Blues Matter Issue 144

10/10 9.5/10

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KAI STRAUSS

TENBY BLUES FESTIVAL

SIEGAL & MASTRO

TOP ALBUMS OF 2024

EDINBURGH BLUES CLUB

BLUES BROTHERS

THE STATE OF SMALL VENUES

STEPHEN WILSON

NEIL SADLER

PURE PRAIRIE LEAGUE

FOGHAT

STEVE HILL

BIG BLUES REVIEWS

WITH SOUL AND STYLE

AN INTERVIEW WITH KAI STRAUSS

In the world of modern blues, few artists embody the genre’s timeless spirit quite like Kai Strauss. A torchbearer for authentic electric blues, Strauss has spent decades honing his craft, blending fiery guitar work with heartfelt vocals and an undeniable stage presence.

 Colin Campbell  Supplied

Whether channelling the gritty essence of Chicago blues or infusing his own German roots into the music, Strauss has earned a reputation as a dedicated musician who bridges tradition and innovation. Blues matters caught up with Kai to discuss his journey, his influences, and his newest release Wailin’ In Vienna.

A TEENAGE SPARK

Born in the 1970s, Strauss found his passion for music during his teenage years in the 1980s, when musicians were idolised as modern superheroes. “I guess that’s why I wanted to be one,” Strauss says with a chuckle, admitting he later realised the su-perhero glamour doesn’t quite reflect the musician’s life! Still, he’s deeply content: “I’m happy. It’s a good life. I do what I love to do.” His first encounter with the guitar came at age 11, starting with simple tunes on a nylon-string acoustic guitar. Strauss fondly recalls, “It was just children’s songs and later some Cat Stevens. Just strum-ming parts, that’s what we did.” Though he didn’t come from a musical family, he credits his mother for nurturing his early love for music. “She loved to dance and en-joyed music, and her enthusiasm left a lasting impression”.

DISCOVERING THE BLUES

Formal lessons at a local music school laid the groundwork for Strauss’s early skills. By his mid-teens, however, his heart was set on the blues, driven by a fascination with Stevie Ray Vaughan and Muddy Waters. “I wasn’t the best student; all I wanted to learn was how to play like Stevie Ray or Muddy.” Much of his education came through self-teaching,

jamming with local musicians, and poring over records. “I wasn’t into jazz chords or rock songs, I just wanted to learn those classic blues riffs.”

BUILDING A CAREER

At 17, Strauss joined his first band under a local musician named Martin. They played a mix of blues rock, Hendrix covers, and original songs. “Martin would pick me up for rehearsals because I didn’t even have a driver’s license yet.” A year later, Strauss formed his own band, eager to explore a more traditional blues sound.

In the late 1980s and early 1990s, Strauss became a regular at a weekly blues jam session in Osnabrück, a city near his hometown. “It was amazing, there was no inter-net then, so these jams introduced me to a whole world of blues; players like Pee Wee Crayton, Ronnie Earl, and Gatemouth Brown.” The Osnabrück scene also pro-vided Strauss with opportunities to hone his skills and gain stage experience.

GERMANY’S BLUES SCENE THEN AND NOW

“Back then, there were more clubs, it was easier to find places to play during the week. Now it’s mostly weekends.” Despite the changing landscape, he fondly recalls the supportive community of musicians and venues that helped him grow.

Through dedication and a deep love for the genre, Kai Strauss has become one of Europe’s premier blues guitarists.

THE BEST ADVICE AND INFLUENCES ALONG THE WAY

Throughout his musical career, Kai Strauss has learned much from those around him. When asked about the best advice he received, Strauss doesn’t cite a singular piece of wisdom but instead reflects on the lasting influence of his collaborations, particular-ly with Memo Gonzalez. “Playing with Memo for 15 years was incredibly important for my growth as both a musician and a stage performer.

He taught me how to walk on stage with confidence and really ‘go for it. Also, I don’t think I would be a professional musician without the jam sessions I attended,” he admits. He also humorously re-flects that the one piece of advice he wishes he’d received earlier was to “start saving money for the future”, something he believes would have been helpful as he moved forward in his career.

WHAT THE BLUES MEANS TO KAI STRAUSS

“It’s the music I love, growing up in Germany in the 1980s, blues was an uncommon genre for young people”, but Strauss was captivated from the start. “I just fell in love with it, even though it wasn’t the music most 13 or 14year olds were listening to.”

However, Strauss is careful not to over-romanticise the genre. He recognises that, as a European who grew up in a comfortable environment, his relationship to blues is different from that of its originators. “I’m a guest in the blues culture, I see myself more as a fan playing for other fans, rather than as a blues man in the traditional sense.

THE CHANGING BLUES AUDIENCE

These days, his crowds tend to be male and mostly fifty and older, a trend he be-lieves is tied to the aging of both the musicians and their fanbase. “When I first start-ed playing, we had younger people in the audience, but I think the audience grows older with the band. While the blues scene may not attract many young listeners right now, as people age and experience life’s challenges, more will come to appreciate the depth of the music. At 18, you can’t really relate to the pain and heartbreak in blues lyrics, but when you’re older, the lyrics hit harder, and I think that’s when people dis-cover the blues.”

THE STRUGGLE TO ATTRACT YOUNGER AUDIENCES

Though Strauss expresses satisfaction with the audiences he plays for, he acknowl-edges the challenge of attracting younger listeners. “It’s difficult to get young people into clubs. Once they’re there, they’ll realise that blues isn’t about old men playing sad songs. It can be a great time. You must go through sorrow and pain to really under-stand blues,” he says. “When you’re young, you think you’re invincible. You don’t want to listen to music about life’s struggles. But once you get older, the lyrics start to resonate.”

THE CREATION OF WAILIN’ IN VIENNA

For Kai Strauss, making music is not just about playing the guitar, it’s about connect-ing with the right people, the right ideas, and finding the right moment. The production process for his new album is a perfect example of this. According to Strauss, the ini-tial spark for the album came from his longtime collaborator, Dani Gugolz, a Swiss bassist based in Austria. “Dani had already produced some blues sessions in Vienna, and after one of them, I mentioned that one day I’d love to record a 50s-style tradi-tional blues album. A year later, Dani called me up with the perfect opportunity, a five-day window in his studio to make the dream a reality”.

This collaborative spirit formed the backbone of the album’s creation. With Dani han-dling much of the logistical side, Strauss was able to focus on the music, beginning with a series of original songs. He had considered covering some classic blues tracks, but soon found himself writing so much original material that covers became unnec-essary. “I think it was a good thing, because it gave me a chance to fully embrace that classic blues sound in my own way.”

A CLASSIC SOUND WITH A MODERN TWIST

One of the most striking elements of Wailin’ In Vienna, is its authenticity. The album is a love letter to the 50s blues era, with Strauss drawing on his influences to create something that feels familiar but uniquely his own. While recording, Strauss and his band aimed for a live feel. They recorded most tracks in a home studio with minimal overdubs, capturing the raw, organic energy of a live performance.

The results are undeniable. The album’s old-school sound is clear, but Strauss em-phasises that there’s no intention to mimic the past. “I’m not trying to recreate BB King or Muddy Waters; I’m just writing in that style with respect for the period.”

ASSEMBLING THE DREAM TEAM

Creating a cohesive sound meant bringing in the right players. Strauss called upon Rusty Zinn, an American guitarist whom he’d previously worked with on other sessions. Zinn, known for his soulful playing and deep blues

knowledge, was an obvious choice. “We had a great vibe from the start,” says Strauss.

In addition to Zinn, the album features a range of talented musicians from Vienna’s blues scene, many of whom Strauss had worked with before. The rhythm section was filled out by Peter Muller, a drummer with a home studio, and Strauss was also joined by a talented local pianist, making for an intimate, collaborative recording environ-ment. However, the real magic happened when the horns were added. Overdubbed in the U.S., the horns added a rich, vintage feel to tracks like Old Fashioned Daddy and Let’s Have a Good Time.

SONGWRITING WITH SOUL

Strauss’s songwriting process is both simple and deeply effective. “It can start with anything; a guitar riff, a melody, or just a phrase that sticks with me”. For Old Fashioned Daddy, the title came from a phrase that popped into his head while he was working on a melody. Using his phone to record a basic 12-bar shuffle, Strauss would continue to work through the song mentally while doing everyday tasks. The process is organic, and while Strauss admits that his lyrics are straightforward, they fit the tra-ditional blues form perfectly.

“I don’t write Bob Dylan lyrics,” he jokes, “but the simple lyrics about everyday life are exactly what this kind of music needs. Why sing about something modern, like COVID, when you’re writing 50s-style blues?”

A BALANCED APPROACH TO BLUES

Strauss’s latest album is a true testament to the depth and diversity of the blues, em-bracing the fifties traditional sound while remaining firmly rooted in his own experi-ence. The musicianship, the spirit of collaboration, and the raw emotion come through in every track. As Strauss looks forward, he’s not interested in pigeonholing himself into one style.

“The blues is so wide, there’s everything between the fifties and the nineties, and I love all of it. But I want to keep my influences separate, there’s no need to mix fifties blues with a modern, funky sound. Everything has its time and place.”

As for the future, Strauss hopes to take the album on the road, but only if the right opportunity arises. “I wouldn’t want to mix my band’s modern style with this 50s project,” he says, indicating that, should the right promoters be interested, he might as-semble a special tour, featuring some of the musicians from the album.

For now, Strauss is content knowing that he’s creating the kind of music he loves, rooted in tradition, yet distinctly his own. And with Wailin’ In Vienna, he’s given listen-ers a fresh look at the timeless blues tradition that continues to captivate and inspire.

A EUROPEAN TOUR IN THE WORKS?

The conversation shifts to talk of future plans, including a possible return to the UK. “It’s always tough to make it work financially,” Strauss admits. “We had a good tour lined up before COVID, but that, of course, changed everything. Still, we played some great gigs, like the festival in Carlisle. That was a highlight. Other than that, there’s nothing on the books for the UK at the moment.” However, Strauss remains optimistic about his international reach. He is currently working on expanding his presence beyond Germany, having already secured agents in France, the Netherlands, and other parts of Europe. “It’s getting more international, but slowly. I think it would be easier if I had an American background. Having a Ger-man passport sometimes makes things a bit more complicated,” he says.

Despite these challenges, Strauss remains committed to growing his international fanbase, and he is looking forward to next year’s performances. “The calendar is fill-ing up nicely, and even as far ahead as 2026, we’re already getting bookings in Ger-many.”

For further information see website: https://www.kaistrauss.com/english/

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THE BIG BLUES CHART

THE TOP 50 BLUES ALBUMS

ALBUM

#1 RONNIE BAKER BROOKS

LABEL

BLUES IN MY DNA

ALLIGATOR RECORDS #2 SHEMEKIA COPELAND

BLAME IT ON EVE

ALLIGATOR RECORDS #3 JOVIN WEBB DRIFTER BLIND PIG RECORDS #4 MITCH WOODS HAPPY HOUR MOMOJO RECORDS

#5 DUKE ROBILLARD

ROLL WITH ME

STONY PLAIN RECORDS #6 TAB BENOIT

HEAR THUNDER WHISKEY BAYOU RECORDS

#7 ERIC BIBB IN THE REAL WORLD STONY PLAIN RECORDS #8 ALBERT CASTIGLIA

RIGHTEOUS SOULS GULF COAST RECORDS #9 KEVIN SONNY GULLAGE GO BE FREE BLIND PIG #10 CHRIS CAIN

GOOD INTENTIONS GONE BAD ALLIGATOR #11 KAT RIGGINS & HER BLUES REVIVAL

REVIVAL

#12 BRUCE KATZ BAND

HOUSE OF BERRY PRODUCTIONS

BACK IN BOSTON LIVE DANCING ROOSTER RECORDS #13 VANEESE THOMAS

STORIES IN BLUE OVERTON MUSIC #14 JIMMY CARPENTER JUST GOT STARTED GULF COAST RECORDS #15 TAS CRU BAND LIVE: ALL NATURAL CAGE-FREE... SUBCAT #16 BENNY TURNER BT NOLA BLUE RECORDS #17 MARK HUMMEL TRUE BELIEVER ROCKINITUS RECORDS #18 J.D. SIMO AND LUTHER DICKINSON DO THE RUMP! FORTY BELOW RECORDS #19 VANESSA COLLIER DO IT MY OWN WAY PHENIX FIRE RECORDS #20 COLIN JAMES CHASING THE SUN STONY PLAIN #21 JONTAVIOUS WILLIS WEST GEORGIA BLUES STROLLING BLUES #22 JAKE SHIMABUKURO & MICK FLEETWOOD BLUES EXPERIENCE FORTY BELOW RECORDS #23 FRANK CATALANO / LURRIE BELL SET ME FREE

CATALANO MUSIC #24 MIKEY JUNIOR TRAVELING NORTH 8TH TRAIN RECORDS #25 CHICAGO BLUES LIFTERS BLUES SCOUTS HITSKOPE MUSIC GROUP #26 ZAC HARMON FLOREADA’S BOY CATFOOD RECORDS #27 RICK ESTRIN & THE NIGHTCATS

THE HITS KEEP COMING ALLIGATOR #28 J.P. REALI BLUES SINCE BIRTH REALI RECORDS #29 PIPER AND THE HARD TIMES

REVELATION HARD TIMES RECORDS #30 THE FABULOUS THUNDERBIRDS

STRUCK DOWN STONY PLAIN RECORDS #31 TORONZO CANNON SHUT UP AND PLAY ALLIGATOR RECORDS #32 CURTIS SALGADO FINE BY ME LITTLE VILLAGE #33 GUY DAVIS THE LEGEND OF SUGARBELLY M.C. RECORDS #34 JOHNNY BURGIN

RAMBLIN’ FROM COAST TO COAST STRAIGHT SHOOTER #35 MISSISSIPPI MACDONALD I GOT WHAT YOU NEED APM RECORDS #36 JOHNNY RAY JONES

MYSTIC CHIEFS MOONDOGG RECORDS #37 CHRIS DANIELS AND THE KINGS

40: BLUES WITH HORNS VOL.LL MOON VOYAGE #38 JOE FLIP OLD SOUL (LIVE) S/R #39 BLUES PEOPLE THE SKIN I’M IN PWI MEDIA #40 OLLEE OWENS NOWHERE TO HIDE OLLEE MUSIC

#41 ANTHONY PAULE SOUL ORCHESTRA WHAT ARE YOU WAITING FOR? BLUE DOT #42 KENNY WAYNE SHEPHERD

DIRT ON MY DIAMONDS, VOL. 2 PROVOGUE/MASCOT LABEL GROUP #43 PRAKASH SLIM

8000 MILES TO THE CROSSROADS BLUE POINT RECORDS #44 KID AND LISA ANDERSEN

SPIRITS AND SOUL LITTLE VILLAGE #45 CATFISH KEITH

SHAKE ME UP FISH TAIL RECORDS #46 RANDY MCALLISTER

#47 TODD PARTRIDGE

LINES REACTION RECORDS

DESERT FOX BLUES S/R #48 DAMON FOWLER

BARNYARD SMILE LANDSLIDE RECORDS #49 GARY NICHOLSON

TRUE BLUES BROTHER NOLA BLUE RECORDS

COMMON SENSE QUALIFIED RECORDS #50 BOBBY CHRISTINA’S CARAVAN

The Illustrated Blues Of Brian Kramer BANJO MAN- A MUSICAL CHILDREN'S BOOK

When Eric Bibb contacted me this past spring to illustrate a kid’s book based on his song Banjo Man, I was overjoyed and knew this was a challenge I needed at this time.

We got to brainstorming and collaborating immediately and the relationship was seamless, inspiring, informative, and joyful!

