fabulously.”

Another track he cut and loves is ‘Pipeline’:

“At the Albert Hall with Eric we did ‘Pipeline’ too – I’ve done ‘Hideaway’, so many, whatever. I remember being upstairs in Llanrumney (as a kid) when it came on the radio and it’s stuck with me ever since. All those early

songs, without being complicated, it’s whether it touches you. I’m afraid that kind of music, it got me then and it still has me.”

We turn to music generally and other players in general. Andy says: “There’s lots of them, wherever I am, whether it’s, say, Birkenhead with the band, there’s some good people everywhere, some great players who never get known. “

We were on tour, with Eric, a big band tour, double headers with Elton John in America. One day in the car going to the venue with Eric he gave me a disc and said ‘Have a listen to this, take this with you. Chicago Bound, the album by Jimmie Rogers. And that was it, it started me on the blues research cause it took it back. I remembered being in the flat of our drummer in the Sect Maniacs, the band I was in back then, and we were playing Robert Johnson, Blind Lemon Jefferson, then he put on Green Onions or some Booker T and I’m going ‘That’ it, that’s what I want!”

“Then. back in 71, we’re in Elstree in god knows how many acres of land and I got the Robert Johnson album. I put it on, went, ‘Yea,’ next track, and I passed it by again! Of course, I got it later, got it big-time! But his singing and playing – the playing is, well, it’s never been equalled. You just cannot equal what he did on Terraplane Blues – it’s the touch plus the fact it’s got a hitch!”

Turning to slide guitar: “I never mastered it. I did it eventually. You got to apply yourself and I did when I got offered the job by George Harrison. But Stefan Grossman, he was so important to me in the early days of picking because of his cassettes and his books. He never had Malted Milk on it but I would delve into that and I’d send off for his tapes and eventually when he did the DVDs, I got them all off him. A very influential man, very important to me!”

“There was always a key, a trick. You needed to know what the trick was – maybe he’s tuned to, G or D, or the way he plays a particular chord. And that was how Robert Johnson did it too. Up until then we were all based on beat-group guitar, not that style of playing. Lightnin’ invented a way of playing, never mind getting onto Blind Blake or any of those that were just ridiculous.”

“However many lifetimes I live, Blind Blake is easier to explain to another guitar player cause he was in tune, he basically played stride piano on guitar but with Gary Davis I have to say ‘I gotta tell you, you gotta realise what this man is doing!’ I spoke to Ralph McTell about it, another lovely man – hopefully we might do something together sometime – Ralph does a Gary Davis song he wrote, and he just has that style of playing, he gets it! If you can play, you get it!”

“I do ‘Hopkins’ ‘Lightnin’ Boogie’ on the new album and I remember we opened up for Eric in Madison Square Gardens, in New York, for his 75th birthday party. It was

great and Jimmy Vaughan was on the bill. As I came off stage, Jimmy was at the side and he said, ‘Hey man, you played ‘Lightnin’ Boogie’, - it was a bit patchy, I thought, but hey-ho I did it. I’m a big fan of Jimmy, he’s a lovely man, always has a great band, I’ve seen him many times sometimes with Eric on tour.”

I ask what or who still inspires his music: “God, yea… so many. I can’t think of the name of the BB King instrumental I’m working on right now!’ he says with a shake of the head and a laugh. “Always Albert King, “Live Wire, Blues Power’, he does a version of Stormy Monday and that intro is just staggering! The power he gets off those strings. That’s fabulous. I’m learning to pick on another song by Blind Blake and I have Jimmy Reed on in the car! I’ve dug into Washboard Sam, I like him – one with Big Bill Broonzy playing guitar. With Big Bill’s playing, you can hear a few of his licks too! Just fabulous. Big thumbs – there are two can do it – you need two people just to play like it. I can play a bit but those thumbs. Big Bill and Gary Davis! And Wes Montgomery, you need two people to play like him! But the three Kings are always up there, Albert, BB and Freddie!”

“I’ve been playing for sixty years and sixty years on, I’m no closer to how good they are! Don’t get me wrong, I’m not great but I’m good. But I’m no closer to Wes Montgomery, Gary Davis, Blind Blake….that’s how good they were! That’s like how good a singer Ray Charles was! And Count Basie!”

“If you want to be a musician, that’s where the bar is set – it’s not with ‘I Wanna Hold your Hand’ – which I love, by the way – no it’s Basie with Jumpin’ at the Woodside.’ That’s the bar! That’s rockn’roll, it’s so exciting!”

It’s hard to ignore others he has worked with through the years and names come thick and fast:

”I worked on the ‘Who Are You’ album, so Keith Moon was good company. I never saw the madness but it was there. He came down to see me with Lionel Bart at Dingwalls once. He was a nice guy.”

“Stevie Nicks, Dave Crosby, Linda Ronstadt, I worked a lot with Bernie Leadon of the Eagles. He played bass on ‘Wide Eyed.’ He was is in town with the Eagles and the producer, Glyn Johns, asked him down to the studio. So, he came and played and I’ve worked a lot with him.”

And now, with his solo release and his own band, The Low Riders, we fast forward:

“The Low Riders are great, we have it right now with Ian Jennings, Nick Pentelow, Paul Beavis, we have a baritone and keys now. It’s like the Blue Flames or the Zoot Money set-up now. I love it. They’re not just great players, they’re great company. If it’s not working offstage you can forget it, cause that’s where the most time is spent. There’s some rough old times and some good old times, so you need to have good people with you. With the Low Riders I

certainly have that.”

We finish with me cheekily asking him to play “Wide Eyed and Legless’ for me. He grabs an old Gibson Archtop guitar and off he goes as we sing along on the chorus. Following that he plays a bit of Blind Blake and we both laugh. I tell him how much I love ‘Wide Eyed’ and he says he too loves it but Glyn John’s wanted a verse cut from the original version.

“Georgie Fame likes it too, he’s recorded it. I’ll take that,” he says with a wide grin!

ELECTRIC AVENUE EDDIE 9V

Eddie 9V’s latest offering follows hot off the back of last year’s chart-topping album Capricorn. The latter was a record that was Number 1 in the blues chart for a week until it was knocked off the top by Bonnie Raitt.

 Adam Kennedy  Supplied

In the music industry, you’ve got to be prepared to take on the heavyweights to stake your place at the top. With his latest offering, Eddie 9V, or Brooks to his friends, battled with Bonnie Raitt, and his previous album faced stiff competition from The Black Keys. Despite this, Eddie 9V is prepared to roll with the punches. “I don’t feel bad. I mean, it was good to debut at Number One. That felt really good. And, I can say that I did that,” proclaims Brooks.

EVOLVING SOUND: FROM BLUES TO AMERICANA

As an artist, you must evolve. There is no point in simply making the same record repeatedly. Eddie 9V’s latest album sees the artist pushing his sound into the soulful Americana space. His transition into this area was catalysed by working with members of US singer-songwriter Nathaniel Rateliff’s band in Denver. “A month before we put out Capricorn, we went out to Denver to record with the drummer of Nathaniel Rateliff’s band. His name is Patrick. So, he was going to produce the album. And there were a few horn players from The Night Sweats,” recalls Brooks.

RECORDING CHALLENGES AND THE DENVER CHAPTER

However, not all went to plan during these sessions. “That thing in Denver kind of fell apart. I mean, we’re still friends. I saw Pat the other day. It’s just the logistics when you’re a band our size—it’s just hard to get everybody over. So, the logistics kind of messed up.” This led Eddie 9V and his band to reassess their approach and continue recording in their home studio.

A DIVERSE SOUND: BLENDING STYLES

The result of this stance was that there is a slight difference between songs from the two different chapters of the recording process. Not that it hinders the album by any stretch of the imagination. “That’s why you have all these different songs. You’ll go from Saratoga to Cry Like The River and then Red River. It’s just a lot of different stuff,” said Brooks. “So it’s all over the place, but in a good way, I think.”

A FAMILY AFFAIR: WORKING WITH LANE KELLY

Eddie 9V’s latest album was very much a family affair. On

Saratoga, Eddie 9V worked with his brother, the much-respected Southern musician Lane Kelly. Working with Lane at their home studio allowed Eddie 9V to capture strong demos on the fly. “Realistically, what happens is Lane’s at the studio, and I’ve got an idea. He fires up all the boards and the compressors. And I’m very grateful for that because I get the demo out,” explains Brooks. “And a lot of these demos end up being songs on the record, like Love Moves Slow, Red River—those are just demos that ended up being on the record.”