Everything seemed to manifest with a fluid purpose beyond the creation.

Eric wanted to make this a limited edition release at this time, simply because we were both so stoked and proud of what we created, we just wanted to get it out there to

share this joy and inspire young (and older) folks.

If you are a fan of Eric Bibb’s music and vibe as well as my art and vibe, this collaboration will have you listening and turning back to page one over and over again.

So, order your copy before they’re gone.

Lovingly signed by us both.

NEW! Banjo Man- A musical children’s book

By Eric Bibb and Brian Kramer.

Order your limited, signed edition at ericbibb.com

TENBY BLUES FESTIVAL

My first visit to Tenby Blues Festival was a fabulous eye-opener. Based in the beautiful Welsh, Pembrokeshire coast, the town absolutely resonates with great music and a warm, comforting blues vibe for three days with music from local and international artists rocking from morn till night.

Kicking off on the first night, US duo Erin Harpe and Jim Countryman brought a taste of pure quality old-school acoustic blues to the main De Valence Pavillion theatre.. A perfect start to the event, this pair have an absolute mastery of the old blues with a set featuring music from the likes of Memphis Minnie and Sippie Wallace. Harpe’s guitar picking is always top-dollar and alongside her partner Jim Countryman on Bass Ukulele, the set was a great opening reminder of the power and beauty of traditional acoustic blues music.

There then followed an entirely different style and set of full-throttle, funky electric blues led by Pat Fulgoni and his Blues Experience. With a full-on, five-piece band, Fulgoni’s powerful vocal delivery worked wonders as he pushed the boat out with a set based on his own compositions and a confidence that highlighted this band’s importance in the growing blues world in the UK.

The night was closed by a perennial favourite when Ian Siegal took to the stage. Backed by Jonny Henderson on keys and Tom Jukes on drums, Siegal was a true showstopper. From the moment he stepped on the stage to the end of the set, he never put a foot wrong, including his

dead-pan, drole delivery of sidelines and quips. Basing his set around his older material, including ‘Swagger’, Siegal was, for me, probably the festival giant. His voice is rich and demanding, his own compositions. Invariably commanding and his picking more than a match for anyone in the blues world today. This was simply a stunning set topped off with a quick, jokiily introduced, encore. The festival would have been worth attending purely for this guy and the opening night’s fabulous range of artists and musical styles.

Saturday saw the opening of the Blues Trail, gigs spread across the town at venues including restaurants, hotels and halls, featuring a huge variety of musical styles and formats from soloists to high-powered seven-piece, jazz-infused outfits. In effect, something for everyone was available. Dave Thomas turned out a cracking set of acoustic, roots music including fine harp and picking. His own composition, Repossession Blues’ is little short of a classic these days and with a significant history and back-catalogue under his belt, he delivered with a shining self-assurance and a warmth in a blues trail restaurant venue.

The evening sets included wonderful work from a rootsy and funky pairing with Vince Lee and Sophie Lord – a neat-rockabilly set at times with great lyricism and vocals together with fine musicianship. Followed by one of the busiest guys on the UK scene, James Oliver, the night was set for success. Oliver is always a delight, his recent album, ‘Twang’ resonating throughout the set, his Tele-

Iain Patience  Jude Randall

caster mastery and buoyant good humour and wit had the packed hall eating out of his substantial hand.

Not an easy act to follow, US blues-rocker, Hamilton Loomis next took up position and carried on pretty much where Oliver left-off with an audience happy and hungry

for more as he closed the main stage.

Meanwhile, a few hundred yards down the road, Andy Twyman entertained with his usual deadpan delivery, wit and fretwork to the fore. Twyman writes most of his own material often peppered with innuendo and humour but always coupled with classic acoustic blues picking which included his one-string cigar-box routine and an encore of deliciously risqué self-penned material.

With the night reaching a close, another UK favourite pairing took the stage. Fran McGillvary and Mike Burke need little introduction to UK blues lovers. A pairing that fits together like hand and glove after many years on the blues circuit, they grabbed the audience from the very off, starting out with the perennial favourite ‘Trouble in Mind,’ always a winner in my book.

Sunday, which I sadly missed due to illness and hospitalisation!, included the always superb Michael Messer, alongside Blockhead Chaz Jankel – a gig I’d been really looking forward to catching – The Low Down Dirty Dog Blues Band, and a festival closer by Sister Suzie.

Organised by Malcolm Cawley and Chris Osborne, Tenby Blues Festival is easily in line for the Best Blues Festival in UK, for my money. The organisation is seamless and certain, the variety of acts just excellent and the location an absolute sure-fire winner. The Blues Trail, with free gigs rocking all over town is just the topping on the cake.

WHEN JOHNNY MET IAN AN INTERVIEW WITH JOHNNY MASTRO

Johnny Mastro doesn’t just play the blues—he lives them. As the frontman of Johnny Mastro & Mama’s Boys, his raw, soul-stirring sound has become a mainstay in the blues world, blending gritty harmonica riffs with an electrifying stage presence that commands attention.

Blues legends Ian Siegal and Johnny Mastro have joined forces for a collaboration that’s as raw and authentic as the genre itself. Their latest album, Easy Tiger, captures the essence of their combined artistry, blending soulful vocals, gritty harmonica, and storytelling steeped in tradition. In this feature, we delve into the stories behind the album, the journeys that brought these two powerhouse musicians together, and what this collaboration means for the future of blues.

SIEGAL: THE VOICE OF GRIT AND SOUL

Ian Siegal’s presence on stage is transformative. His voice, capable of swinging from a gravelly growl to a heartfelt croon, and his guitar playing, dripping with Mississippi grit, have made him a standout figure in modern blues. Born in the UK, Siegal channels the spirit of the Delta in every note, weaving tales of love, loss, and life’s raw truths.

When it comes to songwriting, Siegal embraces a fluid and instinctive approach. “Usually, it’s just a phrase. I’ll scroll through years’ worth of iPhone notes and find something like My Dog Won’t Hunt. All I had was the title,” he laughs. For Siegal, lyrics often come first, with melodies taking shape later.

Collaborating with Mastro brought a new dimension to his creative process. “Johnny would send me titles, and I’d run with them,” he explains. “It’s rarely a musical idea unless it’s someone else’s that I latch onto.”

MASTRO: HARMONICA VIRTUOSO WITH A GRITTY EDGE

Johnny Mastro’s journey into the blues world was born from an innate passion. “I fell in love with the harmonica when I was a kid. I didn’t even know why, but I just loved it,” he recalls. By the time he was a teenager, Mastro was playing in bar bands, but his real transformation came when he stumbled upon Babe and Ricky’s Inn, a legendary blues venue in Los Angeles.

Run by the formidable “Mama,” the club became Mastro’s home for 16 years. “Mama encouraged me to keep going and gave me a platform,” he says. “That’s how my band got its name—Mama’s Boys. Without her, I’d probably be doing something else.”

Relocating to New Orleans over a decade ago allowed Mastro to immerse himself in the city’s vibrant music scene. “Here, there’s a local blues scene where you can perform regularly even if you’re not travelling constantly. It’s a good balance,” he explains.

THE BIRTH OF EASY TIGER

The collaboration between Siegal and Mastro began with mutual respect and a shared desire to shake things up. “We were both on the same label years ago and crossed paths at festivals,” Mastro says. “I’ve always admired Ian’s songwriting, his records, and his voice. I thought it would be cool to put a driving blues band behind him.” Siegal was immediately intrigued, and the two began exchanging ideas remotely. “We’d trade riffs, lyrics, and

 Colin Campbell  Supplied

concepts through messenger,” Mastro shares. “By the time we hit the studio, we had everything we needed.”

Recording took place in a vintage New Orleans studio filled with tube equipment from the 1940s and 50s. “We rehearsed for one day and recorded everything over two days,” Mastro recalls. “Most of what you hear is live and on the floor. It’s raw, it’s honest, and it’s the blues at its core.”

The album’s title, Easy Tiger, came about casually. “It was just a note I had for an album title,” Siegal says. “When I suggested it, Johnny loved it.” The cover artwork, featuring a striking cat, was similarly spontaneous. “Johnny showed me a mock-up, and we both agreed it was perfect. It reminded me of the giant cat from The Goodies,” Siegal adds with a laugh.

TRACKS THAT TELL STORIES

The tracks on Easy Tiger showcase the pair’s knack for storytelling, blending traditional blues elements with fresh perspectives.

Four on the Floor kicks off the album with a fast boogie. “The stop-time breaks give Ian’s vocals room to shine,” Mastro says.

Balling the Jack, inspired by old Southern slang for fast trains, shifts tempos mid-track, adding a unique flair.

Quick to the Gun delivers a poignant critique of America’s gun culture. “It’s about the violence here in New Orleans,” Mastro explains. “Arguments escalate to shootings far too often.”

Wine Headed revisits a playful blues term from Mastro’s earlier band, describing someone who’s had a bit too much wine.

One of the most striking tracks is Whore in Church, inspired by a Southern expression Siegal picked up while touring with Jimbo Mathus. “It’s stream-of-consciousness fun,” Siegal explains. “In Europe, it gets laughs, but in the U.S., especially in the South, reactions can be mixed.”

The Blues: A Changing Landscape

Both musicians reflect on the state of the blues today, recognising its challenges and opportunities. Siegal laments the genre’s increasing commercialisation. “It’s not a working-class music anymore,” he says. “Unless you’ve got money, you can’t afford to promote, record, or hire a PR agent.”

Mastro shares Siegal’s frustrations, adding: “A lot of what’s out there feels overly polished. Blues is raw, dark, and driving. That’s the spirit I wanted Easy Tiger to capture.”

Despite the hurdles, both are optimistic about the blues’ future. Siegal highlights emerging talents like Jontavious Willis and Blind Boy Paxton, who bring fresh energy to

traditional blues. “Young Black musicians embracing the genre again is significant,” he says. “It shows the blues is still relevant.”

BRINGING EASY TIGER TO LIFE

With the album complete, Siegal and Mastro are gearing up for live performances. “We haven’t played these songs for an audience yet, but we’re heading to the Netherlands for a run of shows,” Mastro says. While UK dates remain uncertain due to logistical challenges, the pair are eager to bring their collaboration to audiences. “Festivals, absolutely,” Siegal says. “If you’re reading this, come and get us!”

For both musicians, the live experience promises to add a new dimension to the album. “The songs weren’t written with the audience in mind, but they’re built to connect,” Mastro explains. “There’s a feelgood energy in this album, and I think people will respond to it.”

THE MAGIC OF COLLABORATION

The seamless chemistry between Siegal and Mastro is evident throughout the album. “This was the easiest album I’ve made,” Mastro says. “Ian trusted me to mix the record, and everything just fell into place.”

Siegal agrees: “We weren’t trying to recreate something or pretend to be anything we’re not. This album reflects who we are.”

LOOKING AHEAD

As Ian Siegal and Johnny Mastro continue to blaze their own trails, Easy Tiger stands as a testament to their shared passion for authentic blues. The album’s raw energy, heartfelt storytelling, and undeniable chemistry make it a must-listen for blues fans.

For Siegal, the journey is about balance. “I still love being on stage, but I’m ready to slow down,” he says. “I want to spend more time at home— maybe get some dogs. They deserve someone who’s there.”

As for Mastro, the collaboration has reinvigorated his creative spirit. “This record is a testament to keeping it real,” he says. “It’s organic, it’s honest, and it’s from the heart. That’s all I could ever ask for.”

TOP 5 BLUES ALBUMS OF 2024

As we look back on 2024, it’s clear that the year has been a remarkable one for blues enthusiasts. With fresh talent emerging and seasoned artists returning to the forefront, the blues scene is alive and kicking. Our team of dedicated writers has pored over countless releases, and after much debate, we’ve compiled our top picks for the best blues albums of the year. Here’s a roundup of the albums that left a lasting impression on us and the blues community.

Compiling our top 5 blues albums of the year was no easy feat, especially when our dedicated team of writers each brought their own unique perspectives to the table. Here’s a breakdown of who championed which albums and the reasons behind their choices.

COLIN CAMPBELL’S PICKS: A CELEBRATION OF BLUES ROOTS

Colin Campbell found himself captivated by Katie Knipp’s Me. With her powerful vocals and masterful musicianship, Katie’s album struck a chord with Colin, particularly for its raw, honest songwriting. Each track offers an emotionally rich experience, showcasing Katie’s versatility on piano and other instruments. For Colin, this album is an essential listen for those who appreciate authenticity and soul-stirring blues.

Another standout for Colin was Rick Estrin & The Nightcats’ The Hits Keep Coming. This album, with its blend of wit, charm, and infectious rhythms, showcases Rick’s ability to breathe new life into modern blues. The playful lyrics and captivating melodies made it an easy choice for Colin, demonstrating why Estrin continues to be a beloved figure in the blues world(Top 5 2024 BM).

DAVE DURY’S PICKS: GRIT, GROOVE, AND STORYTELLING

Dave Dury was thoroughly impressed with Eddie 9V’s Saratoga, which he describes as a bold, raw album that pushes the boundaries of Southern soul and blues-rock.

For Dave, Eddie’s sharp storytelling, especially on tracks like “The Road To Nowhere,” captures the essence of a road trip through modern America.

Dave also highlighted Big Harp George’s Cooking with Gas for its blend of blues, jazz, soul, and funk, delivered with George’s signature humour and expertise on the chromatic harp. It’s an album that brings joy to listeners while showcasing technical prowess

GRAEME SCOTT’S PICKS: SOULFUL AND DIVERSE SOUNDS

Graeme Scott has long been a fan of Elles Bailey, so it’s no surprise that he chose her album Beneath The Neon Glow for his list. With standout tracks like “Ballad Of A Broken Dream,” Graeme appreciated the soulful Americana vibes and Elles’ rich storytelling. Her ability to blend traditional blues with modern touches has kept her at the top of his favourites list(Graeme Scott - my top 5 ).

Another gem for Graeme was Vanessa Collier’s Do It My Own Way, where Vanessa’s command over vocals, horns, and guitar left a lasting impression. Her ability to infuse soul and funk into the blues genre was a major draw for Graeme, making this album a top contender(Graeme Scott - my top 5 ).

ADRIAN BLACKLEY’S PICKS: BLUES WITH A MODERN EDGE

Adrian Blackley’s love for traditional yet innovative blues led him to select Danielle Nicole’s The Love You Bleed He was particularly struck by Danielle’s exploration of love and self-reflection, with songs like “Willpower” showcasing her growth as a songwriter. The production, helmed by Tony Braunagel and mixed by John Porter, adds depth to her soulful melodies.

Adrian also chose Foghat’s Sonic Mojo for its seamless blend of rock, blues, and even a touch of country. The album, which includes contributions from the late Kim

Simmonds, left Adrian appreciating its cohesion and quality.

ANDY SNIPPER’S PICKS: BLENDING TRADITION AND INNOVATION

Andy Snipper’s top pick was JJ Grey & Mofro’s Olustee, which he described as a masterclass in Southern soulblues. The album’s mix of blues, rock, and soul, paired with Grey’s storytelling, created an irresistible listening experience for Andy(top 5 Andy Snipper).

He was also drawn to Martin Harley’s Morning Sun, an album that brings a more acoustic, intimate approach to blues. Harley’s heartfelt songwriting and laid-back vibe resonated with Andy, making it a standout choice.

These top picks from our writers reflect the diverse and vibrant blues landscape of 2024. Whether you’re drawn to the soulful reflections of Katie Knipp, the Southern rock energy of Eddie 9V, or the heartfelt grooves of Danielle Nicole, there’s something in this list for every blues fan. Dive into these albums and experience the best that blues had to offer this year!

THE TOP FIVE OF 2024...