A STUDIO LEGACY: AMY WINEHOUSE’S CONSOLE

When you think of iconic soul singers from recent times, a name that might come to mind is the late, great Amy Winehouse. Eddie 9V now owns a piece of studio equipment that the legendary artist used to record some of her Back to Black record. “This past year, we got a board—a console. We actually bought the original Daptone Records console. And that’s another reason why we’ve got to play so many shows—so we can pay for it,” he jokes.

A PIECE OF HISTORY: AMY WINEHOUSE AND THE TRIDENT BOARD

The board in question was used by Amy Winehouse and producer Mark Ronson during her seminal sophomore album. “The whole reason why we bought that board is to say—hey, Amy Winehouse sang Rehab on this board. So come on in. And that’s going to be the selling point. And it is crazy because there are videos on YouTube; I was watching the other day of Amy sitting at the board with Mark Ronson.”

RETURNING TO THE UK

Following a whistlestop visit to the UK earlier in the year, Eddie 9V will shortly be returning for a run of headline dates as well as a show with Robert Jon and the Wreck. “I’m really looking forward to it. We had a lot better reaction in the UK than I thought. We were playing these small clubs, but they were packed,” said Brooks. “I think my favourite show might have been in Bristol at The Louisiana. I’ve nothing against the other ones, but the energy of that show. Also, it helped that I was walking down the street, and people were like, ‘Eddie, what’s up, mate?’ I’m like, I got recognised. I like this town.”

PRODUCTION AND FUTURE ALBUMS

Moving forward, aside from touring, Eddie 9V has production jobs on his agenda. “It’s touring and just constantly writing music. I’ve been producing a lot more stuff. I produced an early ’70s Wurlitzer jazz, Grant Green-type record. I’ve been producing a lot. I’ve been going up to Nashville, meeting a lot of new people,” Brooks explains.

COLLABORATIONS ON THE HORIZON: A STAR-STUDDED NEXT ALBUM

Eddie 9V has a clear vision for his next album and the artists he wants to collaborate with. “I want to do a record where I have guests on the record. I think that’s probably my next idea for a record. I’d like to manifest getting Marcus King and maybe Nathaniel Rateliff. And getting some people, because I met them. And I just want to make a really good album. I want to make something that people want to listen to.”

NEW ALBUM AND UK TOUR DATES

Eddie 9V releases his new album Saratoga via Ruf Records on Friday, November 22nd. The artist will tour the UK from November 30th until December 5th, bringing his soulful sound to venues across the country.

FAMILY HARMONY ON THE ROAD WITH L.A. EDWARDS

Being on the road for LA Edwards is truly a family affair. The three Edwards brothers – Luke, Jay on guitar, and Jerry on drums – are joined by Luke’s wife and children, as main man Luke (after whom the band is named) tells me from backstage at their final European tour date in the fashion capital of Milan.

 Paul Davies  Lauren Farrah

“I bring my wife and my kids, and my brothers are in the band, and on this tour, we have our youngest brother selling merch, and then my sister comes as well,” says Luke from behind his diamante-studded dark shades. Is it always happy families on the road, I ask. “Everyone gets on fine with each other for the most part, as long as we don’t drink too much whiskey,” he beams.

FROM THE ROAD TO THE BIG SCREEN

LA Edwards has enjoyed a long tour itinerary, including a UK stop this summer, where I witnessed their joyous Americana rock performance at The Grace venue in London. Coincidentally, it was the same night as an England Euro Finals match, and the band sported England bucket hats while the show was being filmed. “Yeah, we’re making a documentary that we’re going to pitch to some networks. It’s kind of about our life on the road over the past year or so. Our friends John and Lauren are documenting everything we do, which is probably a strange way of life for most people,” Luke concedes.

THE EVOLUTION OF PIE TOWN

The band is currently touring their highly regarded Pie Town album, which has seen a slight shift in their sonic emphasis, as Luke explains: “The

songs are a bit more expansive, a little less folky than some of our previous work. It’s been fun to play the bigger rock songs, and it’s been going well.” He elaborates on the change in sound: “That was just the headspace we were in at the studio. Bigger guitars, a little less lyrics, just bigger choruses – and we went with it.” The songs have developed a broader sound in live settings, and Luke shares more about this tour: “It’s been a great tour. We’re just having a good time with our friends, The White Buffalo, and have played some amazing venues in amazing towns.”

“This is the second leg of the Pie Town tour. We did the UK, Scandinavia, and Germany in the summer, and now we’re covering the rest of Europe. We’ll take a break and then probably play some domestic US dates in the spring,” he says with enthusiasm.

SEASONAL CREATIVITY AND SONGWRITING

I ask if this upcoming downtime will give him a chance to work on a follow-up album to Pie Town. “We might write a little bit in January,” he says, pausing, “I typically do most of my writing in the fall months – September to November. I don’t know why; that’s just kind of my creative season.” He adds, “I don’t do much writing on the road as

there’s not much time. We’ve written a couple of songs at soundchecks, but typically, I keep the creative side of the brain separate from performance and touring. They’re different parts of the brain for me.”

A FUSION OF INFLUENCES AND INSPIRATIONS

With a soulful mix of vocal harmonies, punchy rhythms, and chugging guitars in LA Edwards’ soundscape, Luke shares his early musical influences: “We were raised on a lot of hymnal church music growing up,” he reflects. “Then later, Creedence Clearwater Revival was one of the first bands that resonated with me. I fell in love with their guitar sound,” he recalls with a smile.

Fans of folk and Americana rock may have seen LA Edwards supporting Lucinda Williams on her recent UK tour, a significant opportunity for the group. They first debuted with their 2015 EP Secrets We’ll Never Know,

followed by True Blue in 2018, Blessings From Home Vol 1 & 2 in 2021, Out Of The Heart Of Darkness in 2023, and now, their current Pie Town LP. I’m curious how they managed to join Lucinda Williams’ tour.

“My brother worked for her as a crew member, and they just kind of became friends,” Luke reveals. “She moved to Nashville from Los Angeles, so they spent a lot of time together. She doesn’t often have openers since she’s a storyteller. But we pitched it to her, saying we’d love to come out and open for her.” He continues, “They know we get along well with them and their crew, so it’s kind of a friendly thing.”

MEMORABLE ENCOUNTERS WITH RIVAL SONS

A similar on-the-road connection happened with the intelligent rock band Rival Sons. “That was kind of through a management deal, but we became friends on the road and have stayed in touch. You know, we’d spend nights on each other’s buses, talking about music, drinking wine, and having fun. They’re great guys,” Luke says warmly.

FAMILY LIFE ON TOUR

However, life on the road with his family is quite different from these past rock-and-roll adventures. “I’ve been doing more movie-watching. So, it’s Harry Potter season with Halloween. Then also Buffy the Vampire Slayer – I hadn’t watched it before, so I’ve been getting into it – and also 28 Days Later. We’ve been doing more movie club than book club on this trip.” He adds, “All my kids are home-schooled, so that doesn’t change, as we bring a tutor with us on the road.”

“It’s a family affair on and off the stage.”

So, is it all domestic travelling bliss? “I really appreciate being able to bring the family on the road. It’s like, ‘Dad’s gotta go play a show,’ but afterward, Dad has to go change the nappy as well.” It’s a shared, harmonious setup that keeps him grounded.

COLLABORATIVE SONGWRITING AT HOME AND ON THE ROAD

Family is also involved in the creative process when inspiration strikes. “Lyrics are the last thing I focus on. I usually start with the melody and the feeling. On the new record, my wife wrote a lot of the lyrics, so we co-wrote many of the songs,” he shares. “I’ll come up with the melody, and it’s nice to have her and my brother Jay finish the lyrics for me if I get stumped.”

With our interview time up, Luke heads off for tonight’s soundcheck. It’s reassuring to know that this thoughtfully crafted family venture is flourishing, with the Edwards clan, keyboardist Landon Pigg, and bassist Jesse Dorman continuing to enjoy a big slice of life’s apple pie.

PURE BLUES MOMENTUM

HITMAN BLUES BAND

One of New York’s finest exports, the Hitman Blues Band, arrives on our shores this month for some incendiary live shows. *Blues Matters’* Andy Hughes caught up with frontman Russell Alexander to talk about the joys and heartaches of keeping an international band on the road and how the internet is both a necessary promotional tool and a royal pain to deal with. Russell, however, is in good spirits and looking forward to his trip to the UK.

 Andy Hughes  As credited

BRINGING THE NEW ALBUM TO THE UK

“Yeah, things are pretty good so far. I’ve just received a box of one hundred and sixty copies of our new album on CD – I should have a thousand, so I’m going to chase the rest down. I’ve played one, and it sounds fine; everything is where it should be. I have to send a bunch to our US promoter, and I’ll bring a big box over for our UK tour dates. If we insist everyone grabs a copy of the album before they leave the show – and maybe have a couple of Hell’s Angels on the tour to persuade them – I mean, what could go wrong?” Russell jokes. “Seriously, I’m at home getting ready to come over to the UK, and we’re very, very excited about it.”

HARD WORK AND DEDICATION: THE BLUES JOURNEY

Regular readers of our essential guide to

all things blues know that bands like the Hitman Blues Band don’t achieve their skill and success overnight. This is authentic blues music, not a product of *Britain’s Got Talent*. Success in this world means putting in the hours and honing your craft –there are no shortcuts. Russell explains his own path to the band’s current success:

“Well, I started playing in bands when I was sixteen. I was in an original band, a covers band, and also a band playing what you guys call ‘functions’ and we call ‘club dates’. I started out with one agent, then became a freelancer, working with original bands like a standard rock band and a progressive band called Childhood’s End. We also had a new wave band called Candy. Somehow, a demo tape we sent ended up in the archive of Pace University in California, and now someone is releasing an EP of six songs they found. I have no idea where the originals are.

“I also played in a Portuguese band, a salsa band, a forties swing dance band, a Hasidic band, and at least three reggae bands. This was my living, so I had to be versatile. I’d

play Coming Out parties, knew a lot of waltzes and even doubled on bass. I’d always liked blues but didn’t know much about it. Then I got a letter from a Canadian musician with a tape of blues tunes; he wanted me as a guitarist. I found I really liked it. If I could only play one style for the rest of my life, it was going to be blues. I started going to jam sessions, and eventually, I began writing blues-focused songs, and I never stopped.”

“We play what we love – that’s why it’s so enjoyable”

A LEANER UK TOUR LINE-UP

Is Russell bringing the whole nine-piece outfit for this UK tour? “I usually do, but lately it’s just too costly to make it work financially. This tour, it’ll be me, the bass player, our wives (who are the two backup singers), and our UKbased drummer and keyboard player. I’ve been paying for the horn section out of my own pocket, but that’s just not viable. I’ve been doing some trio and quartet gigs in the US to see how the new material, written with horns in mind, works in a stripped-down setup. It’s working well – it’s a bit rawer, less sophisticated, but it’s a different approach, and I think it will work out fine.”

CHALLENGES OF TOURING IN THE UK

Russell and the band have a solid UK fan base, but booking gigs has become more difficult, as he explains:

“Our UK audiences are great, but it’s hard to get gigs without representation over there. Agents mainly want tribute and party cover bands. The only way to get consistent bookings is through companies tracking your airplay to see where you have a large listening base. But blues music like ours doesn’t get much radio airplay, so it’s tough to know where the fans are. You need to know at least 150-200 people will buy tickets in a town, but streaming doesn’t give you that kind of metric.”

RUSSELL’S CONNECTION TO THE UK

Despite the challenges, Russell loves coming to the UK and has a personal connection: “I’m actually a British citizen now. My mother was British, grew up in London, and my grandfather fought in the First World War. I’ve

probably seen more of the UK than a lot of people who live there, thanks to our tours. I make a point to sightsee whenever I can.”

THE STATE OF THE NEW YORK BLUES SCENE

Russell famously once said that New York blues is “not dead, but it smells funny.” He elaborates:

“It comes and goes. Guys like Kingfish (Christone Kingfish Ingram) are boosting interest in blues, which is great. There are loads of amazing blues guitarists on YouTube, yet so many people still have a narrow view of blues –that it’s all about an old guy in a straw hat singing about his lady leaving. Blues is so much more than that; it has many styles and genres, but people need to look for them.”

SOCIAL MEDIA: A NECESSARY EVIL

The Hitman Blues Band has a considerable social media presence, and Russell sees it as essential:

“I think you have to be like a psychotic ex, following up with people, constantly saying, ‘Follow me…like me…’. I’ve taken loads of courses on promoting the band and getting gigs, but with social media, nine out of ten things you try won’t work – you just don’t know which one will.”

STAYING TRUE TO THE MUSIC

In today’s competitive music world, is there a need to be ‘different’? Russell reflects:

“It depends on your style. I wouldn’t want to spend hours on make-up before every show – that worked for Kiss, but it’s not me. I play music I’ll be happy with in thirty years, just as I play it today. I don’t want a hit that I end up resenting. Some bands are saddled with songs they don’t like; that’s not us. We play what we love – that’s why it’s so enjoyable. See you all soon!”

SUPPORT LIVE MUSIC NEAR YOU

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OS ARTIST

THE BIG BLUES CHART

THE TOP 50 BLUES ALBUMS

ALBUM

#1 SHEMEKIA COPELAND

LABEL

BLAME IT ON EVE

ALLIGATOR RECORDS #2 TAB BENOIT I HEAR THUNDER

WHISKEY BAYOU RECORDS #3 DUKE ROBILLARD ROLL WITH ME

STONY PLAIN RECORDS #4 JOVIN WEBB DRIFTER

BLIND PIG RECORDS

#5 ALBERT CASTIGLIA

RIGHTEOUS SOULS GULF COAST RECORDS #6 COLIN JAMES

#7 KEVIN SONNY GULLAGE

CHASING THE SUN

GO BE FREE

STONY PLAIN

BLIND PIG RECORDS #8 CHRIS CAIN

GOOD INTENTIONS GONE BAD ALLIGATOR RECORDS #9 ZAC HARMON

FLOREADA’S BOY

CATFOOD RECORDS #10 VANEESE THOMAS

STORIES IN BLUE

OVERTON MUSIC #11 JONTAVIOUS WILLIS

WEST GEORGIA BLUES

STROLLING BONES RECORDS

#12 THE FABULOUS THUNDERBIRDS STRUCK DOWN STONY PLAIN RECORDS #13 RONNIE BAKER BROOKS

BLUES IN MY DNA

ALLIGATOR RECORDS #14 MARK HUMMEL

TRUE BELIEVER

ROCKINITIS RECORDS #15 PIPER AND THE HARD TIMES REVELATION HARD TIMES RECORDS #16 GUY DAVIS

THE LEGEND OF SUGARBELLY M.C. RECORDS #17 JOHNNY RAY JONES

MYSTIC CHIEFS MOONDOGG RECORDS #18 RICK ESTRIN & THE NIGHTCATS THE HITS KEEP COMING ALLIGATOR RECORDS #19 CHICAGO BLUES LIFTERS BLUES SCOUTS BIG EYE RECORDS #20 MEMPHIS ROYAL BROTHERS

MEMPHIS ROYAL BROTHERS ROYAL RECORDS #21 JOHNNY BURGIN

RAMBLIN’ FROM COAST TO COAST STRAIGHT SHOOTER RECORDS #22 CHRIS DANIELS & THE KINGS 40 BLUES WITH HORNS, VOL. II MOON VOYAGE RECORDS #23 KID & LISA ANDERSEN

SPIRITS AND SOUL LITTLE VILLAGE FOUNDATION #24 JIMMY CARPENTER JUST GOT STARTED GULF COAST #25 CURTIS SALGADO FINE BY ME LITTLE VILLAGE RECORDS #26 TORONZO CANNON

SHUT UP & PLAY!

ALLIGATOR RECORDS #27 JD SIMO & LUTHER DICKINSON DO THE RUMP! FORTY BELOW RECORDS #28 BLUES PEOPLE THE SKIN I’M IN PWI MEDIA #29 DAMON FOWLER

BARNYARD SMILE LANDSLIDE RECORDS #30 SUGARAY RAYFORD HUMAN DECENCY FORTY BELOW RECORDS #31 MITCH WOODS HAPPY HOUR MOMOJO RECORDS #32 EDEN BRENT.