FIVE FOUR

KATIE KNIPP – ME

Katie Knipp’s album Me is a deeply personal exploration of blues and soul. Known for her powerhouse vocals and multi-instrumental prowess, Katie delivers a collection of ten tracks that showcase her raw talent. The album is packed with heartfelt songwriting and rich musical arrangements that are both intimate and resonant. Each track feels like a window into her soul, with Knipp’s unfiltered emotions pouring through her lyrics and melodies.

Her ability to seamlessly blend blues, rock, and soul while maintaining a stripped-back approach makes Me a standout in 2024. Whether it’s her powerful vocal delivery or her impeccable piano playing, Katie Knipp has solidified herself as a force to be reckoned with in the blues genre.

ELLES BAILEY – BENEATH THE NEON GLOW

With her distinct blend of blues-infused Americana, Elles Bailey’s Beneath The Neon Glow has been a favourite among fans and critics alike. The album is a testament to her ever-evolving artistry, featuring tracks like “Ballad Of A Broken Dream” and “If This Is Love” that capture her signature soulful sound. Elles’ voice shines throughout the record, delivering lyrics that are as powerful as they are poignant. Produced with a modern touch while staying true to her roots, Beneath The Neon Glow showcases Bailey’s ability to infuse traditional blues elements with contemporary storytelling. The album is an emotional journey that explores love, heartbreak, and resilience, making it a must-listen for any blues enthusiast.

THREE

DANIELLE NICOLE – THE LOVE YOU BLEED

Danielle Nicole’s The Love You Bleed is a masterful exploration of love and the complexities of the human heart. Produced by Tony Braunagel and mixed by John Porter, the album weaves together elements of blues, soul, and rock. Danielle’s smooth, sultry vocals are complemented by lush instrumentation, creating a rich, immersive soundscape.

Tracks like “Willpower” and “Determination” are standout examples of her lyrical depth and vocal prowess, exploring themes of love, loss, and self-discovery. This album demonstrates Danielle’s growth as an artist, solidifying her place among the top voices in blues music today.

EXPLORE

TWO

JJ GREY & MOFRO – OLUSTEE

JJ Grey has returned to form with his latest album, Olustee, delivering a sound that is both soulful and deeply rooted in Southern blues. Known for his storytelling prowess, Grey delves into themes of life, love, and loss with an authenticity that few can match. This album isn’t purely blues; it seamlessly blends rock, soul, and funk, showcasing Grey’s versatility.

Fans of JJ Grey will appreciate tracks like “Georgia Warehouse,” where his raspy voice and powerful lyrics resonate with listeners. Whether it’s the groove-laden bass lines or the soulful horn sections, Olustee is a dynamic album that captures the essence of Southern blues.

EXPLORE

 Everett Zuraw

 Missy Faulkner

ONE

EDDIE 9V – SARATOGA

Topping our list is Saratoga, the highly anticipated album from Atlanta’s own Eddie 9V. Known for his energetic stage presence and sharp storytelling, Eddie delivers a raw, unapologetic blues experience with this release. Saratoga is filled with electrifying guitar riffs, soulful vocals, and lyrics that reflect Eddie’s unique perspective on life, love, and the open road.

Tracks like “The Road To Nowhere” showcase Eddie’s ability to blend Southern soul with blues-rock in a way that feels both classic and refreshingly modern. Produced at the legendary Studio 606 and helmed by Grammy-winning producer Darrell Thorp, the album is as close to the heart as you can get. Eddie’s signature wit and observational lyrics make Saratoga a standout in the blues landscape, capturing the spirit of a one-man band pushing through life’s adversities.

With Saratoga, Eddie 9V cements his status as one of the most exciting and authentic voices in contemporary blues. The album is a journey through the highs and lows of a musician’s life, making it the perfect soundtrack for those who appreciate blues at its most genuine and raw.

“the album is as close to the heart as you can get”

10 YEARS OF EDINBURGH BLUES CLUB

Words: Colin Campbell Pictures: Stuart Stott

Since its founding in 2014, the Edinburgh Blues Club has become a staple in the Scottish music scene. But beyond the live performances and star-studded lineups, there’s something unique about this organisation: it’s a social enterprise dedicated to creating a space for blues music while serving and enriching the local community. By balancing the world of live entertainment with a commitment to social impact, the Edinburgh Blues Club has successfully redefined what it means to be a grassroots music organisation.

The year 2024 marks a significant milestone for the Edinburgh Blues Club, as it celebrates ten years of bringing the raw, soulful sounds of the blues to audiences across Scotland. Founded in 2014, this nonprofit, membership-based club has become a beloved institution for musicians, fans, and the Edinburgh community alike. Its founders set out to preserve the essence of live blues music, and a decade later, the club stands as a testament to their dedication, love for the genre, and passion for fostering a vibrant blues community even managing to survive the recent pandemic. Also, they achieved a major accolade in 2018 being named UK Blues Club/Venue of the year by UK Blues Federation.

A DECADE OF MEMORABLE PERFORMANCES

In the ten years since its inception, the Edinburgh Blues Club has hosted an impressive lineup of talent, ranging from legendary blues veterans to promising new artists. This commitment to quality has not only earned the club respect in the blues community but has also allowed audiences in Edinburgh to experience world-class performances up close.

There have been many memorable performances, one that stands out was Billy Branch who brought his band Sons Of Blues to Edinburgh in 2020 from Chicago in a tribute to Little Walter that also featured Little Walter’s daughter, Marion Diaz reminiscing about the heady days of Chicago blues culture and the scene around that time. Also, when Josh Smith played, he did a guitar workshop. There was even a question-and-answer session with the head of Alligator Records Bruce Iglauer who brought Toronzo Cannon and The Cannonball Express to the club. Countless other American acts have also played including, Lucky Peterson, Mike Zito and Albert Castiglia, Walter Trout and Samantha Fish.

But the club has never limited itself to big names. Part of its ethos has been to highlight diverse styles and voices

within the blues, creating space for both established and emerging artists. The club has introduced its audiences to the raw energy of acts like Ian Siegal, the boundary-push ing Blues Caravan, and the deep soul of artists such as newer artists, Bywater Call, and the rockier side of blues with Robert Jon & The Wreck. This eclectic programming has kept the lineup fresh, reflecting the evolution of the blues while staying grounded in its rich traditions. Be yond just organising events, the club also supports local musicians and smaller acts, often booking Scottish artists as opening acts for major performers. This not only pro vides a platform for homegrown talent but also connects local musicians with the larger blues community, creating opportunities for collaboration and growth.

JOURNEY THROUGH EDINBURGH’S LIVE SCENE

The Edinburgh Blues Club has made its mark in some of the city’s best-known music venues, adapting to each space and embracing the charac ter it brings to the music. The Voodoo Rooms, an iconic venue with a vintage vibe, has been a natural fit for the club. Its intimate setting and ornate decor offer the perfect backdrop for the blues, making each show feel personal and immersive. For

larger events, the club has turned to places like La Belle Angele, a storied venue that has hosted everyone from Oasis to Radiohead. Last month the club hosted Dom Martin Band there. The space accommodates a larger crowd while preserving the close, interactive atmosphere that the club prioritises. La Belle Angele’s history as a breeding ground for musical talent aligns with the club’s mission, bringing together Edinburgh’s vibrant musical past and present. On occasions, the club has ventured into unique, less conventional spaces, giving its’ shows an added sense of novelty and excitement. For example, it has hosted events at The Pleasance Theatre, known for its superb acoustics and layout, John Primer was hosted here also Bob Corritore and Thorbjorn Risager. The Liquid Room has also been used for hosting bands like, When Rivers Meet. Such venues add an extra layer of atmosphere to the performances, amplifying the emotional depth of the music and reminding audiences of the blues’ spiritual roots.

THE EDINBURGH BLUES CLUB FOUNDATION

The EBC Foundation is the community outreach initiative of the Edinburgh Blues Club, founded on the belief that the club’s success is measured not only by membership numbers and ticket sales, but by its positive impact on Edinburgh’s blues scene and community. The Foundation has supported local musicians and venues in various ways. It funded hotel costs for Jed Potts & The Hillman Hunters during their tour to prevent them from sleeping in their van and contributed significantly to the Gerry Jablonski Band’s crowdfunding campaign to produce a single and music video. Additionally, the Foundation supported a crowdfunder to save a local venue, provided funds for medical care for their friend Matt Long still sadly missed, and prepaid future gigs for local musicians whose livelihoods were heavily affected by the Covid-19 pandemic.

A LEGACY IN THE MAKING

As it celebrates its tenth anniversary, the Edinburgh Blues Club shows no signs of slowing down. The team is as dedicated as ever to bringing top-tier blues talent to the Scottish capital and expanding the reach of the genre. In the spirit of looking forward, they plan to introduce new initiatives in the coming years, such as educational workshops, collaborations with other music organizations, and a continued focus on discovering and supporting emerging artists.

FINAL THOUGHTS: A DECADE OF DEDICATION

The success of the Edinburgh Blues Club is a reminder of the enduring appeal of live music and the power of community. For ten years, it has been a space where the soul of the blues comes alive in every riff, every heartfelt lyric, and every shared moment between artist and audience. The club has remained true to its founding ethos: making blues accessible, fostering community, and celebrating the magic of live performance. As it steps into the next decade, the Edinburgh Blues Club stands as a beacon for blues enthusiasts everywhere. It’s more than a venue or a series of shows; it’s a community bound by a love of music that transcends time and place. For those lucky enough

to have experienced a night at the club, it’s clear that the blues are alive and well in Edinburgh, carried forward by the passion and dedication of this remarkable organisation, whose committee, be them Directors or members do this for the love of live blues infused music. Here’s to the next ten years of blues in the heart of Scotland—long may it play.

More on the EBC website: edinburgh-blues.uk

THE DYNAMIC DUO BEHIND YORK’S VIBRANT MUSIC SCENE

Meet Paul Winn and Ben Darwin - the masterminds behind a beloved radio show, a thriving blues festival, and a rocking band that’s taking the local scene by storm.

In a cozy studio tucked away in York, England, the airwaves come alive with the sound of blues music and infectious laughter. This is the domain of Paul Winn and Ben Darwin, the dynamic duo behind the wildly popular “Fab Folk and Blues” radio show, which has been captivating listeners for the past five years.

But their influence extends far beyond the confines of the studio. Winn and Darwin are also the driving forces behind the York Blues Festival, a one-day celebration of all things blues that has become a must-attend event for music lovers across the region. And if that wasn’t enough, the two are also the frontmen of D C Blues Band that has been steadily building a loyal following with their high-energy performances and infectious camaraderie.

FROM HUMBLE BEGINNINGS TO RADIO STARDOM

The story of Winn and Darwin’s radio journey began nearly a decade ago, when Wynn was a guest on a local radio show in York. “The presenter said to me afterwards that I was a natural on the microphone and asked if I’d like to be his understudy,” Winn recalls. “I snapped his arm off, really.”

Winn soon found himself hosting his own show, which he dubbed “Fab Folk and Blues.” It was a three-hour extravaganza that allowed him to indulge his passion for the blues. But when the station was sold, Wynn found himself out of a job – and determined to keep the music alive.

“I really got the bloody bug for it,” Wynn says. “So, I started doing work for this station in Scarborough, and then I got asked to work for another station in Wetherby, where I had the blues hour.”

It was around this time that Darwin, a longtime friend and fellow musician, started getting involved. “I just came around a little bit, for a couple of nights,” Darwin says. “Then I started doing a couple of gigs roundups, and it was building up to COVID that I really joined in.”

A DYNAMIC DUO TAKES THE AIRWAVES BY STORM

The partnership between Winn and Darwin proved to be a stroke of genius. Their natural chemistry and infectious enthusiasm for the blues quickly won over listeners, and the “Fab Folk and Blues” show became a must-listen for music fans across the region.

“We quite often go down some random wormholes because we started introducing, not well, not on purpose humour, but it was just random facts, the most stupid things, “Winn explains. “It’s like, ‘Oh, yeah, big Bill Booms, you there. He was seven foot two.’ ‘That’s the size of a panda bear,’ sort of thing, you know.”

Darwin chimes in, “And then it was Albert Collins. And I was like, ‘I think, turn around. Says, oh yeah. That was the husband of EastEnders actress Michelle Collins,’ or whatever it was, you know. And he kind of started from there,

 Stephen Harrison  Keery Irvine

just stupid little things like that.”

This playful banter and willingness to veer off the beaten path has become a hallmark of the show, setting it apart from the more strait-laced blues programs that dot the airwaves. “We just play it on how we speak to each other normally,” Wynn says. “Yeah, either on radio or band or whatever we’re doing.”

BUILDING A BLUES EMPIRE, ONE GIG AT A TIME

While the radio show has been a labour of love for Winn and Darwin, their true passion lies in their work as musicians. The two have been playing together in various bands for over a decade, and their current outfit, a blues-infused group, has been steadily building a reputation as one of the most exciting acts on the local scene.

“We’ve had a few changes in lineup over the years, but Ben and I have been the only ones,” Winn says. “We just got, like, it’s like, we’ve got our own personality, and the band itself got its own personality as well, you know, which comes across when people come and see us.”

This commitment to creating a unique and engaging live experience has also been a driving force behind the York Blues Festival, which Winn and Darwin have been organizing for the past several years.

“It’s about what we want to do, and it’s our personalities, and it’s kind of quite nice because, again, it’s sort of, it’s about what we want to do, and it’s our personalities,” Darwin explains. “We don’t try and change something that’s not broken. You know, it works.”

The festival has become a beloved annual event, attracting blues fans from across the region who come to soak up the relaxed, friendly atmosphere that Winn and Darwin have cultivated. “It’s just about me and me mate,

organizing a bit of a piss up with a load of bands in and we just invite people to turn up,” Darwin says with a chuckle.

PROMOTING NEW TALENT AND MAINTAINING QUALITY

While the festival’s laid-back vibe is a big part of its appeal, Winn and Darwin take the curation of the lineup very seriously. They’re committed to showcasing a diverse array of talent, from established acts to up-andcoming artists.

“We try to get as wide a variety of bands as we can fit in in the one day,” Winn explains. “If somebody doesn’t like one band, that’s cool, they’re probably going to like the next one.”

This approach has led to some memorable moments, like the time they booked a heavier band that divided the audience. “We had people going into the other bar going, ‘Oh, this is too noisy for me,’” Darwin recalls. “And we had people coming up to us going, ‘Oh, my God. Where did you get these from? These are amazing.’”

Winn and Darwin’s dedication to nurturing new talent extends to their radio show as well. They use the platform to promote emerging artists and help them gain exposure, often inviting them to perform live in the studio.

“We sort of become friends’ acquaintances of a lot of them, like you will in your role, and then then you invite him to come and play, and they’re well, up for it, because we, we don’t have the biggest budget in the world,” Winn says.

DREAMING BIG AND STAYING GROUNDED

As their empire continues to grow, Winn and Darwin remain grounded and focused on the things that matter most to them – creating great music, fostering a sense of community, and having a damn good time doing it.

When asked about their dream guests for the radio show, the two rattle off a list of blues legends, from Derek Trucks and Susan Tedeschi to Dennis Gruver and Matt Schofield. But they’re just as excited about the prospect of having their own band perform on the show, even if the logistics might be a bit tricky.

“I would love for our band to play on our show, but we’re too noisy,” Winn admits with a laugh. “It’d be an absolute nightmare, wouldn’t it, and we’d be squeezed in that room, and it’d sound horrible.”

For now, Winn and Darwin are content to keep doing what they love, whether it’s entertaining listeners on the radio, rocking the stage at the York Blues Festival, or simply jamming with their bandmates. And as long as they’re having fun, their fans will be sure to follow.