GETAWAY BLUES YELLOW DOG RECORDS #33. BILLY PRICE PERSON OF INTEREST. LITTLE VILLAGE #34 STEFAN HILLESHEIM BAND

LIVE AT ROSA’S LOUNGE STELLA BLUE MUSIC #35 BOBBY CHRISTINA’S CARAVAN

TRUE BLUES BROTHER NOLA BLUE RECORDS #36 BRUCE KATZ BAND

BACK IN BOSTON, LIVE DANCING ROOSTER RECORDS #37 LARA PRICE

HALF & HALF GULF COAST RECORDS #38 BYWATER CALL

SHEPHERD S/R #39 PRAKASH SLIM

8000 MILES TO THE CROSSROADS BLUE POINT

#40 KHALIF WAILIN’ WALTER PHOENIX RISIN’ TIMEZONE RECORDS

#41 CHRISTOPHER WYZE & THE TELLERS STUCK IN THE MUD. BIG RADIO RECORDS #42 AMANDA FISH KINGDOM VIZZTONE #43 DAVID GOGO YEAH! CORDOVA BAY

#44 SUE FOLEY ONE WOMAN GUITAR STONY PLAIN RECORDS #45 TAS CRU BAND

TAS CRU BAND LIVE SUBCAT

#46 SIERRA GREEN & THE GIANTS HERE WE ARE BIG RADIO RECORDS

#47 RUTHIE FOSTER

MILEAGE SUN LABEL GROUP #48 CANNED HEAT

FINYL VINYL RUF RECORDS

#49 STEVE CROPPER & THE MIDNIGHT HOUR FRIENDLYTOWN

MASCOT LABEL GROUP/PROVOGUE #50 PONTCHARTRAIN SHAKERS PONTCHARTRAIN SHAKERS SOUTHLAND

The Illustrated Blues Of Brian Kramer UPLIFTING BLUES WITH ERIC BIBB

When folks realize I’ve played with Eric Bibb, a smile usually follows and I’d often get the question: “Is he really that positive and joyful?”

Well, I can say that experiencing Eric Bibb live and through his recording, you do experience something that I personally have longed to tap into as a valid expression of Blues and roots music; Uplifting Blues.

As a teenager I embraced it first through the recordings of Mississippi John Hurt, then Taj Mahal as well as Keb Mo, so I knew of the potential of this shade of blue. A shade that celebrated life’s joys and connections.

It was just after I moved to Sweden in 1997 and started to settle into the local players, when I came across Eric Bibb at a small, basement, dive bar in Stockholm called Lilla Maria. With his band Needed Time.

Bars with live music are normally very noisy places. It’s simply what you have to put up with in a social environment where music is a part of the scenery.

However, in the rambunctious, buzzing venue, I witnessed Eric create a hush and a calm that rippled out through the room and begged for attention, just through the movement of his delicately picked, soulful notes on his guitar. It was something to witness and also reminded me of the untapped power and intention of uplifting Blues I yearned to understand.

I was introduced to Eric through a mutual friend who was in the band and we had a brief talk about various artists we shared in common. Then I started by chance running into him around Stockholm and we’d talk, discovering more common ground.

When he asked me to go on tour with him in the US for a few weeks, I couldn’t believe it. We’d never actually played together before, but somehow on Eric’s instinct, he wanted this to happen.

And it worked beautifully & I got to experience being along side an incredible artist that would

evoke hope, joy and optimism everywhere we played, no matter the environment or circumstances.

We got to know each other even more on the road and that tour stretched to the next, then the next and onwards for about two solid years. I can’t tell you what a profound experience that was for me, especially as a seeker of this uplifting Blues phenomena.

In 2000, the new millennium, I took that experience and understand of how to focus this aspect of the Blues into my own writing and band configuration, revealing a side of myself that I’d longed to connect with.

“I witnessed Eric create a hush and a calm that rippled out”

Decades have passed, and the world has embraced Eric Bibb, allowing his spirit in the Blues to flourish and grow wider and stronger. You definitely won’t see him at any small, dive bar with his guitar soon. It couldn’t contain what he has to offer now.

We’ve remained very good friends since and continue to collaborate on various projects, more notable with my art these days.

So, when folks ask me: “Is he really that positive and joyful?”, I recall in a radio interview we did together the host of the show asking him the same question, to which Eric responded;

“I’d like to believe that the ideals I write and sing about are something Id’ like to aspire to”. (sic)

I can say absolutely that when you also have the priveledge to know the man, uplifting Blues isn’t just a phrase or aspiration, it’s the true expression of every aspect of his intention, experience, understanding and celebration of a life embraced, with all its challenges, trials, tribulations… and JOY!

BIG BLUES REVIEWS

ARLEN ROTH

PLAYING OUT THE STRING

Aquinnah Records

TERRY MARSHALL & FRIENDS

LIVING THE BLUES

Marshall Records

Now, the name Marshall needs no introduction in the world of Rock and Blues music. Marshall Amps have made one of the greatest impacts on sound that the world has ever known. Music has always played a huge part in the Marshall household, and not just because of amplification. Terry Marshall began earning money as a musician at the age of 14, turning professional at the age of 16. Fast forward to the 21st century, Terry Marshall has released his debut album, with a little help from his friends. Don’t think that this is just a rehash of old Blues covers with a bunch of muso’s, this is an exceptional album with some of the best musicians who are now forging their paths in the Blues world. Alice Armstrong, Emma Wilson, Robin Bibi, and Laurence Jones are just a few of the guests on the album. Hoochie Coochie Man opens the proceedings, with Alice Armstrong leaving you in no doubt as to why she is in such high demand, delivering a powerhouse performance on vocals with Terry Marshall on Sax, Krissy Matthews on guitar and vocals,

with Robert Hokum sharing blistering guitar work through this classic. Emma Wilson also leaves us in no doubt as to her amazing vocal talents on, Phone Booth (Robert Cray), and on and on this fabulous album goes. The artists that accompany Terry are the cream of the Blues and Blues/Rock world in 2024, each one giving their last drop of sweat to the cause. Having listened to the album in its entirety I can, with a hand on my heart, honestly, not pick a favourite track, the album is just too damn good. Worried Dreams ( Peter Green), Dr, Feelgood ( Aretha Franklin), and the ridiculously sublime, Me And My Gin, left me craving already for Volume 2. One thing did leap to mind at the end of this tumultuous piece of music, wouldn’t it be great if everyone involved performed the album in a live setting? Over to you, Terry Marshall.

STEPHEN HARRISON

This is Arlen’s twentieth solo release and his fifth acoustic release. It was recorded, mixed and mastered by Alex Salzman, who also contributes keyboards to the mix on these ten tracks. Arlen delivers a masterclass in guitar artistry, showcasing the seasoned touch of a musician who’s spent decades perfecting his craft. Known as a virtuoso with a vast range, he seamlessly blends blues, country, and rock ‘n’ roll into a cohesive, soulful record. This new release feels like a love letter to American roots music, yet its crisp production and thoughtful arrangements ensure it never sounds dated. Opening track, Church Street Blues sets the tone for a dextrous display of finger picking guitar and understated vocal delivery. Walk Right In has an authentic feel a great reinterpretation. His instrumental track, Blue Bayou takes this to another level some super National steel tones here. The production on this has a real, live feel, taking the listener to a personal space up close to the music, raw and unfiltered. Take the beautiful instrumental arrangement of Nilsson’s Everybody’s Talking a standout track. Gonna Move Across The River brings bluesy tones with his own subtle personal touch. Another fine reinterpretation is of Alain Toussaint’s Java exhibiting his dextrous guitar work. Finishing with the feelgood up-tempo tune, Diddy Wah Diddy. This release is steeped in tradition but brimming with vitality. For fans of the guitar, and for anyone who appreciates finely crafted musicianship, Roth’s latest is essential listening and highly recommended.