“It’s just about me and me mate, organizing a bit of a piss up with a load of bands in and we just invite people to turn up,” Darwin says. “Why try and change something that’s not broken?”

THE SILENT STRUGGLE

UK’S

SMALL

VENUES ON THE BRINK

In recent years, the UK has seen a worrying trend that’s casting a dark shadow over its vibrant music scene: the closure of small, grassroots music venues. The places that once gave birth to future superstars and nurtured emerging talent are finding it harder than ever to keep their doors open. And while stadium tours and festival headliners continue to dominate the spotlight, it’s the smaller, community-driven venues that are struggling to survive, often with little attention or support.

THE RISE OF BIG ACTS AND THE DECLINE OF GRASSROOTS VENUES

It’s hard to miss the buzz surrounding major artists and their stadium tours. Sold-out arenas, lucrative ticket sales, and wall-to-wall media coverage create the illusion that the music industry is thriving. But beneath the glittering surface lies a harsh reality: while big-name acts rake in millions, smaller venues, which serve as the lifeblood of the music scene, are teetering on the brink of extinction.

Grassroots venues have long been the incubators for new talent, the places where bands can cut their teeth and develop their craft. However, in the current climate, these venues are struggling to attract audiences. With ticket sales declining, many are forced to shut down, unable to compete with the attention and resources that are funneled into larger, more established acts.

A PERFECT STORM: THE CHALLENGES FACING SMALL VENUES

The issues facing small venues are multifaceted. Rising

costs, increased competition from larger events, and changing audience habits have created a perfect storm that’s making it difficult for these venues to survive. The lingering impact of the COVID-19 pandemic has only made matters worse. Many small venues were forced to close their doors during lockdowns and, despite reopening, have struggled to draw crowds back.

Additionally, with the rising cost of living, audiences are becoming more selective about where they spend their money. For many, the appeal of paying a premium to see a big-name artist outweighs the risk of spending on lesser-known acts in smaller, intimate settings. The result? Fewer tickets sold, fewer gigs, and, ultimately, venue closures.

THE CONSEQUENCES OF LOSING GRASSROOTS VENUES

The closure of small music venues isn’t just a loss for the music industry—it’s a loss for the communities they serve and the culture they foster. Grassroots venues are more than just spaces for live music; they’re hubs of creativity, diversity, and social connection. These spaces allow new, unsigned artists to find their voice, build a fan base, and gain the experience they need to take their careers to the next level.

Without these venues, where will the next generation of musicians hone their craft? The UK has a rich history of iconic bands—The Beatles, Oasis, Arctic Monkeys—who started out playing in small venues before rising to global

fame. If grassroots venues disappear, we risk losing the next wave of great artists before they even have a chance to break through.

THE DOMINO EFFECT: BEYOND THE MUSIC

The impact of venue closures extends beyond the music scene. These spaces contribute to the local economy, providing jobs, attracting tourism, and supporting surrounding businesses like bars, restaurants, and shops. The loss of these venues creates a ripple effect, hurting local communities that rely on the foot traffic and vibrancy that live music brings.

Moreover, small venues are crucial for fostering a sense of community. They bring people together, providing a space for music lovers to connect and share experiences. The closure of these venues isn’t just an economic blow; it’s a social one, eroding the cultural fabric that binds communities together.

WHAT CAN BE DONE?

To prevent further closures, we need to rethink how we support grassroots music venues. This could mean increasing funding and grants for small venues, reducing licensing fees, or providing tax breaks for businesses that support live music. Additionally, we as music lovers can play our part by attending more gigs at smaller venues, buying tickets in advance, and spreading the word to encourage others to support grassroots music.

There’s also a need for the music industry as a whole to shift its focus. While there’s no denying the allure of stadium tours, more needs to be done to promote the importance of grassroots music. The industry giants—record labels, radio stations, streaming platforms—should use their influence to shine a light on up-and-coming artists and the venues that support them.

“it’s up to all of us to support the

grassroots venues”

A CALL TO ACTION

Small venues have always been the heart and soul of the UK’s music scene. If we want to keep the spirit of live music alive, it’s up to all of us to support the grassroots venues that make it possible. Next time you’re deciding which gig to attend, consider heading to your local venue to support the bands who are just starting out. After all, today’s small-time performers could be tomorrow’s superstars.

Let’s make sure they have the stages they need to grow, and let’s keep the UK’s music scene as vibrant and diverse as it’s always been. Together, we can prevent the lights from going out on the venues that have given us so much.

A FINAL WORD FROM DAVID MUNDELL, GRASSROOTS

Many small music venues have ceased trading in the last two years and many more are going to cease trading unless support is forthcoming. The Music Venue Trust have galvanised the grass roots industry into action to shame the large corporations into taking some responsibility and ultimately give some financial support. The proposed action is for Stadiums and Arenas to donate £1 from their incredibly large ticket prices which then goes to a central fund hopefully governed by the MVT. All venues are different and it won’t be easy distributing this fund.

I hope the industry finds a solution voluntarily otherwise it will be left to the Government to introduce legislation to ensure that they do.

Here in Kinross it’s difficult to host a young and upcoming Artist, as Rock N Roll is expensive! I try to ensure a young Band returns on a regular basis so we hopefully have an opportunity to build an audience. That can become very frustrating as you will lose money and hope you can receive a pay off show to recompense all the past times you did lose money.

People love supporting Tribute Bands and established Artists but are less keen to come along and support new music.

Support your local music venue wherever you are. If you don’t you will lose it. It’s as simple as that.

ICONIC BLUES CLUBS

A BRIEF HISTORY OF SOME OF THE MOST IMPORTANT VENUES IN BLUES

Over a hundred years ago, Juke-Joints were the only place one could go and see local Blues artists performing on any given weekend. This was usually on a Saturday evening after everyone had finished work on such places as Dockery Farm, or other similar plantations. Sunday, was a day of worship, even though the Juke-Joints were often referred to as the home of the devil’s music, which had been loudly applauded only a day before.

As the years rolled by, one by one the legendary JukeJoints closed their doors for the last time, people were no longer in slavery, no longer the property of plantations as work in the big industrial cities began to prosper. The likes of Muddy Waters and Charlie Musselwhite had headed to Chicago bringing with them the Blues from Clarksdale and Memphis, to name just two.

As the Electric Blues became more popular more and more Blues artists made their way to Chicago and many other cities in the North. They joined the Blues people of Chicago who needed places to play, at first on the North Side of the city. As the clubs began to become more popular, this attracted more artists, until Chicago really was the home of The Blues.

Two clubs, in particular, stood out, both have seen the greatest Blues artists visiting and performing, and both have had famous recordings from within their walls.

THE CHECKERBOARD LOUNGE

8531 SOUTH CRANDON AVENUE-CHICAGO

This club was owned by Buddy Guy and L. C. Thurman and first opened its doors in 1972. Over the years The Checkerboard Loung has been host to some of the biggest names in Blues, Muddy Waters, Eric Clapton, Chuck Berry, and on one special night, The Rolling Stones. In 1981, The Checkerboard Lounge had Muddy Waters and his band appearing with a couple of guests, Buddy Guy joined in, and then in walked The Rolling Stones who were in town to perform at a large arena gig the night after. As Muddy Was playing, the Stones trundled in and settled at a table at the front of the club. What followed has gone down in Blues folklore.

Muddy invited Mick Jagger onto the stage to join him on the song, Baby Please Don’t Go, soon to be followed by Keth, Ronnie, and Ian Stewart. They proceeded to play a whole raft of Blues classics that thankfully was recorded for prosperity, and is available on vinyl and DVD. They were joined by Buddy Guy, members of his band, and an assortment of others including, Junior Wells. Sadly, the club did not continue to prosper, Buddy Guy left, and the club finally closed its doors in 2015 following the death of L. C. Thurman. But, its legacy will live forever, and not just because of that one special night.

BUDDY GUY’S LEGENDS CLUB

700 SOUTH WABASH AVENUE, CHICAGO

The original Buddy Guys was situated at 754 South Wabash Avenue near Michigan Avenue but has been at its present location since 1989. Legends Club, not unlike the Checkerboard Lounge, has been at the heart of the Blues scene in Chicago attracting thousands upon thousands of visitors every year from all over the world. It serves delicious Southern and Cajun food and also serves a beer by the name of, Buddy Brew.

Even though Buddy is well into his 80s, he still performs a month’s worth of gigs at Legends every January. I have been lucky enough to have visited both locations of Legends, the last time in 2017 at the start of our Routre 66 trip, where we had the pleasure of seeing, Fruitland Jackson, and John Nemeth. For me, a Blues enthusiast, It was like walking into a cathedral, a cathedral of Blues, seeing photos of some of the many artists that have appeared there over the years.

The Club is basically part of a promise that Buddy Guy made to Muddy Waters in 1983, just before Muddy passed away, Muddy made Buddy promise that he would help to keep the Blues alive, “ Legends is part of that promise” said Buddy. Two live recordings have come out of Legends, Live At Buddy ’s-Junior Wells, and Buddy Guy and Junior Wells, Last Time Around-Live At Legends. I’m honoured to say that I have a copy of both on vinyl.

GROUND ZERO BLUES CLUB

387-DELTA AVENUE, CLARKSDALE, Ms-38614 USA

Ground Zero Blues Club is Co-Owned by, Morgan Freeman, Howard Stovall, Eric Meier, and Bill Luckett. It first opened its doors in 2001, but this is not the reason for the name, after the attacks in New York that same year. It is because Clarksdale itself has always been referred to as “ Ground Zero” It has been replicated to represent the original style with which the earlier Juke-Joints had been built. It boasts seven upstairs apartments that are available to rent and is situated close to The Delta Blues Museum.

The list of artists that have graced its stage read like a veritable who’s who, Christone “Kingfish” Ingrams, Bobby Rush, Kat Riggins, Robert Plant, John Nemeth, Pinetop Perkins, Chuck Berry, Watermelon Slim, and our very own, Emma Wilson. This venue has long been on my bucket list, even though I’ve not yet visited this place, I feel a calling towards it, it is something in the soil calling me, almost calling me to my spiritual home. Maybe I’ll catch you there soon.

HOUSE OF BLUES- MUSIC AND FOOD

LIVE CONCERT HALLS

The House Of Blues is an American chain of live concert halls and restaurants founded by Issac Tigrett, the co-founder of the Hard Rock Café, and Dan Akroyd, CoStar of The Blues Brothers Films, and Blues enthusiast. The very first one opened in Cambridge, Massachusetts, on Thanksgiving Day, 1992. Since then, another eleven locations have opened all across North America, Chicago, Los Angeles, New Orleans, Myrtle Beach, Orlando, Las Vegas, San Diego, Dallas, Ft. Worth, Houston, and Boston.

All of The House Of Blues sights cater for the same things, great live Blues shows, conventions, and fantastic original cooking. Some may say that it has become more like the Hard Rock Café, a Multi-National conglomerate style, but The House Of Blues is nothing like that, it is built on the traditions of Blues music, and the Blues legacy is at the heart of the operation. That is why it is so successful.

THE 100 CLUB

OXFORD STREET-LONDON

The 100 Club first opened its doors in 1942 and was a Jazz Club, originally named, The Feldman Swing Club. It changed its name in 1964 when the father of the current owner took it over. During what was called the swinging sixties, London was the hub for Blues and Jazz music attracting punters and artists from across the globe. When it was a Jazz club it attracted luminaries such as Benny Goodman, Cleo Laine, Johnny Dankworth, and Ray Ellington.

As the years wore on, musical tastes changed, and not always for the better. Many rock bands, who had started as Blues bands were able to perform at much larger and much better-paying establishments. During the 70s, many punk bnads got their breaks playing on the legendary stage, The Buzzcocks, The Jam, Sex Pistols, The Clash, so this iconic venue right in the heart of London has probably helped more genres of music than anywhere else.

Over the last few years, more and more Blues bands have returned to the 100 Club, along with up and coming Jazz bands. One special night in 1986 sticks out, The Rolling Stones performed an impromptu gig at The 100 Club in tribute to their former keyboard player and founder member, Ian Stewart. Not only that, but the Rolling Stone swere joined by legendary Blue sartists, Eric Clapton and Jeff Beck for a night of Boogie Woogie nostalgia. If ever a small club deserves recognition for introducing so many artists to the world of Jazz and Blues, then surely, The 100 Club does’

THE NEAL BROTHERS BRING BLUES HISTORY TO LIFE

 +  Laura Carbone

The authentic Club Ebony, one of the South’s most significant African American nightclubs, is back and making history once again. Located in Indianola, Mississippi, just around the corner from the B.B. King Museum and the final resting place of the legendary musician himself, visiting Club Ebony feels like stepping back to 1948 in search of the largest and finest nightclub around.

Built after World War II by John Jones, Club Ebony became the premier black nightclub in a region surrounded by cotton plantations, where music served as a sense of community and a safe place to let off steam. Over the years, ownership changed hands, but the club maintained its tradition of booking top acts from the chitlin circuit. Legendary performers such as Louis Jordan, James Brown, Ike Turner, Howlin’ Wolf, Ray Charles, Clarence Carter, Bobby Rush, and many others graced its stage for decades.

B.B. King, born and raised in Indianola, played there in the 1950s, where he fell in love with his future wife, the daughter of the club’s owner. In 1980 through 2008, as a world-famous blues musician, he would return back to his hometown of Indianola for an annual homecoming held in his honor, culminating in a nighttime performance at Club Ebony. He was so enamored with this club that he purchased the club to preserve these memories and it’s

cultural history. After his death, it is now owned by the B.B. King Museum and Delta Interpretive Center. It has just completed a significant renovation to bring the club back to full operation while keeping the historic feel. The mint green exterior walls with its large and welcoming sign have not changed nor the red neon sign that beckons one to enter its doors. Inside, it is large and designed to host the big bands of the past as you step back into musical time. The ceiling has stamped tin tiles, archival photos hang on the walls; and behind the stage hangs the iconic Club Ebony logo.

The Neal Family is a deeply rooted, multi-generational blues family from Baton Rouge, Louisiana. Raised by their musical father, Rayful Neal, ten children were born into this blues legacy. As young brothers in the early 1980s, they toured Toronto as the Neal Brothers Band. During their performances, they often shared the stage with great artists like John Lee Hooker, Big Mama Thornton, and Buddy Guy, delivering unforgettable shows that blew the roof off the venues.

Now forty years later they are together again as brothers and fellow musicians for a live recording that features all the brothers. The album “Neal Brothers Live at Club Ebony” was recorded in October 2025 with the B.B. King Museum and the BB King Recording Studio, Mississippi

Valley State University.

The Neal Brothers consist of six talented musicians, each of whom has the opportunity to shine or take a solo on this recording. The eldest brother, Kenny Neal, is a threetime Grammy-nominated artist and a recipient of multiple Blues Music Awards. Kenny would frequently sit in with B.B. King when he was at Club Ebony and B. B. gifted Kenny one of his rare original 345 Gibson Lucille’s. Ray Neal has performed with legends such as Little Milton and Bobby “Blue” Bland and is a successful independent blues artist. Frederick Neal is a superb keyboard player, singer, and jokester, while Darnell Neal holds down the

bottom with the bass; both frequently tour with Kenny as his primary musician. However, on this recording, each of them has contributed songs where they lead the band. Like their father, Larry Neal is a notable harmonica master, and Gralin Hoffman Neal supports his brothers on drums.

History is being made again with the Neal Brothers coming together to record a very special album that includes all the brothers at the notable Club Ebony, as well as marking the first live recording done at the club in the last 18 years.

BIG COUNTRY STEPHEN WILSON JR

Adam Kennedy  Tim Cofield

Rising US star Stephen Wilson Jr’s debut album was released five years to the day of his father’s death. Subsequently, søn of dad is a 22-song tribute to Stephen Wilson Sr. that has garnered widespread critical acclaim from the media and fans alike.

Perhaps you saw Stephen Wilson Jr on his recent UK tour, or even earlier this year as support to fellow countrymen The Cadillac Three. “Those are some dear friends of mine. We’ve known each other in the Nashville circuit for quite some time. I would say that we kind of came up together in a lot of ways and in our respective indie rock bands,” said Stephen.

Stephen Wilson Jr recently performed on Later with Jools Holland. Appearing on the show was somewhat of a bucket list experience for the genre-defying artist. “I’m a big fan of the show myself. I’m a big fan of a lot of the music that comes out of the UK. So, I’ve been watching that program to discover new bands myself, even though it’s been a little bit harder to find that program over here,” he says. “It was a real dream. It’s actually like a dream

that I didn’t even have the capacity to dream at the time, because honestly, I never saw myself as an artist. I was always like a guitar player, side guy, songwriter, and behind-the-scenes fella. And so, yeah, I always dreamed of playing on Jools Holland. I never thought it’d be my name on there. I thought it’d be maybe some band I was in or something like that. So, it was wild to see my name, my dad’s name, be announced on Later with Jools Holland. It was a very surreal moment, honestly.” He adds: “It was probably one of the biggest highlights of my career that I’ve had. I haven’t had the longest artist career. I’ve only been kicking for a couple of years now. But man, it’s going to be really hard to top that one.”

Stephen Wilson Jr’s 22-track debut album chronicles the emotions that the artist was going through following the passing of his father. “My dad died six years ago, and I said goodbye to him on an iPhone 8. And pretty much I died when he died, too. Like I was talking about earlier, that guy who never imagined himself singing on a stage or never imagined his name being announced on Jools Holland. That guy died with him. And so here’s this fellow.



So that was kind of the beginning of the genesis, really,” explains Stephen. “It was like, a death to self and perhaps a birth to a new one because my whole identity was wrapped around my dad, Stephen Wilson Jr. My name is his name, very much an interlinked relationship. And so, it left me a bit lost because the word lost is sometimes a great place to be when you’re looking for something.”

Before his musical career, life was very different for Stephen Wilson Jr. “I used to be a scientist in my former life. And so, in the weirdest way, I put my lab coat back on and my emotional lab coat. And I just started trying to keep a record of what I was going through. I feel like that’s what scientists do most of their day is keep records. They just keep track of things. They keep records. And then you sort your records and your data into hopefully something compelling. But so, I just kept a record of everything I was going through,” he says. “I love that we call albums records. And I love that because that’s more of what it is. It’s a record, not a music record, but literally a record-keeping exercise. So, søn of dad is just me, literally a lost fella from literally minute one of his death. We pretty much spent four years making the record. So, it was a four-year process of me going through from the instant grief to maybe figuring out how to find some closure.”

The album features an astonishing 22 songs chronicling Stephen Wilson Jr’s journey through grief. Once he started writing, did he feel as though he tapped into a creative vein so to speak. “Yeah, that was more what was happening. I was just trying to do my job, not so much make a record if that makes sense. And the job at the time was just to try to harvest these songs that were showing up at the time,” he says. “And so, 21 songs didn’t feel like enough and 23 felt like too much. And I don’t know why 22. But I just kept writing songs until something said, stop. OK, you’re done now. And that’s where we stopped. And I don’t know why 22. There was a lot to talk about, I guess.”

The artist’s sound transcends genres spanning country, grunge and indie rock. In his own way, he calls it ‘Death Cab for Country’. “I didn’t really get into this to be in a particular genre. I’m kind of living within an anomaly. And it’s all kind of a bit of a mistake in a weird way. So, it doesn’t surprise me that the genres are kind of blended - that part is a little bit perhaps out of the norm,” he says. “So the genre stuff is not something I think about. I think of myself as a country songwriter. That’s what I do. I write country songs. Whether I sing country music or play country music, I’ll let you decide that. Whether I play rock and roll music or Americana or indie or whatever it is or grunge, I’ll let you all decide that. But at the moment, I write country songs. And that’s where they kind of start with the country. I’m a country songwriter. And whether I’m anything else from there, I don’t really know. But yeah, there’s a lot of indie elements. I jokingly call it Death Cab for Country. It kind of sums it up in the weirdest, best, quickest way possible.”

Stephen elaborates further: “When I started writing my

own stuff, I wanted to write more Guy Clark-esque, really deep country songs. But when I start picking up a guitar and singing them, they sound closer to Soundgarden for some reason. I don’t know why they just do. I’m not trying to make them sound that way, but in my head, they’re country songs. They just come out sounding a little bit more like Superunknown.”

“lost is sometimes a great place to be when you’re looking for something.”

The artist is not afraid to call upon his grunge influences for inspiration. “Soundgarden taught me how to play guitar. I mean, almost literally, my whole guitar style is Soundgarden,” he says. “When I first started playing guitar, my friend gave me this tab book. It was Superunknown, the whole album,” he recalls. “And he gave it to me. And I learned every song on that record. I’d only been playing guitar for six months. That’s where I learned how to do all the weird open tunings. I didn’t know you could tune your guitar differently until Soundgarden. And I learned that early on.”

He adds: “And then obviously other bands had a big influence on me. Nirvana, Sonic Youth, and Weezer were a big influence, at that time. And then Death Cab and the Postal Service. How grunge kind of merged into indie music. Grunge kind of split off into nu-metal and then indie. And I wasn’t going down the nu-metal path. After the post-grunge thing, that was honestly really compelling to me. So, all the indie stuff was kind of really when I started making music - that’s the world I started making it in. But I had listened to a lot of grunge music, obviously, up until that point.”

Stephen Wilson Jr recently returned to the UK on his first headline tour of our British Isles. The UK has a special place in the artist’s heart. “The first tour I ever went on was in the UK right out of COVID - the first tour for me as an artist. Brothers Osborne brought me over there in 2022, right when things opened back up, like literally right in the beginning. So, my artist career sort of started in the UK,” he concludes.

The debut album from Stephen Wilson Jr, søn of dad, is out now. For further information, please visit www.stephenwilsonjr.com

NEIL SADLER A BRIGHT FUTURE BECKONS

STEVE YOURGLIVCH

Neil Sadler might not be a household name, but his wealth of experience and talent are undeniable. With his partner Karen providing much of the impetus, the future is looking very bright indeed. His recent Past To Present album saw him reach the top spot in the IBBA charts, and his diary for 2025 is already starting to bulge. Without doubt, more blues followers will soon have him on their radar.

Neil has certainly paid his blues dues. He’s been playing in bands since the early 80s, running his own successful studio, No Machine Studios in Wokingham, and gaining invaluable experience as a producer, sound engineer, songwriter, and collaborator. Add to this his triumphs over significant health challenges, and it’s clear Neil has lived the blues.

A Retrospective Journey

The album title, Past To Present, offers a clue to its theme — a retrospective look at Neil’s career. However, it’s not a tired compilation. These are spanking new recordings.

“Some new material and some old,” Neil says. “Everything is replayed, re-jigged if you like, to reflect the way I’m playing guitar now, so it sounds very contemporary. I play everything on the album.

“Throughout my career, I’ve amassed a huge amount of back catalogue — some recorded and released, some not. Running No Machine Studios for 30 years helped me hone my skills. I’ve learned to play resonator and acoustic guitar, bass, electric guitar, keyboards, and even drums. I’m not the best drummer, but I can hold a beat.

“When lockdown came along, it was an oppor-

tunity to shut down the rehearsal side of No Machine, which had become a drain. I’d be there until midnight, waiting for bands to pack up. The lease was up for renewal, and I was tired and drained. It felt like the right time to re-focus and move on.

“I’ve accumulated stacks of music I’ve recorded. I spent so much time tweaking and re-recording things. I’ve still got loads to go back and listen to. I’ve got a set of Robert Johnson songs that I’ll probably release, as well as some covers I’ve worked on for other people.”

Chart Success and Future Plans

Past To Present received widespread radio play, peaking at number one in the IBBA charts and staying there for several months. I asked Neil how he plans to follow this success.

“Most likely the Robert Johnson covers,” Neil reveals. “Obviously, they won’t be played exactly as he did. I’ve spent ages listening to his recordings, trying to get inside how he played and what he was feeling.

“I’ve recorded a lot of variations — some left as they were, others with added keyboards

or drums. There’s probably 14 or 15 tracks so far, but I want to work on more. I’m mindful that some of the lyrics aren’t politically correct these days, so I need to decide whether to keep those or leave them out.”

I reminded Neil that he recorded an album of Robert Johnson songs in 2022 with the band Blue Touch.

“Yes, the lockdown material I worked on formed the foundation for that,” Neil explains. “The stuff I’m doing now is different. We tried to promote it live, but I don’t think the band was as into it as I was.”

Early Days: Sleeping Lions

Looking back, Neil recalls his first serious band, Sleeping Lions.

“That was right back in the 80s,” he says. “I’d always been in local bands, playing lots of gigs in London, but nothing came of it. Eventually, I joined my brother’s band, Sleeping Lions. We got signed by CBS Records and released a couple of albums and some singles. It was amazing being thrust into top-class recording studios, which is where I picked up a lot of my recording skills just by watching people.

“One of the things I had to do was play bass because my brother was the lead guitarist. After we were dropped by the label, I became disillusioned with the music business and went back to playing with old friends. Out of that, the UK Blues Project emerged. We were together for about ten years and recorded a couple of albums. There’s a track, No Rush, from that period on Past To Present, but I re-recorded the guitar part.”

A Live Band and a Loyal Following

Although Neil records most of his material himself, he also has a live band that’s steadily building a loyal following.

“Our band is a three-piece with Ray Barwell on drums and

Kev Langman on bass,” Neil says. “We play all the tracks from the album and have even tried adding a keyboard player. Live, it’s going really well. We get repeat bookings and pick up new gigs on the back of shows.

“Next year, we’re moving further afield, out of Devon. We’ve got festivals booked, and we’re heading as far as Yorkshire. We’ve got about three hours’ worth of material, so we keep it fresh and vibrant.

“When I recorded Past To Present, I was in a reflective state of mind. I was going through cancer treatment and didn’t know if I’d make it. Songs like I Ain’t Gonna Cross That River reflect that period, as does No Love Left, No More. But it’s not a sad album. It’s upbeat, foot-stomping. At Swanage recently, everyone was on their feet.

“We often get young guitarists at shows who like to chat afterwards. In January, we’ve got a slot with Boogaloo Promotions at Church Crookham near Fleet.”

Collaborations with Blues Legends

Many Blues Matters readers may recognise Neil from his collaborations with Dennis Siggery.

“We worked together for about 15 years,” Neil recalls. “The most recent project was Justified in 2023. It was tough to put together a live band to play it. Dennis has since put together a new version of the Eric Street Band

"It's upbeat, footstomping, and full of life"

and released a new album. Having moved to Devon, it just wasn’t viable for us to keep working together.”

Neil also spent significant time with Larry Miller.

“Larry was a regular at No Machine Studios, and I played live with him in Ireland and France. Since his stroke, he’s unable to perform live, but we include a little tribute section to him in our shows. Larry was one of those people who encouraged me to form my own band. He’s very much missed.”

Discover More

To find out more about Neil Sadler’s music and history, or to keep up to date with his gigs, visit neil-sadler.com.

PURE PRAIRIE LEAGUE

There are, broadly speaking, genre defining bands and then there are ‘the’ genre defining bands. Synonymous with the classic country-rock movement that fully emerged as a music classification in the early seventies, the Pure Prairie League undoubtedly continues to be one of the genre defining bands.

 Paul Davies  Supplied

However, most folk term country-rock as Americana these days, and that’s absolutely fine given the ever evolving nature of any musical movement shaped by a group’s maturing sound and shape shifting line up as superlatively demonstrated by the current iteration of the Pure Prairie League.

Named after the temperance union featured in the 1939 Errol Flynn cowboy movie, Dodge City, remaining band old timers, David John Call and Michael Reilly, continue to dodge Father Time by keeping themselves produc-

tively busy as long term bassist now producer of current PPL’s Back On Track album, Michael Reilly, intrigued by my surname, also reveals a very interesting side project to me: “I gotta ask you a question,” he asserts, “are you any relation to Rick Davies? I’m going to see him later today and I’ll ask him about his relatives.” Michael adds, “We’ve got this little combo together called Ricky And The Rockets. It’s us and three guys who live out here on Long Island.” I enquire if he is talking about Supertramp’s Rick Davies? “Yes, he’s turned eighty and we’re still out there. We played a gig a month or so ago and it was killer.

People flew in from all over the world.” He continues: “We do about eight or nine Supertramp songs that Rick wrote, you know, Bloody Well Right, Goodbye Stranger... And a whole bunch of those things that Rick wrote. Then we do a bunch of old R&B and jazz, Art Blakey, Mo Allison and Chuck Berry.” Michael clearly relishes this project with the other half of Supertramp’s songwriting duo: “I’m more of a fan of Rick’s songs simply because they’re a little bit more genuine. Roger’s songs were very good, but he was most definitely the pop guy. Rick is more, not to use an improper comparison, the John Lennon guy of the duo and Roger was definitely more the McCartney pop guy.” Sadly, I have let him down by doubting my relativity to Rick, as far as I know...

Anyway, we get back on track to discuss the upcoming new release of the same name. But first another country-rock & roll story floats into Michael’s mind: “I knew the guys in Pure Prairie League because they were from the same town as me, Cincinnati, Ohio, and I was at one of their first gigs in 1970. I was playing in a different band

called The Lemon Pipers at the time, and I was standing in front of the stage watching these guys play, and I loved Craig’s (Fuller) voice, and I loved John Call’s approach to the pedal steel, because it was like a rock approach to a country instrument. And I said to myself, ‘man, I love this stuff. I’d like to be in this band one of these days.” And lo and behold his wish came true as he furthers: “Fast forward to 1972 and Mike Connor, the piano player, and I had been living in England for a year, and we had a country blues band called The Lee Riders and we did some touring with Bowie on the Ziggy Stardust tour.” As I’m taking in this piece of rock history information,

Mike continues: “So, when we came back in May ‘72, the Pure Prairie League was getting ready to go in the studio in Toronto to record the Busting Out album. And that’s when they called me and Mike Connor and said we want to put a band together, not just a couple songwriters and stuff. We joined the band at that time.” Having had a moment or three to digest the Ziggy meets country-rock info, I press Mike further on this: “Bowie hated our guts,”

he asserts with a wry chuckle. “He did an interview in the Melody Maker, I think it was, and called us some ‘fucked country band’. So, I had T shirts made up, of course, down in Kensington that said, ‘some fucked country band’. We were friends with Mike Garson and Mick Ronson and they enjoyed it. They liked the band. We were nice guys, easy to get along with, but Bowie was into his Ziggy phase. Him and Angie dressed alike and looked alike and wore the same make-up.” He pauses for thought: “This was ‘72 and we had the same booking agency and they put us on these gigs with Bowie, much to his chagrin, I’m sure, but we had fun with it.” I ask if he witnessed the final Ziggy farewell concert at the Hammersmith Odeon: “We did not. There was a little fracas at a gig because they wouldn’t let us use the lights or the sound system. We

“Why don’t we just do a record? It’s been a long time!

had to use our little Shure vocal master PA as a sound system like it was a rehearsal room...the guitar player got a little drunk and chucked a whiskey glass down at the stage, and it hit the lights and showered glass all over.” He finally adds: “Well, the problem was that Angela was sitting three rows behind us in the balcony and saw our guitar player chuck the glass. That was the end of The Lee Riders tour with Bowie.”