COLIN CAMPBELL

BEN LEVIN PRESENTS

A HOLIDAY BLUES REVUE Vizztone

I admit that I did have a few reservations about this album when it first dropped through my letterbox. Now, I’m not advocating that I am Mr. Bah Humbug, but I do believe that Christmas belongs in December, and Christmas albums are by and large, a bit naff. Well, this is something completely different from what

I was expecting. This is the fifth album released by Ben Levin on the Vizztone Label, Levin is quickly establishing himself in the world of Blues Piano. The added attraction to the album is that it features a few guests, to help bring even more festive cheer. The opening tune, Candy Cane, features none other than Lil’ Ed, who has been hugely inspired by his uncle, the legendary, J.B Huto. The song is not sugary or full of saccharines, it’s just full of the Blues wrapped up in a seasonal setting, it works brilliantly. That is the seam of the album, yes the songs do have references to Christmas, but the overall playing and singing and general Blues interpretations are second to none. Candice Ivory has been carving a niche for herself for a while now, rooted in the Blues, she is getting some very fine, and much-deserved reviews, especially from myself. So it’s so good to see her collaborating with Ben Levin on the track, Christmas Mood. What Levin does, is allows Candice to do what she does best, sing, and he provides more than ample backup on the piano. Forget the Christmas theme, this is an album for the whole year, be it spring, summer, or winter. Lump Of Coal sees Lil’ Jimmy Reed appear, now this is like the big Christmas present that you open last on Christmas morning, the one that stands out. I’ve genuinely loved this album from start to finish.

STEPHEN HARRISON

BLUE MOON MARQUEE

NEW ORLEAN SESSIONS

Independent

It’s hard to believe that such rich, vintage soul, dripping with style and infectious groove, could come together in just two days; separated by a whole year. But that’s exactly what guitarist and vocalist A.W. Cardinal, along with powerhouse singer, drummer, and upright bassist Colette, also known as Badlands Jass, pulled off with their new release of ten spell binding tunes. Recorded at the legendary Bigtone Studios, with some of New Orleans finest musicians in tow and the brilliant Big Jon Atkinson engineering and playing some scintillating harmonica tones. The raw, live-off-the-floor magic they captured hits you straight in the gut, in the best way possible. These songs hit the listener like a lightning bolt, leaving jaws shattered on the floor, the

THE BLUES BONES

LIVE ON TOUR

Naked Records

go to see the band performing live at your first opportunity

This five-piece band first started recording together in 2011. Since then they have taken Europe, the UK, and America by storm with their brand of Blues and Blues/Rock original songs. This album was recorded live as the band was on tour during this year. I was lucky enough to catch the band when they played the Brezoi Open Air Festival in Romania earlier this year, so I had a pretty good idea as to what the album would sound like. The opening track, Changes, sees the band charge forward with brilliant vocals and guitar, almost grabbing you and pulling you onto the stage alongside them. All the songs are written by the band, each one a musical gem. Nico De Cock on vocals has that rare kind of voice, one that sounds like he’s swallowing barbed wire, yet with such a sweet delivery. Broken Down, brings a degree of energy and grit that you don’t find with most bands, aided by some brilliant Hammond courtesy of Edwin Risbourg, it is simply divine to sit and let it wash all over you. She’s Got The Devil In Her is raw Blues, this is as good as it gets. The band takes you down the Blues highway, don’t worry, with these guys navigating, you won’t need a map. Talking To The Lord allows Gospel lyrics to make an appearance in the live mix, Gospel and Blues with sharp riffs, what more could you possibly want in a song? This album is, without a doubt, one of the best albums I’ve had the pleasure of listening to in 2024. I implore everyone, to get yourself a copy of this album, and go to see the band performing live at your first opportunity. You will not regret either action. BBB. Bravo, Blues Bones.

STEPHEN HARRISON

CHICAGO BLUESLIFTERS

BLUES SCOUTS

Big Eye Records

The first thing I notice about this album is its colourful cover and on reading the sleeve notes it has a colourful array of artists from the Chicago Blues scene. Here we have eight Grammy and Blues music award winning artists joining together with their authentic and paid their dues sound, enriching us with twelve stomping tracks of upbeat songs that will have your toes tapping from the off. If your thing is old school Blues that lifts your spirits with that Chicago feel, this is for you. Michael Avery and Kimberly “Hot Sauce” Johnson taking lead vocals on the first two tracks will gather

this is great Blues, plain and simple, I love it

you up in their arms like a big grizzly bear and squeeze the goosebumps right out of you. By track three as Joey Saye takes vocals on That’s my name, with Piano Willie, bashing keys, I want to see these guys play live, they’ve thrown out their Bluesy bait and like a catfish I’m hooked on their pole. This album is a smorgasbord of Blues, Funk, and Soul, and Boogie. Those of you that read this are here because of your love of Blues, this has it all, I get images of Soulfood cafes, chicken fried steak, biscuits and gravy. I can smell and taste these songs as much as I can hear them, the dedication of each musician is a testament to the genre and each member brings a distinctive and unique sound that makes this a recipe for a culinary delight, plus let’s not forget with age comes experience, especially as one member of one of the bands is, Bob Stroger, who is an impressive ninety three years young. The more I hear of Kimberly singing, as on track ten, the more I want to see her live, her voice is one of those my soul just wants to hold onto forever, as for my review, all I can say is this is great Blues, plain and simple, I love it.

musicality is so good. From the first note of Memphis Minnie’s Black Rat Swing, Colette unleashes her vocal fire with the sassy grit of a young Brenda Lee, while the band channels that New Orleans magic so tight, you’d swear Fats Domino was in the next room taking notes. Then there’s the raw power of Leadbelly’s Ain’t Goin’ Down, where Cardinal and Colette trade call-and-response lines like old-school blues titans. It’s made even sweeter by Danny Abrams’ baritone sax growls and BC Coogan’s upright piano bringing that deep Southern soul. The drummers, Brett Gallow and Nicholas Solnick, whose beats keep the pulse of this record alive and kicking and are just as hot as the Louisiana summer heat. Of their original material, highlights are, the rollicking country blues-based Trickster Coyote, and the slow but spectacular blues tune, What I Wouldn’t Do, this is a feelgood up-tempo release not to be missed.

COLIN CAMPBELL

COLE & WARD BLUES AND OTHER TRUTHS

Rawtone Records

A debut for a pair of highly talented songwriters and musicians. Twelve tracks covering the spectrum of roots and Blues, and a delight from start to finish. Mark Cole is a guitarist (with excursions into Cajun accordion, keyboards, Man dolin and ‘found’ objects) as well as a fine vocalist, while Liam Ward is a world-renowned harmonica player and adds in washboard, saw, jug & jaw harp. They are supplemented by George Sluppick on drums, Tome Selvey on sax and Ruben Rogers on upright bass. The pair have a fine ear for roots with tracks touching on Ca jun, Bluegrass, Blues and even country swing. Cole’s vocals are clear, and he carries the words well but where you would expect a US accent on most of the tracks, you get his English accent – it is a little disconcert ing at first. Of the music itself, Be Still My Soul is a delightful song, in the style of the pre-war country farmers Blues while opener Deep Blood Moon kicks off with a Blues about werewolves leading into a highly danceable Cajun Ma Jolie Fille (My Beautiful Girl) – Ward’s har

BARRY BLUESBARN

monica playing quite superb. Every track is different, and every track has something to commend it: after Ma Jolie Fille is Midnight Motorway Blues, a very British number about the travails of negotiating the motorway network after a gig, lousy food in the services and constant closed roads, really calling out the downsides of being a working musician at the club gig end of the market. I particularly like The More You Drink… with its line “The more you drink the better this stuff tastes”. Weird Dream has the feel of a classic Voodoo number or one of those nightmare cartoons from the Thirties. Every track tells a story and does so in a charming and classy manner. One of the better albums I’ve heard this year.