As we haul this highly entertaining chat back on track, Mike further reminisces about the integral importance of Craig Fuller to the success of the band: “Craig’s a great singer and a fairly good songwriter, but he always had the idea that he was going to be a star. He didn’t really want to be in a band, but he knew he needed a band at the time... later when he joined Little Feat in the 80s, Craig had played with Eric Kaz, and they were the opening act for Little Feat for a year or two. John Call was playing in that band as well. It was sort of a natural fit that Craig kind of stepped into Lowell’s shoes and I think he did a great job with it.” He ponders awhile: “I prefer Craig’s voice from the early days of Pure Prairie League, as opposed to being Lowell, if you know what I’m saying, but he did a great job with it, and the songs he wrote fit the band perfectly. It’s my opinion, but I thought he was a little out of place there, but he did a great job!”

Before we eventually get to Back On Track, Mike tells me all about Vince Gill’s connection with the band: “When people hear him play guitar, all of a sudden he’s playing like Larry Carlton. This kid from Oklahoma. It was a great thing to have him in the band.” Mike continues: “He

played in a bluegrass band called Mountain Smoke, in Oklahoma City, and they were opening up a show for us at the Civic Centre in 1976, I think. And boy, we were just taken with his voice and his picking style, so we asked him if he would like to come up and sit in on our set. He played three or four songs with us, and I said, ‘Hey, you want to play rock and roll? You want to join the band’? He says, ‘No, man. I’m a bluegrasser’. But two years later, we were auditioning guitar players, singer-songwriters, and we were looking for a new guitar player. Vince showed up at S.I.R. Studios in Los Angeles with a friend of his that wanted to audition. His friend didn’t cut the mustard... but I said, ‘Hey, look, the auditions are done, it’s eight o’clock, you want to grab a guitar from downstairs and jam for a while’? He says, ‘I’ve got my guitar in the car’. We played for four hours until midnight and then I offered him the gig again and this time he said, ‘Yeah, I do’. So off we went for three albums and three and a half years later...”

With a couple of all time classic country-rock staples in their knapsack, Amie and Two Lane Highway, the band’s fortunes took off in the 70s: “When Busting Out came out, and Amie was on that record, in ‘72; it didn’t get much traction. Then Craig left the band in ‘73 due to the draft situation. So, we hit the road in ‘73 with Larry Goshorn and we were doing 250 college shows a year for about eight to ten years. We just crammed Amie down their throats. Every college student with a beat-up acoustic guitar found it very easy to learn the chords for Amie. There was a lot of coffee house kind of stuff going on back in the 70s in the colleges, and a lot of humping to that song,” Mike exclaims with a cheeky glint in his eye.

“With Two Lane Highway, we were down at Ardent Studios, Memphis in 73 where we were going to record a Tom Waits song called Old 55; we had kind of made it up tempo.” He adds: “Well, the Eagles wound up recording that later as a ballad. But we made it up tempo, and then Larry says, ‘Man, I can write a song as good as that’. And here comes Two Lane Highway and we recorded that down there in ‘73 and when it finally got onto an album in ‘75 when RCA re-signed the band.”

Finally, we have turned out of an engaging detour and hit the home straight where Mike tells me about the new album, Back On Track, and this venerable group’s eleventh

studio record: “I’ve retired from touring with the band, now I just manage the band and I produced the new album. I hired a new bass and guitar player. That was about three years ago. It’s sort of like I’ve passed the torch and let the new young guys have a go at it. However, I’m still the boss.” This easy natured approach has paid dividends: “I hired them because number one: they were fans of the band. Number two: they were friends of some of the other guys in the band. Then they came up with the idea “why don’t we do an EP’? Because Pure Prairie League hasn’t had an album out for twenty years.” Mike says: “Once they submitted some songs, I went, ‘well, what the hell’. Why don’t we just do a record? It’s been a long time... let’s do an album.” He explains: “I had a few songs that I wanted to bring in and Jeff Zona, the guitar player wrote five songs on the record, and Jared, the bass player, wrote three and I contributed four.” Mike takes stock for a moment before adding: “I’ll never deny Pure Prairie League’s history and legacy. I wanted to continue and expand on it. To show people that after five and a half decades, we may be long in the tooth, but we’re certainly not creatively dead.” Most definitely not as he details the recording process of how Back On Track came together: “We started it in July of ‘23 and finished it up in July of ‘24. We worked about a week a month. I would fly down to Nashville, and we’d get together in the studio and cut some tracks. We started with the basics, then started doing overdubs and then vocals and I had a few guests appear on the record. It seemed to work out well.”

I enquire as to whether Craig Fuller has heard and given this project his blessing? “He basically retired from touring in 2014. He doesn’t play much and he’s not too active. He does a few songwriter conventions. He’s just enjoying where he lives, which is on a golf course in North Carolina. He’s now a grandfather and he’s putting his time in there.” Mike reveals: “ But you know what, I sent him a copy of the Little Feat song Six Feet Of Snow we recorded for this, and he went, ‘man, it sounds great. I love it. I can’t wait for the record’. Craig’s a dear old friend and he supports the fact that we’ve kept it all going throughout these years.”

Another dear old friend also makes a return to Back On Track as Sad Luke appears once more as the cover illustration as further proof that this rejuvenated country-rock institution is blending the old with the new and keeping it real as they’re back on track where they belong.

SUPER SONIC

AN INTERVIEW WITH ROGER EARL FROM FOGHAT

With a career spanning more than 50 years, Foghat recently witnessed their first #1 album when their latest release, Sonic Mojo, topped the Billboard Blues Chart. A testament to the group’s staying power after all these years.

+  Adam Kennedy

Although there have been lineup changes along the way, Foghat drummer Roger Earl is celebrating 53 years in the band. But how is the artist feeling about reaching this milestone in his career? “Be careful what you f*cking wish for,” he laughs. “Ever since I was growing up, there was always music in our household. My father played the piano. That wasn’t his day job, but in fact, he took me to see Jerry Lee Lewis when I was 12 with my best friend and a few other people at the time. I was never the same after that.”

He continues: “I got Chuck Berry records. I went to see the Stones when I was 16 or 17 at Eel Pie Island and The Marquee. And it’s all I ever wanted to do. I was a commercial artist. Because the drums and cymbals were expensive, so I had to have a day job, but all I wanted to do was play in a band. I was never going to be Buddy Rich. There are only a few of them in this world that have ever came close to that. But I always loved playing in bands. Rock and roll, that was my first, and then the blues. And I always wanted to come to the States, and I got that chance

when I was 21/22 when I was in Savoy Brown.”

Being a professional musician is all he has ever wanted. “The thing is, I didn’t want to have another job. This is what I do. This is what I wanted to do. Ever since I was a kid I’ve been in a band,” he says. “We’ve had some ups and downs. Of course, especially losing Lonesome Dave and Rob Price, that was tough. And also, Craig MacGregor, our bass player. We were really tight. We were good friends. We were brothers. That’s part’s been tough. And there were times when I wondered what I was going to do or carry on. But then I would meet somebody, or somebody would say, come on, Roger, get off the couch and go do something.” He adds: “Sonic Mojo, sums up what this band’s all about. It’s a blues rock band. I listened to this music when I was a kid. It’s still there.”

Sonic Mojo also features the last songs ever written by former bandmate, and long-time friend of the band Kim Simmonds of Savoy Brown. “After our last previous studio album, Under the Influence, I invited Kim down to play on it, which he did. We were finishing up in Nashville, and our producer was Tom Hambridge. Kim played on three or four songs. And then when we were finishing … Kim came up to me and said - look, I’d really like to write some songs for Foghat. I said, well, that’d be great, so long as you play on them. And he had a wry smile,” recalls Roger. “Unfortunately, Kim didn’t. He got ill, but he sent me four songs with him playing to a drum track, just playing, guitar and singing. And we took them and ran with it.”

Roger adds: “The sad part was, I think I talked to Kim a couple of months before he passed. He was in hospital for a long time, and they wouldn’t let you call there or go there. But with Kim, it was sort of like we did a whole circle, with Kim coming back and writing some songs.” The Foghat drummer has nothing but kind words for the Savoy Brown legend. “Kim, he was a beautiful man, a great guitar player and a fantastic writer,” he says. “I love Kim Simmonds. I love him a lot.”

Sonic Mojo features several covers from some of the greats of the blues genre. When asked about the blues, Roger proudly shows me his t-shirt emblazoned with the phrase, Born in Muddy Waters. “Lonesome Dave said something one time, and it stayed with me. I think the reason that we have a passion for blues and American music is because it has an honesty about it,” proclaims Roger. “And I thought Dave hit it on the head with that one. It feels real, even though I wasn’t born in Mississippi, and I didn’t travel to Chicago until I was 23, there’s an honesty about the music, and I just gravitated to it.” He continues: “When I first came here, it felt like I was coming home, even though they speak a little funny - just kidding. It felt right. And I got to play with my heroes. I played with Muddy Waters and John Lee Hooker in the band. It was just magic.”

Foghat aside, in his early days as a musician, Roger Earl had the opportunity to audition to play with Jimi Hendrix. “Chas Chandler called me up at work and said, have

you heard of Jimi Hendrix? He was in all the newspapers and all the music magazines. I said, yeah. He said, do you want to come and audition? I said, yeah. It was a weekday in London, just off Piccadilly Circus. It was a jazz club,” recalls Roger. “Of course, it was raining, and we were all standing outside. It was about 12 o’clock or one o’clock, and we were waiting for the place to open. The cleaners had just been in there. And Jimi comes up, and he starts talking to me about some songs that he’d written the night before. I was just in line, and I was about fourth, fifth or sixth in line to play. I brought my own drums. My brother gave me a hand, taking them down the steps, and Jimi started playing.”

“It’s a land of music, as far as I’m concerned”

Performing with the legendary guitarist was a memorable occasion. “He was very generous with his time. I’m sure I played for about 40 minutes or so. Obviously, I didn’t get the job. The drummer he took was absolutely phenomenal,” explains Roger. “But I did actually jam with him one night at a club in New York City. I got up and sat in on a song, and a bunch of people were playing with him. It was like a jam session. And also, at a club out in LA one time, and I seem to remember Eric Burdon was singing at the time, but everybody was getting up, so I got to do that. I never really hung out with other than the time I auditioned. He was a beautiful man. He was something else.”

Roger Earl is hoping to bring Foghat back to his homeland of the UK in 2025. “We’re trying to get over next year in the spring. Our manager is talking to some people, different agents over there. I want to go there. We haven’t played there since just after the record was released. We did a three-week tour with Captain Beefheart. We had got a couple of gigs around London and did a couple of gigs up in Scotland, but that was it,” said Roger. For now, his home is the United States. “This is my adopted home. I love living here. I love playing here. It’s a land of music, as far as I’m concerned,” concludes Roger.

Sonic Mojo, the #1 album from Foghat, is out now. For further information, please visit foghat.com

BLUESICOLOGY BY DANI WILDE

BLUES WOMEN – THE UNSUNG PIONEERS OF ROCK AND ROLL

Long before Elvis and Chuck Berry, the blues women of the 1920s, 30s, and 40s laid the groundwork for what would become rock ‘n’ roll.

TRIXIE SMITH: THE FIRST TO ROCK

A little over 100 years ago, in 1922, 27-year-old Trixie Smith stepped into a New York recording studio to record her best-known song, *My Man Rocks Me (With One Steady Roll)*, released on Black Swan Records. Trixie sang:

*My daddy rocks me with one steady roll. There’s no slippin’ when he once takes hold. I looked at the clock and the clock struck one. I said, “Now Daddy, ain’t we got fun.” He kept rockin’ with one steady roll.*

The terms ‘rocking’ and ‘rolling’ had been used before in religious music, but this was the first time they were used in a secular context and as a metaphor for sex. The song, composed by J. Berni Barbour, was a hit for Trixie Smith over three decades before Bill Haley released *Rock Around the Clock*. Trixie’s release inspired other blues songs to use the phrase ‘rock ‘n’ roll,’ such as *Rock

That Thing*, composed and released by blues woman Lil Johnson in 1929.

Lil Johnson would also record an early blues version of *Keep a Knockin’*, later a rock ‘n’ roll hit for Little Richard. Trixie Smith’s *My Man Rocks Me* added momentum to a movement of blues women who sang freely about sex and relationships with sass and humour in their ‘hokum’ songs, at a time when women were typically expected to be at home in the kitchen.

While the song is about relationships on the surface, Trixie’s 1920s blues aligned with the progressive Black politics of the era. Trixie was signed to Black entrepreneur Harry Pace’s Black Swan Records, a label that supported the New Negro Movement and aligned with the politics of the NAACP.

“News of the completion of the first list of Black Swan records will be received with great interest and enthusiasm by our people all over the United States... A great uproar was caused among white phonograph record companies who resent the idea of having a race company enter what they felt was an exclusive field.”*

— Chicago Defender, May 7, 1921

Black Swan was the first major Black-owned record company. It was not only a pioneering business but also a progressive experiment in Black politics and culture. Harry Pace, when not running the label, led the Atlanta arm of the NAACP. Black Swan demonstrates a clear link between the recordings of blues women like Trixie Smith and organised Black political activism of the era.

1920s Black protest leader W.E.B. Du Bois stated at the NAACP’s June 1926 convention: “All art is propaganda and ever must be... I do not care a damn for any art that is not propaganda!”

As successful and respected recording artists, Black Swan’s blues women contributed to this political agenda in the battle for racial equality.

Trixie Smith and her peers on Black Swan’s roster also contributed greatly to the Harlem Renaissance, a political and cultural movement in the 1920s and 30s that celebrated Black literature, music, art, theatre, dance, and scholarship, making a powerful statement of Black pride.

Trixie Smith’s contributions to music are underappreciated. Her groundbreaking work not only influenced the sound of rock ‘n’ roll but also demonstrated music’s power in the fight for equality. 1950s rock ‘n’ roll continued this fight as Black artists like Fats Domino and Chuck Berry appealed to both Black and white youth, helping to integrate venues for the first time.

SISTER ROSETTA THARPE: THE GODMOTHER OF ROCK ‘N’ ROLL

Sister Rosetta Tharpe stands as one of the greatest pioneers of rock ‘n’ roll. In 1942, *Billboard* magazine journalist Maurie Orodenker used the term “rock-and-roll” to describe energetic tracks like *Rock Me* by Tharpe.

Blending gospel vocals with her upbeat take on blues guitar, Tharpe created a new playing style. She had been playing what we now call rock ‘n’ roll guitar since the 1930s, two decades before Chuck Berry and Elvis. As a boy, Elvis Presley would rush home to hear her on WELO Radio’s gospel show.

Tharpe was among the first recording artists to use heavy distortion on her electric guitar, paving the way for electric blues. Her speed, dexterity, and immense feel created a style that would influence the rock ‘n’ roll superstars of the 1950s.

THE LEGACY OF BLUES WOMEN IN ROCK ‘N’ ROLL

Many of the 1950s rock ‘n’ roll hits by white artists were first recorded by Black rhythm and blues artists. For example:

- Jerry Lee Lewis’s *Whole Lotta Shakin’ Going On* (1957) was a 1955 hit for Big Maybelle.

- Elvis’s *Hound Dog* (1956) was originally written for Big Mama Thornton, whose 1953 version sold between 500,000 and 750,000 copies. Thornton never received royalties and expressed frustration at this injustice.

When Little Richard sang his trademark “Lucille-aagh” in 1957, he credited the vocal technique to Ruth Brown, who had used it in her 1952 track *Mama, He Treats Your Daughter So Mean*.

Many Black artists felt that rock ‘n’ roll was simply rebranded rhythm and blues. Fats Domino said in 1957: “What they call rock ‘n’ roll now is rhythm and blues. I’ve been playing it for 15 years in New Orleans!”