ANDY SNIPPER

MISTY BLUES BAND

I’M TOO OLD FOR GAMES (A LIVE TRIBUTE TO ODETTA)

Guitar One Records

Misty Blues storms forward with their second live tribute release to Odetta; cementing their place as one of the most prolific and consistently captivating bands in modern blues. Known for their rapid output, they’ve managed to sustain an impressive level of quality, and this live recording highlights their remarkable artistry. Misty Blues may have reached their pinnacle here, the band’s cohesion and ability to connect with their audience shine throughout. Live albums can often fall short of capturing the energy of a performance, but Misty Blues makes it feel effortless. Gina Coleman’s vocal work on Hold On is breathtaking, an exhilarating blend of operatic power and soulful grit that feels

Carving a distinct niche that sets them apart from the rest. This live tribute is an essential listen

both delicate and ferocious, embodying a blues opera in some ways. Jim Crow Blues, highlights the band’s tight synergy, each musician stepping into the spotlight while maintaining the overall groove. Weepin’ Willow Blues incorporates a mid-tempo shuffle, blending youthful enthusiasm with the maturity of a seasoned group. Misty Blues navigates this musical terrain with grace and grit, turning their sound into a refined art form. They do not just play the blues, they embrace it and push it forward, carving a distinct niche that sets them apart from the rest. This live tribute is an essential listen.

COLIN CAMPBELL

PRAKASH SLIM

8000 MILES TO THE CROSSROADS

Blue Point Records

If you want to know what this album is all about, just read the title. Prakash Slim originates from, Lalitpur, Nepal, which incidentally, just so happens to be 8,000miles from Clarksdale, Mississippi, the home of the legendary Crossroads. Now Nepal is not the first place that you would think of as having any sort of connection with Clarksdale, that is until you hear Prakash Slim. Having moved to America, Slim has immersed himself fully into the world of Blues music. On this album, he not only writes eight of the songs, he also provides all the vocals and plays a Resonator guitar throughout. Recorded at Sam Phillips Recording Studios in Memphis, Tennesse, Slim allows you into his

An amazing album of raw Blues. Bravo.

KAT RIGGINS & HER BLUES REVIVAL

REVIVAL

House Of Berry Productions

world of raw Blues, Country Blues, and Blues from his heart. The album opens with, Kokomo Blues, written by Mississippi Fred McDowell. I’ve not heard this track for a while, so to hear Prakash Slim performing it, I’m already in love with this album. The title track, explains the reasons behind this album and also allows you to delve into the mind of a young man from Nepal, who is now doing what he always wanted to do, play the Blues. Talking Nepal gives another glimpse into what went into shaping the career and life of Slim, a life which he has fully embraced, it’s a simple story told with the knowledge of a man many years his senior. If we had heard this album being performed by Charley Patton a hundred years ago, the Blues world would quite rightly be claiming that this album was indeed a classic, so it’s fitting that the album ends with a song originally written and recorded by Patton, Hammer Blues ( Part Two ). If Patton had recorded an album with these songs we would have lauded him with lavish praise, I think It’s only fair that we afford the same courtesy to Prakash Slim. An amazing album of raw Blues. Bravo.

This is the sixth release from Miami-born blues powerhouse Kat Riggins, and is an enthusiastic blend of grit, soul, and unapologetic swagger. Her raw, commanding vocals are steeped in the blues but peppered with R&B, gospel, and rock ‘n’ roll, creating a dynamic sound that pulses with life. The ten original tracks, co-written by Riggins and producer Tim Mulberry, are infused with rich lyricism that celebrates the power of the blues. Mulberry’s multi-instrumental talents are highlighted throughout, while the Revivalists, Eric Guess on guitar, Shaelyn Mulberry, and Mark Barner on backing vocals also add depth to the vibrant arrangements. This powerful musical odyssey starts with the firecracker, Lucky, a rocking blues anthem where Kat Riggins’ vocals exude confidence and desire. The groove continues on Revived, a funk-driven ode to renewal, complete with lively organ riffs. Southern Soul keeps the party going with infectious rhythms, while New Level channels empowerment through its bold, new attitude. Kat also reveals her emotional depth on the slower, soulful Set Me Free, and issues a playful warning on the sly sultry tune, Mojo Thief. On the song, Chasing Time, she offers a bluesy reflection on life’s fleeting moments. The tough anthem, Mighty is a declaration of strength, whilst Old Time Way is a nostalgic nod to music’s golden days. The release closes with Healer, a heartfelt

STEPHEN HARRISON

ballad that builds into a message of hope, embodying the spirit of revival that Riggins seeks to spread with her electrifying voice and moving performance.

COLIN CAMPBELL

KELLEY MICKWEE EVERYTHING IS BEAUTIFUL

Independent

When I received this album, I have to admit that I had not heard of this lady beforehand. However, It’s always a pleasure to delve into the unknown. I needn’t have worried, this album is magnificent. Kelley Mickwee grew up in Memphis and was drawn to the music that surrounded her from a very early age. As I started to listen to the opening track, Joyful, I could sense the feeling and ambiance of Memphis from the first couple of bars. Soul, Blues, and Gospel weave in and out of each respective genre allowing the music to wash over you. The album has a softness and tranquility about it, not wishywashy, but meaningful, and serene. Some songs put me in mind of Aretha Franklin, not as an attempt to copy her, but with the same type of energy and dynamic as Aretha. Force Of Nature, as the title suggests is a powerhouse of a tune, full of emotion and verve, which made me think of another force of nature from the soul world, Dusty Springfield. That’s where my mind went to, a kind of Son Of A Preacher Man song, but with her stamp. Now, I’m not sure if Kelley Mickwee is a fan of Dusty, but you can bet your bottom dollar that Dusty would be a huge fan of Kelley. I’m not sure why it has been ten years since Kelley released a solo album, but what I am sure about is, that it is certainly worth the wait. The title track, Everything Is Beautiful finishes the album in fine style. I have to admit, that two songs into this album, I’d already fallen in love with it. I do not doubt in my mind that anyone who listens to it will form the same opinion. If you love Soul, Gospel, and Blues, then this album will appeal to you. It’s certainly appealed to me.

STEPHEN HARRISON

KING BEE AND THE STINGERS

JOHN PRIMER & BOB CORRITORE

CRAWLIN’ KINGSNAKE

VIZZTONE/SWMAF

Veteran guitarist and vocalist John Primer first appeared on my radar screen with his 2015 centenary celebration Muddy Waters 100, which came complete with lavish packaging and a guest list comprised of a Who’s Who of contemporary blues stars. The dominant vibe on this latest offering, on which Primer shares bandleader honours with harp merchant Bob Corritore, is still very much McKinley Morganfield, stripped back to a simple cardboard sleeve and a bunch of genre stalwart sidemen,

Very much one for straight down the line Chicago 12-bar traditionalists, and a fine piece of work.

including Bob Stroger on bass and Anthony Geraci on piano. The spirit of 1950s Chess Records unrepentantly lives on, lovingly reproduced in all its lo-fi glory. Many of the songs are cover versions, including the John Lee Hooker-penned title track as well as Down In The Bottom, Feel Like Going Home and Stuff You Gotta Watch. You’ve heard ‘em many times before, but they’re done damn well. The track here called Bow Down On Your Knees turns out to be a remake of You Got To Take Sick And Die Some Of These Days, straight off Muddy’s legendary Plantation Recordings. Hiding Place, one of the few original compositions, fits in perfectly stylistically, while the vaguely funky feel of You’re The One is one of the few token concessions to the last seven decades. There are also nods to Magic Slim and Jimmy Rogers. Very much one for straight down the line Chicago 12-bar traditionalists, and a fine piece of work.

DAVID OSLER

LIVE FROM THE SLIPPERY NOODLE

Independent

This is a live album, with a studio quality recording. The vocalist Sarah Meneffe is in fine company with a five-piece band, playing some original music, written by bassist Jeff Shew and some choice covers. With a strong blues foundation with harmonica and keyboards, they also have a strong funk element, with backing vocals and the lively guitar of Matt Boat. Four Roses, an original is decorated with the harmonica of Mark Carnes and features throughout. The audience reactions are used to good effect. Baby Please Don’t Go is a lesson in brooding intensity, and Hoochie Coochie Man is delivered at a slower pace. Take me to the River is a funk masterclass with the keyboards pushed to the fore. Although these three songs are staples of the blues band repertoire, King Bee and the Stingers are trying to put something unexpected into the mix. The opener Statesboro Blues is a case in point. The signature slide guitar part is missing, replaced by harmonica, keyboard and electric guitar solos and some great drum-work from Paul Karaffa. The excitement of a live performance is palpable throughout, with the enthusiastic audience showing their appreciation. Although half of the songs are originals, they can stand alongside the tried repertoire, particularly when played by an ensemble who are as passionate and accomplished as King Bee and the Stingers.