Little Richard observed the racial double standard of the era:

“If Elvis had been Black, he wouldn’t have been as big as he was... If I was white, do you know how huge I’d be?”

Female artists like Ruth Brown and LaVern Baker played fiery, innovative rhythm and blues in the early 1950s that represented the birth of rock ‘n’ roll. However, racial discrimination meant white pop covers of Black R&B songs often achieved greater success.

LaVern Baker’s frustration with this led her to insure her life before an international flight, naming Georgia Gibbs—who outsold her by covering *Tweedle Dee*—as the beneficiary. Baker wrote to Gibbs: “You need this more than I do, because if anything happens to me, you’re out of business.”

Despite systemic barriers, the pioneering contributions of blues women like LaVern Baker, Ruth Brown, and Big Mama Thornton laid the foundation for rock ‘n’ roll. Their legacy, though often undervalued, continues to shape music today.

Canadian blues rocker Steve Hill recently returned with his new album Hanging on a String. For his latest offering, the artist ventured south of the Canadian border to record in Los Angeles at the legendary Studio 606. Although getting the album out into the world was no easy task, there were trials and tribulations along the way.

 Adam Kennedy  As credited

As AC/DC once said, ‘It’s a long way to the top if you want to rock and roll’. This is a sentiment which the artist appreciates. “It’s not everybody who is passionate about music who can make a living out of it in 2024. I still can. And hopefully, it keeps going like this because I don’t know what else to do. I’ve never done anything else. I was a newspaper boy from nine to fifteen. And then at sixteen, I was playing clubs and I never learned how to do anything else.”

For his latest offering, Steve Hill ventured to Los Angeles to record at Dave Grohl’s Studio 606. The opportunity was catalysed by a connection at the microphone company Lauten Audio. “At the time they were distributed by a Montreal company, and they were looking for an artist to do demos at the NAMM show in L.A. and Sweetwater in Indiana. And the distributor from Montreal, one of the guys who worked there, saw a video of myself and he sent it to Brian [Laudenslager, owner of the Lauten Audio microphone company]. And Brian was like, oh, yeah, we want this guy,” recalls Steve.

“I was not the star of those events. The star was Darrell Thorp, who’s the engineer, mixer and producer of my record. Darrell does the Foo Fighters albums, he’s done Beck, he’s done Radiohead, he’s done McCartney. He’s got ten Grammys. He’s worked with Snoop Dogg and Reba McEntire. He does any type of music. He’s an incredible engineer,” said Steve. “And we do these events where I’d be in a cubicle, basically in a box. And he was on stage explaining how he mics, and I had cameras on me, but he

was the star of the event. And they were the people of the industry about the microphones and mic placement. And they like me because it was just one guy and it’s a band, and so I was perfect for those events.”

Beyond these showcase events, Steve and Brian remained in touch. “Almost two years ago, I was on tour in Western Canada, and I played Calgary, and somebody filmed me. I posted it back on Facebook and Brian was at Studio 606 with Darrell and he saw the video and he called me and he’s like, hey, Steve, it’s been a while, come and record in L.A. You should come and record at 606,” recounts Steve. “I’m like, yeah, Brian, that’d be awesome.”

After the tour, Steve’s travels became a bit of an uphill struggle, if you will excuse the pun. “About a week and a half later, it’s the end of the tour and I’m sleeping at my tour manager’s place because I’m leaving the very next day. And we got to Calgary late. We were in Red Deer doing a show and then we got there late and I’m sleeping on an inflatable mat downstairs. And it’s really not comfortable and I can’t sleep,” said Steve. “And at some point, I’m dreaming of barbecue, and it smells like barbecue. And then I opened my eyes, and the basement was filled with smoke.”

Things started to take a turn for the worse. “The house is on fire. So, I get up, I wake Nate, we get out of there, we call the fireman. And then somebody else was picking me up to bring me to the airport.” Steve’s lucky escape also created a moment of inspiration. “Every time I finish

 Scott Doubt

a tour, I’m sitting in my seat in the plane, and I take a photo, and I post a little text and it started with ‘woke up in a house on fire’.”

Once back home in Montreal, Brian called the artist to check in on his friend. “I called him back and he’s like, hey, man, that’s a good line for a song. And I’m like, yeah, I agree,” recalls Steve. “A week later, he had arranged the whole thing. He had booked the studio, booked Darrell and decided to be the producer of the album. He paid for the recording, and they filmed the whole thing.”

But being caught up in the house fire wasn’t the only plot twist on Steve Hill’s creative journey. “I went there last week of August and my buddy, Johnny Pilgrim, who I write lyrics with, he lives in L.A. And he comes to pick me up and my girlfriend at the airport. And 15 minutes later, we got hit at a stop sign. Somebody ran on a red light straight into us,” said Steve. “I got broken ribs, and I was in the studio thirty-six hours later. So, I did a few days, but it was getting worse and worse. Every day something else was stuck. And so, the producers decided to postpone the whole thing.”

“they were made to be played live”

Steve Hill was looking for his big break in California but ended up with broken bones instead. “It took three months for me to heal, actually a year. But after three months, I was OK. I got some cortisone shots, and I was fine to perform, and it gave me more time to get ready to record,” explains Steve. “I had this drive. The first time I went there, I saw it as my break. If I have one break in my life, it’s this one. And everything depended on it. And because of a stupid accident, I couldn’t do it.”

Once on the mend, Steve resumed recording. “There was no way that I would mess it up the second time. So, I got in there and I was so focused. I’ve never been that focused in my entire life,” said Steve. “And I had six days to record the album, and I did it in five. We would do two songs a day and it’s all first, second or third takes. And I’m very proud of it.”

In the studio, the creative juices were flowing. “There are eight songs on the album. Of course, when you do an album, you write more stuff than what you have on the album,” confirms Steve. “I had another song which was really good, which will come out later, but it just didn’t fit. And these eight songs together felt like a concept album at the same time. They were meant to be together.”

Hanging on a String wasn’t intended to be a concept album per se, but when you put them all together, it feels like a concept album, set in a dystopian world where music is the only salvation. “Once the album was done, and I had all these songs in that particular order, it seemed like there’s a story behind it. And, ending with When The Music’s Over gives it that feeling, I think it’s very personal and very universal at the same time,” explains Steve. “These times we live in with AI and the world is changing fast. And as a musician, it can feel like that sort of last of the blacksmith type of thing, especially for a guy like me, playing everything together. The album’s done straight to tape, recorded live in the studio. It’s not how the world works anymore.”

Steve adds: “There’s all these concerns about AI and what the future holds. We had a big election here a week ago, south of the border. That changed a lot of things for us Canadians and for the whole world. But at the core of that, there’s that light at the end of the tunnel. It’s my love for music, and music will always be there. And there’s what’s going on in the world right now, but music is eternal. And it’s always been there for me, and it always will be there. And it’s the same thing for everybody.”

The subjects that the artist grapples with on the album come from a personal place. This style of writing is something that he enjoys. “It’s easier for me to write about something that I can relate to,” he says. “And if it’s something that I’ve experienced, it sounds more natural.

It comes more naturally. But then I like songs to have a few different levels. So, it’s not just about me. The beauty of music is that somebody can listen to it and think that the song is about a completely different subject than what I wrote it about. And that’s fine. That’s how it should be. But there are a few songs in there where they’re more personal, like Show Ya.”

The latter was written with creative counterpart Johnny Pilgrim. “It’s really my life story there. I heard rock and roll as a kid, and I was fascinated by it. And I would play air guitar. I would play on a tennis racket, on a hockey stick. And then eventually I met some friends and one of them had an electric guitar and the other one had a drum kit. I didn’t even know that in my town there were electric guitars. I thought that it’s something that they had in the big cities,” laughs Steve. “And then at 16, I was playing clubs. And by the time I was 18, I was a professional musician and moved to Montreal. And I’ve been doing that ever since.”

The highs and lows of life as a professional musician are explored in the song. “In the story, the guy gets screwed by a record label. And I’ve gotten screwed many times. Lately, I’ve gotten screwed again. It always happens in the music business,” said Steve. “And in the song, the last verse is the guy’s touring in a beat-up car and he plays a dive bar. He plays a wedding, a wake. I don’t play weddings or wakes, but at the same time, the guy in the song says, but don’t get me wrong. I’m still happy doing this. That’s what I love to do. I love playing music for the people. And that has never changed. And it won’t. And I’m fortunate enough to have an audience, at least here in Canada, where I can make a living and tour most of the year. And I play to sold-out audiences here.”

As an artist, there is a lot of anticipation and hard work involved in releasing your art. “I always put everything into my albums, but you never know how the people are going to react to it,” said Steve. “Obviously I enjoy playing these songs live, and it’s a great feeling to finally have the album out, because I’m an independent artist, it’s my own record label, I don’t have a manager, so it’s a lot of work to get there. It’s one thing to write the songs, to perform them, and to record them, but then to put it out, and finding the guy who’s going to do the album cover, getting the

t-shirts done, getting the CDs done, the promotion, it’s a lot of work, and it’s not what I enjoy. I do these things just so I can keep on playing the guitar, it’s just something that I have to do.”

With the album finally released, how is Steve feeling about the album? “It’s a great feeling. It took a long time to get there,” explains Steve. “Basically, the album came out exactly a year and a half after I started writing the songs for it, so it’s a lot of hard work to get there, and now it’s my favourite part of the whole process. I’m touring, I’m playing the songs live, and the reaction has been great. People are really digging the album, and the songs work great live, and they were made to be played live, so the show is really happening.”

Performing the new material live has been a rewarding experience. “It’s great to be back on the road and to see the fans with new material. The reaction to the new stuff has been great,” said Steve. Perhaps the biggest reward of all has been the reaction from the artist’s followers. “Most fans write to me telling me that it’s their favourite album yet,” concludes Steve.

Steve Hill’s new album “Hanging On A String” is released by No Label Records and is available from www.stevehillmusic.com

 Eric Buggea

BIG BLUES REVIEWS

    

STEVE HILL

HANGING ON A STRING

No Label Records

If you read our interview with Canadian blues/rocker Steve Hill in the current issue, you may get the impression that his new album had its fair share of trials and tribulations. You might even say it was a bit of an up Hill struggle, if you will excuse the pun. But troubles aside, one thing that the artist’s challenges did not dampen on his new album is the quality of this amazing release. Fans of Hill argue that Hanging on a String is perhaps his best album yet. And having listened to the record, you would be hard-pressed to argue against that sentiment. Although not by intention, the release is a concept album of sorts. But don’t expect the traditional type of concept record like Tommy or Quadrophenia by The Who. It has more to do with the fact there is a story or common thread that runs through the album. This narrative became apparent to Hill upon completion of the album. The title track opens the album with the line ‘woke up in a house on fire’. A note which comes from a true story which the artist encountered following the conclusion of a Canadian tour. And if that doesn’t grab your attention, then nothing will. The song has a real old-school groove, perhaps in the style of hill country blues. The track is underpinned by a foot-tapping rhythm and searing fuzz-fuelled guitar riffs. The sound on the album

switches up thanks to Devil’s Handy man, and the song’s sinister vocals and poetic lyricism perfectly accentuate the mood. Steve grapples with his life and experiences in the music industry during the autobiographical number Show Ya. It’s an up-tempo blues/rocker fuelled by Steve’s passionate delivery. Show Ya is one of the standout tracks of the release. Just glancing down the track list of the album, the song title World Gone Insane feels particular ly pertinent in the strange times we are living through. The song builds from a slow and sombre introduction into a raging slice of groove rock that, in places, is reminiscent of bands like Queens of the Stone Age. s the album progresses, the raw studio sound of Maggie instils the live feel of the album. The song is perhaps catchier than The Com mon Cold and features another heart and soul-performance from Hill. Much like the track which follows it, You Know Who.

Adam Kennedy

A TRIBUTE TO EDDIE BOYD STOVAL, COAHOMA

Bluelight Records

A tribute to Blues legend Eddie Boyd is long overdue in my opinion, it has been thirty years since we lost him. Now, you would be forgiven for expecting a bunch of Blues artists from America, especially the deep south of America to release such an album. Now you are probably thinking that Finland is as far removed from the Delta as it is possible to be, but you would be wrong in that assumption. For many years, Finland has been at the epicenter of Scandinavian and European Blues. Now I have to admit that the musicians on this album are new to me, but what a great bunch of Blues artists they are. Eleven tracks on the album each one a classic with the band giving no quarter at any turn. Stovall, Coahoma sees Pepe Ahiqvist regale us with his brilliant vocals, guitar playing, and harmonica playing, leaving you in no doubt as to these

tribute albums I’ve ever heard. Five Long Years has been covered by the great and the good even before Eddie Boyd passed away, and there have been many great versions since. I’m not going to say this tops any of them, indeed, it’s a much slower version that doesn’t have the climactic finish of the old live versions, but it has been done with expertise and guile. A wonderful tune given the grace it fully deserves. As I attested to earlier, these guys who originate from Finland are some of the best Blues artists in the whole of Europe, which proves to me that the Blues is in very capable hands outside of America as well as inside America. If you want further proof of this, take a listen to, The Blues Is Here To Stay on this album. It is simply jaw-dropping. It has been a pleasure listening to this album, Bravo guys. Many thanks for reminding everyone of the talent that Eddie Boyd shared with us all. I’m sure he’s smiling in heaven.

STEPHEN HARRISON

MARCUS TRUMMER

FROM THE START

Gypsy Soul Records

Rising star of the Canadian blues scene, Marcus Trummer, released his new album From The Start via Gypsy Soul Records on Friday, 15th November. For his new album, the young bluesman travelled to Toronto to work with a crack team of musicians and producers. Perhaps you could say that there is a common thread running through the album thanks to production work by The Commoners’ guitarist Ross Hayes Citrullo, with additional contributions from the band’s Miles Evans-Branagh (keys and piano) and Adam Cannon (drums). The record opens with Holding Out For You. A song with a soulful summertime groove that is oozing with keys, horns and Trummer’s silky-smooth vocals.

an album which showcases talent beyond his age

ALL IS WELL TICKET WEST

Inde- pendent

Ticket West are brothers Pascal and Walter Wilheim from the Netherlands. Following on from the albums High Class Horse (2020), Driving Man (2021), 49 Park St. Blues (2022) and Chucufu (2023 with Greg Izor) they released their fifth album All Is Well in August. With Walter on guitar and Pascal on bass and vocals the brothers enlist the help of friends Kees Van Herk on drums, percussion, Bas Kleine on Harmonica and Paul Bond on keys. All Is Well contains all original songs in the blues tradition of love, loss and judgement. The album opens, with Buzzing, a driving drumbeat and guitar riff keeps the tempo up on this toe tapping tale of his baby not wanting him anymore. Don’t Judge Me, is a mid-tempo shuffle with a drum and guitar rhythm given depth with clapping and stinging guitar riffs, while Head Over Heels, features a jaunty groove from the drums and wonderful piano work. Rhythmic drumming and guitar riffs fill out Hip Shakin’ Woman Waiting, with its grooving R n R rhythm and Chuck Berry riffs. The swing blues of Wedding Blues. The album closes with God Save My

Let You Down follows in a similar vein. His tone and fretwork particularly in his soloing further exemplify that the artist has found his sweet spot in the soulful blues space. Hard Time changes the mood of the album with a more sombre number. The pertinent message found in Waiting For Change highlights Marcus’ songwriting capabilities. The artist’s wonderful vocal delivery is coupled with a superb solo which illustrate Trummer’s tone and appreciation of space. The award-winning bluesman pays homage to perhaps the greatest of all, BB King, with the traditional blues number The Only Thing. The soulful blues sounds of From The Start features undertones of heavyweights of the genre, the Tedeschi Trucks Band. The penultimate song of the album Ready To Go confirm Trummer’s influence by soul greats like Bill Withers and Marvin Gaye. The sound is classic, to say the least. The album concludes with Let The Devil Win, as Trummer switches gears during an all-out rocker. At just 23 years old, Marcus Trummer delivers an album which showcases talent beyond his age. A young man with an old soul, but most importantly, a bright future. If this album is just the start, we look forward to more of what’s to come.