MARK NESMITH

A SINNERS PRAYER

Independent

In this day and age, it’s not overly common to come across an album in which one person plays all the instruments, one person writes all of the songs and one person features vocally on all of the tracks. But that is precisely what we have here. Mark Nesmith could be described as a sa Blues Troubadour, he’s traveled far and wide throughout America and is gaining momentum as a singer-songwriter. Mark plays acoustic and electric guitar, bass, drums, percussion, and harmonica with what seems relative ease. The title track of the album opens proceedings, and it immediately puts me in mind of, oh, this is going to be a Country

Blues album. It does indeed lean toward Country Blues, but there is far more to this than meets the eye. It tells tales of legendary Blues escapades, drinking, women, loneliness, and everything in between. In fact, Woman Of My Dreams contains all of the above. A woman who drinks neat whiskey has curves and basically behaves as you would expect a sailor to do. I see nothing wrong with that, Mark has captured a scenario that many guys would agree with, but with a tongue placed firmly in his cheek. What also appeals to me about this album is the fact that Mark has been creative enough to make you think that on many of the tunes, this is a four-piece band. That to me shows a level of musicianship that you don’t come across every day. Stone In My Soul is the type of Blues song that explains everything that could be wrong with your life, a darker look at how things have manifested themselves for whatever reason. Rainy Kimbrough does join in with Mark on vocals, adding to the sheer pleasure of the album. I like this release, it’s simple, hones Blues, no frills, no faff, just a very enjoyable album.

STEPHEN HARRISON

NILSEN’S SOUTHERN HARMONY

SUGARADO

Coastal Sounds

Four American songwriters provide the ammunition for this Norwegian band to deliver some sublime music that sits firmly in the Americana field. The vocals and musicianship are faultless and make for a very satisfying album. The term Americana covers a broad spectrum of American roots music incorporating; Country, Blues, Folk, Gospel and Rock which covers nicely the music on show throughout the album. The Blues element is highlighted on the song Sleepy Sidewalk Blues where the howling harmonica played by Erik Nielsen takes centre stage, the vocals are handled by Bjoern Nilsen who also plays guitar and has jointly contributed with the American songwriters on the songs, he is clearly the main focus of the band. Unless pre-advised you, would never guess the nationality of the band, the vocals are pure American. The slow-paced song Holdin On To Nothin demonstrates this perfectly with a Johnny cash style rendition of a sad tale of being made

redundant. The penultimate track called Mississippians is a Blues shuffle that again highlights Erik on Harmonica. The final track, Cool Sailing, benefits from the additional vocal from Ricky Whitely who co-wrote the song. This is a virtuous song to close the album as it is so soothing and restrained with some subtle lead guitar work from Bjoern. Authentic Americana music performed by a Norwegian band is not a normal combination but, on this occasion, it really works, as this is a very captivating album that you can listen to from start to finish and then press repeat and go again, satisfaction guaranteed.

ADRIAN BLACKLEE

OLLEE OWENS NOWHERE TO HIDE

Independent

Canadian singer-songwriter Ollee Owens, raised in the heart of the Prairies, has always been surrounded by music. Inspired by legends like Elvis, Mavis Staples, and Bob Dylan, she began writing songs as a way of processing life’s chaos and give voice to her emotions. After taking a 15-year break to raise her family, Owens never fully left music behind, continuing to write, perform, and work as a volunteer music therapist. Encouraged by friends and mentors like the late Bill Dowey, she decided to pursue music professionally. In 2022, she released her debut album Cannot Be Unheard, and now returns with this her sophomore release. Produced by drummer Bobby Blazier and recorded in Nashville, the album opens with the title track, showcasing Owens’ soulful vocals and the guitar work of Will McFarlane and Phil Hughley. Tracks like Solid Ground and Roots explore themes of resilience, with Owens’ lyrics reminding us that no storm can bring us down. Her songwriting shines through on Some Days, a blues-infused track about life’s ups and downs, while Shivers and Butterflies, reveals a tender, romantic side. The release closes with a powerful cover of Bob Dylan’s Lord Protect My Child, where Owens’ personal connection to the song, influenced by her experience raising a daughter with a cognitive disability, adds depth and emotion. These eleven well-crafted songs are full of heart, celebrating love, resilience, and the beauty of life’s journey and her vocals are astounding, this is a powerful release, highly recommended.

COLIN CAMPBELL

BEN MACNAIR

PAUL BENJAMAN BAND

MY BAD SIDE WANTS A GOOD TIME

Horton Records

The Paul Benjaman Band lays their Tulsa, Oklahoma roots bare on every track, embracing the local sound as if born to it. As the release progresses, Paul Benjaman’s drawl thickens to the point where some of the lyrics tumble out in a near-mumble, giving his delivery a raw, gravelly edge. This band leans hard into rock territory of blues influences here. Benjaman and Jesse Aycock trade guitar licks like seasoned pros, with the rhythm section and keys holding steady behind them. While the lyrics may not leave much of an impression, the guitars and riffs drive this album home with style. Undercover Of Night, kicks off with punchy guitar riffs beneath razor-sharp solos, setting the tone for the rest of the album. Hot Dice, rides on chugging guitars, elevated by Aycock’s slick lap steel work. The title track brings heavy rock with a menacing riff, while Chasm Of Soul dips into Southern Rock. Benjaman’s vocal accent comes through strong on Church Of Space And Time, where his Leon Russell homage takes flight, complete with a similar piano style. The twangy vibe continues on Outlaw Land, where the guitar interplay really shines. Detroit Train, rolls along like a funky steam engine, powered by more tasty lap steel work. La Serpentine features a solid riff and electric piano, while Blues Skyline nods its hat to JJ Cale with its laid-back vibe. The album will resonate with rock fans, carried by soulful guitar and infectious grooves.

COLIN CAMPBELL

PHIL

COYNE & THE WAYWARD ACES

PHIL COYNE & THE WAYWARD ACES

Independent

If you’re a dedicated blues crate digger – or alternatively, just knocking on a bit –you may know of slightly obscure 1970s Canvey Island outfit Lew Lewis Reformer. Good as they were, they never got the recognition they deserved, and the guy they took their name from came to an early and tragic end. Half a century later,

their sound has been reborn on the other side of the planet. Phil Coyne & The Wayward Aces take LLR’s potent blend of Little Walter-inspired Chicago blues harp and garage band attitude, throwing in a soupcon of psychobilly to generally sterling effect. It’s mostly standard 12 bar stuff and there’s nothing musically groundbreaking here. Indeed, the album was recorded live on one track tape and eschews the services of a bass player, consequently sounding as raw as it gets. But you’ll know from what I’ve said so far whether you will love it as much as I did. There are cover versions of Bo Diddley’s Pretty Thing and Slim Harpo’s Hipshake, which jump out on first play on account of their familiarity. The ‘originals’ somewhat push the dictionary definition of the word, but this lot scarcely conceal the debt to the likes of Sonny Boy Williamson II, Link Wray and Hound Dog Taylor. If you have a penchant for chromatic harmonica players who make the damn thing wail, Coyne and his mates are worth a listen.

DAVID OSLER

RUF’S BLUES CARAVAN 2024

FEATURING ALASTAIR GREENE, KATARINA PEJAK, ERIC JOHANSON

Ruf Records

Recorded live at the Blues Garage in Isernhagen, Germany, this set opens with Robert Johnson’s timeless Come On In My Kitchen, a collaboration that perfectly sets the stage for a night of both tradition and fresh, modern interpretations. Katarina Pejak takes the spotlight first, blending her smooth vocals and impressive keyboard skills in a selection of originals, capped off with a powerful cover of Pink Floyd’s Money. Her melodic, softer style offers a compelling contrast to the heavier, guitar-driven energy of her male counterparts. Eric Johanson and Alastair Greene deliver commanding solo sets, each showcasing their guitar mastery. Johanson’s Undertow grooves with a deep bass line and infectious rhythm, pulling listeners into the heart of the blues. Greene answers with Am I Too Blame? where his gritty riffs cut through the air, reflecting his seasoned background in blues rock. Their performances, laced with raw energy and emotion, are rooted in a tradition that’s both timeless and

ever evolving. These tracks capture the chemistry and power of the live show. Drummer Christin Neddens and bassist Tomek Germann anchor the night with precision, effortlessly shifting between styles as they back these dynamic artists. Together, they bring new life to classics like Dr John’s I Walk On Guilded Splinters and Elmore James’ One Way Out. Ruf’s Blues Caravan 2024 is more than a set of songs, it’s a celebration of blues, tradition, and collaboration, reaffirming the genre’s ability to continually reinvent itself.

COLIN CAMPBELL

THE MARAUDERS

BLUES AND RHYTHM Independent

The Marauders have been playing together and recording since 1981, mostly around the Northwest of England. This four-piece band has released six previous albums and has supported such Blues luminaries as, Bo Diddley, Steve Gibbons, and Climax Blues Band. On top of that, they have also recorded sessions for Paul Jones on his Radio Two Blues Hour. So, these guys have a serious pedigree, and that is quite evident as I settled back to give the album a listen. The opening track, Feelin’ Alright, has a crisp Rockabilly feel to it, great vocals, rocking guitar, and the type of groove that will not leave you sitting in your chair for too long. Spoke 2 Soon delves slightly deeper into the Blues, whilst still retaining a groove that has some twist and shout. The album meanders in between Rockabilly, Rock and Roll, and Blues with simplicity in each song, you don’t get the feel of a band trying to do too much. This album does exactly what it says on the tin. Caught Whirlwind, however, is 100% Blues. The combination of guitar and vocals gives the tune a Blues glow, the type you need on a cold damp night, the type that comes out of a bottle of single malt if you want me to be precise. If you are looking for a good-time, get-up-andgroove lively album, then this is right up your musical alley. I think it will appeal to many people, be sure that you are one of them.

STEPHEN HARRISON

TJ WONG

KINGDOM COME

Lightning In A Bottle Records

At just 21, Timothy James is making waves in Portland’s vibrant music scene, a city renowned for producing top-tier talent. Born into a musical family, Timothy honed his skills by playing alongside his father and friends before making his mark with a standout performance at the Mulino Blues Festival. Since then, his star has only risen, drawing comparisons to greats like Jonny Lang and Kenny Wayne Shepherd. With a disciplined approach and guidance from respected musicians, Timothy’s new release of seven songs, solidifies his place in Blues and contemporary genres, showcasing his songwriting prowess and unique genre-blending style.’72 is a homage to a car, a rocky number, confident vocal delivery, a feelgood tune. Apple Pie sees him exhibiting his guitar prowess on this groove laden instrumental, the band all joining in, Kingdom Come, shows his funky side, catchy chorus very enjoyable listen and strong guitar solo, a all for peace. Pace slows down on the slow laid-back blues

driven Still Wait, a great arrangement. Take Me For A Drive has a Bo Diddley feel to it but with the band’s unique take to this upbeat tune. Your Love, is a pacy tune with catchy guitar riff blending with fine rhythm and groove and emphatic soloing from TJ, some good harmonies coming through also. He has a lot of talent as a songwriter and amazing guitarist. This collection of well-crafted tunes encompasses his effortless transitions in musical styles and all the while being uniquely himself.

COLIN CAMPBELL

TOMMY MCCLENNAN & ROBERT PETWAY

SHAKE ‘EM ON DOWN

Acrobat Music

This 2CD compilation is sub-titled Collected Recordings 1939-42 and contains 50 tracks of these two Delta bluesmen performing separately and also occasionally as a duo. Although not major names in the burgeoning blues scene of the 50’s/6o’s their music and style was an

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SAMANTHA FISH

In this exciting episode, Adam Kennedy sits down with blues sensation Samantha Fish, known for her electrifying guitar skills, powerful vocals, and genre-defying sound.

influence on many later artists like Muddy Waters, John Lee Hooker, Albert King and even Jimi Hendrix. McClennan was the better known of the pair and opening track on CD1 is the wonderful You Can Mistreat Me with fierce vocals and finger picked guitar. Next up is the catchy New Shake ‘Em On Down a song much covered by many artists over the years. The pace drops a little for the lamenting Whisky Headed Woman but Bottle Up And Go is a an amusing romp that was featured heavily by many later bluesmen. Baby Don’t You Want To Go is of course Sweet Home Chicago famously covered by many including the Blues Brothers and President Obama. These raw, rough and ready recordings thankfully have great sound quality allowing full appreciation of this important body of work. Other standout tracks on CD1 are the sad tale of My Baby’s Gone (covered by Albert King) and New Sugar Mama which is credited to the original Sonny Boy Williamson and was later made famous by John Lee Hooker. CD2 opens with the familiar Cross Cut Saw Blues as covered by Albert King and every blues band

In this episode of the Blues Matters podcast, host Paul Davies sits down with Christopher Wyze, a man who has mastered both the art of advertising and the art of the blues.

CHRISTOPHER WYZE TERRY MARSHALL

In this episode, Steve Harrison sits down with Terry Marshall, founder of Marshall Records, to discuss the release of his highly anticipated new album.

Kaelan Barowsky

vocals are a little rougher edged than McClennan’s and his best-known track here is the hugely influential Catfish Blues which was later adapted by Muddy Waters as Rollin’ Stone. The rest, as they say, is history. This comprehensive collection offers a hugely enjoyable insight to these Delta bluesmen’ s influential legacy.

DAVE DRURY

VANESSA COLLIER

DO IT MY OWN WAY

Phenix Fire

Mmm! This terrific new album by Vanessa could almost be described as a “one person band”. For certain this is an album of fine quality on every level. Vanessa handles vocals, bv’s, Alto & Tenor sax, Flute, slide guitar, resonator guitar plus she has taken on engineering duties on some areas as well. Factor in all the lyric writing and composition and you will begin to understand my previous comment. However worry not as there are plenty of duties for other musicians as well. Sonically the album takes us on a journey back to the glorious days of Stax and Fame Studios in Memphis and Muscle Shoals respectfully. Yes it really is that good! Listening to these eight cuts will leave you smiling and your ears demanding a replay. It is very clear that Vanessa has a massive respect for the past, for example on Rosetta. Acknowledging a massive debt to the torch bearer Sister Rosetta including lyrics like ‘punches through the clouds breaking all new ground’, ‘ she carried the torch so I can see a little bit better’ all sung with passion. The horns jump out at you on Wild As A Rainstorm sitting alongside nice, weaving throughout, Hammond from Rev Charles Hodges serves as a bit of a beacon to those women who will follow on their own musical journeys. If you like a bit of Funk then Elbow Grease is right up your street. A simple resonator guitar underpins the beginning of album closer Warrior before the band joins in, again tipping her hat to the musical heritage of the strong women who came before. Certainly one of my favourite albums of 2024 and I encourage you to add it to your collection. Brilliant stuff!

GRAEME SCOTT

BENNY TURNER

BT Nola Blue Records

Benny Turner’s latest release is a vibrant testament to the bluesman’s enduring influence in the genre. With a career spanning over six decades, Turner whose roots reach deep into the Chicago blues scene and the legacy of his brother, the late Freddie King; delivers an album that is both contemporary and timeless. The ten tracks blend raw blues with elements of soul and funk, weaving a rich sonic tapestry that highlights Turner’s seasoned musicianship. His warm, gravelly voice carries the weight of experience, telling stories of heartbreak, resilience, and celebration. The album’s opening track, Bump Miss Susie, sets the tone with its steady groove and poignant

What makes this release stand out is its authenticity

lyrics, while songs like Born In This Time, echo the classic blues sound with a modern twist, thanks to Turner’s expressive bass playing and fluid guitar lines and smooth vocals. Smoke My Peace Pipe brings funk on this homage to Chief Bo Dallis, so many musical layers to this. The tune, Drunk epitomises a feelgood blues tune, with harmonica peppered tones from Harrell Davenport. What makes this release stand out is its authenticity. Turner embraces the fundamentals of the blues, creating music that feels familiar yet fresh. His collaborations with a host of guest artists further enrich the project, adding layers of soulful harmonies and dynamic instrumentals that complement his signature sound. In a world where the blues can sometimes feel overshadowed by other genres, this release is a reminder of the genre’s enduring power and the depth of Benny Turner’s contributions to its legacy.

COLIN CAMPBELL

INDEPENDENT BLUES BROADCASTERS ASSOCIATION