LISTEN, WATCH AND DISCOVER MORE AT THESE ARTIST LINKS

Adam Kennedy

NEIL SADLER

PAST TO PRESENT

Independent

Woman, an acoustic front porch blues with a subtle drum rhythm and melancholic guitar with plenty of wailing harmonica up front, no downbeat blues here, whatever the subject these guys keep it fun and fresh

SHIRL

CORKY SIEGEL

SYMPHONISC BLUES NO.6

Independent

this album affords you a glimpse into what I’m sure will be a very bright future

Past To Present is the first solo album that Neil Sadler has released. He has, in the past, worked with the likes of Dennis Siggery and The Eric Street Band. Sadler is no stranger to the world of the Blues, as this fine album demonstrates. All the songs are written by Daler, except for two, one of which was co-written by his partner, Karen Jenkinson. No Love Left No More, is the opening track of the album, and what it tells us is that this first solo album has been well worth the wait. Sadler’s previous work has always found him firmly rooted within the Blues, and this is no exception. The track co-written with Jenkinson is A Bad Case Of Company Blues, which portrays the rawness of his vocals perfectly, a tune straight out of the ZZ Top Drawer, but with the ability to showcase both of the writer’s talents. The other song that was not written by Sadler is When The Levee Breaks, a Blues standard for almost a hundred years. Written by Lizzie Douglass (Memphis Minnie) and performed by Memphis Minnie and Kansas Joe McCoy in 1927, it has also been covered by Led Zeppelin, and more recently, by Beth Hart. So Sadler finds himself in what can only be described as, an esteemed company. Let me tell you this, he is not out of his depth by any stretch of the imagination. Bravo Neil. Now, if you wanted a title that could perfectly sum up a Blues scenario, 40 Miles Of Bad Road, would fit the bill. It covers everything you need to know about Blues music, and its various trials and tribulations. Past To Present sums up Neil Sadlers musical career so far, a career of fine musicianship, great writing, and wonderful singing, this album affords you a glimpse into what I’m sure will be a very bright future.

STEPHEN HARRISON

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Corky Siegel’s newest release is a remarkable fusion of blues and classical music, showcasing the harmonica virtuoso’s lifelong dedication to bridging genres. Known for pioneering the symphonic blues genre, Siegel has always dared to merge the raw, heartfelt expression of the blues with the sophisticated structures of classical composition. With this release, he delivers yet another powerful piece that deepens the genre’s possibilities. The piece opens with a haunting, soulful harmonica line, straight from the smoky blues clubs of Chicago, Filisko’s Dream. It then intertwines with lush orchestral arrangements that feel both unexpected and effortlessly cohesive. The dialogue between the orchestra and Siegel’s harmonica gives the work an electrifying tension. The symphony’s swelling strings and brass sections provide a grand, dynamic backdrop, while Siegel’s harmonica adds an edge that’s gritty, tender, and often joyfully defiant. What’s particularly impressive about the release is its capacity to evoke both intimacy and grandeur. Moments of lyrical, melancholic beauty flow into raucous, foot-stomping crescendos in six titles, blurring the line between blues and classical traditions. Siegel’s expertise shines in his precise, emotive harmonica performance, driving home a powerful sense of narrative whether on the piece, Slow Blues or the up-tempo and comical Allegro. The CODA is especially evocative and inspiring. Wrecking Ball Sonata is another heady atmospheric tune with a well delivered dialogue. Opus 11 is a solo violin piece hewn from the Appalachian Mountains by the sound of it, superb. On the seventh track Corky informs the listener of his vision for the release. For fans of boundary-pushing music, this is a must-listen, a testament to Siegel’s vision and an invigorating example of what genre-blending can achieve.

DAVY KNOWLES

THE INVISIBLE MAN

Independent

Davy Knowles is a musician who has been around the proverbial block a few times. During this time, he has managed to collect many admirers and many accolades. In fact, Joe Bonamassa has congratulated him on the release of this album, which goes to show the esteem in which he is held. He was also the first artist to perform live for The International Space Station, how’s that for respect? Add to that his many Top-5 Billboard Blues Albums, and you get to see what makes this guy tick. So, to the album, this is not an out-and-out Blues album, it is more of a collaboration of Blues, Blues/ Rock, Americana, and good old Rock “n” Roll. Tell Me What You Want Me To Be has a funky guitar riff, not a million miles away from the intro to, Superstition, by Stevie Wonder. Knowles adds his great vocals to the song perfectly blending with the funky guitar, giving a rockier edge to the proceedings. The title track, The Invisible Man, allows Knowles the opportunity to once again demonstrate, what I would call, his lived-in vocal range. Not raw or gritty, but a vocal that has seen some mileage. This three-piece

KAI STRAUSS

WAILIN’ IN VIENNA

Continental Blue Heaven

German blues virtuoso Kai Strauss delivers a knockout with his latest scintillating release. This is an odyssey that bridges classic blues soul with a fresh, modern flair. With standout guest appearances by Rusty Zinn, Alex Schultz, and Sax Gordon, Strauss offers fifteen tracks that swing between nostalgia and fiery energy, proving he’s got a deep respect for the genre’s roots while pushing it forward.

The album opens with Old Fashioned Daddy, a toe-tapping tribute to blues’ golden era, setting the stage for what’s to come. 5$ Shake follows

Kai Strauss at his best, raw, heartfelt, and steeped in the spirit of blues

with a fun, infectious rhythm that invites listeners to join the ride, while Travelin’ Man dives into the bittersweet reality of life on the road, brought to life by Strauss’s soulful guitar and Zinn’s vocal flourishes. Stranded, takes a slower turn, Schultz’s intricate solos lending an emotional weight that stays with you.

The mid-album jam, Sweet and Salty, highlights Sax Gordon’s brassy flair, adding a sassy punch to the album’s flow. The heart of this nostalgic release pulses through tracks like You Quit This Game Too Soon and Slow Roast, where the groove simmers, drawing listeners into their meditative pull. The title track is a smoky homage to Vienna’s musical legacy, capturing the city’s bluesy undercurrent in under three minutes. Strauss wraps things up with the reflective, My Old Time Used to Be and Three Bells in a Row, soulful closers that linger long after they end. This is Kai Strauss at his best, raw, heartfelt, and steeped in the spirit of blues.

COLIN CAMPBELL

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MARC BROUSSARD

TIME IS A THIEF

Artist Tone Records

It really is a top-drawer piece of work

This is the first album of original music by Marc Broussard since 2017. Ten brand-new songs from one of the finest Southern Soul singers, this album has been well worth the wait. Broussard has surrounded himself with the cream of the crop of musicians as well as producers, Eric Krasno, who also chips in on writing some of the songs, and Jeremy Most. The horn arrangements are courtesy of Daniel Casares who put the funk into funky here. The songs are so Soulful, so full of harmony and groove, Broussard has knocked this out of the park once again. Cold Blooded is one example of just how silky smooth Broussard and Krasno have developed since starting to work on this album together. Time Is A Thief is the epitome of Soul and Funk, it sometimes takes you back to the heady days of early 70s Soul that came out of Harlem, even though Marc Broussard is from the Southern side of the genre. Give You The World had me thinking about what it reminded me of, and then it dawned on me, Hall and Oates. Not that Broussard is in any way trying to copy them, he certainly doesn’t need to try and imitate anyone, I think that he’s such a good writer and singer, he oozes class like others have done that have gone before him. The final track, Stay Still almost made me feel rather sad, mainly because it was the end of such a marvelous album. It really is a top-drawer piece of work. One thing that I would dearly love to see, is this group of musicians going out on tour to promote this album. Now that would be one hell of a gig.

STEPHEN HARRISON

band, with Tod Bowers on Bass, and Mike Hansen on Drums, leaves the guitar work to Knowles, and a very competent guitarist he is. All My Life sees a change of pace and direction, veering towards the Americana side of things. This album has an air of feel-good about it, all of the songs flow in and out of so many genres, sometimes within the same song. Davy Knowles reminds me ever so slightly of Bob Seger, a guy you can’t pigeon-hole, but a guy who touches you in so many ways with his music. Saving the best to last, is the way I’d describe, Wonder You Are, the final track on the album. All of the songs are enjoyable, but this one sticks out for me, melancholy lyrics, the guitar with so much feeling, and an overall sound that makes you sit up and listen for one last time. These guys, originating from Chicago have made an album of musical pleasure. Treat yourself, and get a copy.

STEPHEN HARRISON

DE WOLFF MUSCLE SHOALS

Mascot Label Group

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DeWolff’s latest release is a bluesy, soulful tribute to the roots of rock, dripping with authenticity and swampy Southern charm. Recorded at the legendary FAME Studios in Muscle Shoals, Alabama, a hallowed ground for some of the biggest names in blues and soul, DeWolff delivers a sound that feels like both a homage and a revitalisation of classic Southern rock. The trio captures the spirit of vintage blues-rock with gritty precision. Frontman Pablo Van De Poel’s guitar work is raw, electrifying, and refreshingly unpolished, blending seamlessly with brother Luka’s pulsating drums and Robin Piso’s Hammond organ that oozes with attitude. Tracks like the opener, In Love and the tune, Natural Woman are gritty, drenched in soul and distortion as is the benchmark on Ophelia, that takes a life of its own, so many layers to this one. Let’s Stay Together, showcases the band’s versatility with mellow, sundrenched vibes that feel like a lazy summer afternoon in the Deep South, a particular favourite. This release doesn’t just flirt with nostalgia, it dives headfirst into it, embodying the sound and swagger of its namesake while bringing a modern energy that feels both reverent and rebellious, as noted on the up-tempo Hard

To Make A Buck. DeWolff pays homage to the legends of the past while staking a bold claim on the future of blues rock. De Wolff’s best release, yet a unique sound on these scintillating tracks, a sure fire no holds barred approach just stunning.

COLIN CAMPBELL

DOWN HOME BLUES

CHICAGO-THE BEAUTIFUL STUFF

Wienerworld

Now, if you think you have a difficult job, whatever it may be, just imagine trying to pick just fifteen songs from a back catolouge of Chicago Blues. That is nigh on impossible, but two guys have managed to do just that. Chris Bentley and Mike Rowe have compiled this album, and what a fantastic job they have done. The album comes with a four-page booklet giving background information on the songs and the artists, reminding us of days gone by, the cream of Chicago Blues. Tack one, side (1) sees Muddy Waters open the proceedings with Rollin’ Stone, and we all know what that particular song led to. That’s All Right, by Jimmy Rogers is the same tune that we all know and love, but don’t be fooled into thinking that this is the Country artist, this Jimmy Rogers first teamed up with Muddy Waters and his band when Muddy made the trip to Chicago. Many tracks on here are very familiar to everyone, but the beauty of this album is that there are also some hidden gems, songs that we may have unwittingly forgotten about. Songs such as Evening Shuffle, by Johnny Shines. Now Johnny Shines is no stranger to Blues aficionados, but this song may not be on the tip of your tongue. In the beginning part of his career, Shines had traveled around America playing guitar, singing, and blowing the harp, quite often with a guy by the name of Robert Johnson, before coming back to Chicago and recording under his own steam. Often Shines would be annoyed with interviewers who wanted to know about Johnson instead of his own recording career, and who could blame him, he was a Blues artist in his own right, a very good Blues artist. When I mentioned hidden gems, Pete’s Shuffle Boogie Part 1, by Mata Roy is a song that I had long forgotten about. That’s why I love this compilation so much, being reminded of just how good she was, before vanishing almost off

WARREN HAYNES

MILLION VOICES WHISPER

Fantasy Recordings

Warren Haynes has released a double album and has collaborated with his former bandmate, Derek Trucks on the producing side of things, as well as Trucks guesting on three songs. I doubt there are many artists around who have released or been part of as many ventures as Haynes has. From The Allman Brothers, Gov’t Mule, and a hundred in-between albums. Warren Haynes has been a long-time favourite artist of mine for more years than I care to remember, so I was so pleased when this album found its way to my humble abode. Nine brand-new tracks that start with, These Changes, which incidentally has Derek Trucks gusting on. The

A monument of musical greatness

reunion of these guitar greats electrifies this song, with Haynes vocals as good as they have ever been. Halfway through the song, I was thinking to myself, if the rest of the album is half as good as this, then I’m in for a treat. And guess what, each and every song is just as good as the opening tune. Find The Cost Of Freedom/ Day Of Reckoning sees Haynes at his lyrical and vocal best, such a sweet tune proving that he has lost none of the work ethic that he’s always had, that attention to detail, which is so good every track seems effortless. Lies, Lies, Lies, Monkey Dance, Lies Lies, Lies, is quite a strange title for a song, however, don’t let that put you off because the song itself is stunningly good. Filled with funk, Warren Haynes blasts through it with the help of great keyboards and a magnificent horn section that will have you out of your chair within seconds. Million Voices Whisper is, in my humble opinion, one of the greatest albums Warren Haynes has ever recorded, a bold statement I know, but when you sit and listen to it, I don’t expect many people will disagree with me. A monument of musical greatness.

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STEPHEN HARRISON

IAN SIEGAL MEETS JOHNNY MASTRO

EASY TIGER

Continental Blue Heaven

When Ian Siegal and Johnny Mastro met in a New Orleans studio, they fused British and American blues into this new project, a live-recorded, high-voltage album that rolls in like a Southern thunderstorm. Siegal’s gravelly, whiskey-laden vocals and expert guitar mesh with Mastro’s ferocious harmonica, forging a raw, powerful sound that’s as authentic as it is

a wonderful collaborative masterpiece

the face of the earth in the early 1960s. This album opened with Muddy Waters, it ends with, Coming Home, by Elmore James. What a fitting end to an amazing collection of Blues songs. Congratulations to messers, Bentley and Rowe.

STEPHEN HARRISON

EARLY JAMES MEDIUM

RAW

Independent

gritty. The album roars to life with Four on the Floor, an energetic opener that ignites the bluesy, soul-filled journey ahead. Balling the Jack follows, with Siegal’s voice and Mastro’s harmonica sparking off each other in a fervent exchange of raw talent. Slowing things down, Baby You Can Get Your Gun unveils Siegal’s introspective side, while No Mercy unleashes Mastro’s blistering harmonica in a relentless surge. The swaggering beats of Dog Won’t Hurt and Tall and Tight, capture New Orleans’ wild charm, while Miss Your Cadillac tugs at heartstrings, driven by Siegal’s soulful croon and Mastro’s piercing harmonica. On the explosive, Quick to Gun, the pair are fearless, showcasing an electrifying synergy that’s all blues grit and passion. Emperor’s New Clothes and Wineheaded, bring a vintage, hard-edged feel, with Who’re in Church diving deeper, layering Siegal’s thoughtful lyrics with Mastro’s haunting harmonica. This infectious release closes with Oedipuss, a burst of raw energy, embodying the duo’s unfiltered spirit. This thirteen-track release is a journey through the blues genre in its purest form, a must-listen for fans of unpolished, souldrenched blues, a wonderful collaborative masterpiece.

COLIN CAMPBELL

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This album was recorded in Buddy’s house, “Honky Chateau” in Nashville, Tennesee. That is as much as I know about the recording of the album. To be honest, I don’t need to know much more. All of the songs were written by Early James, who plays guitar and also sings on all of the tracks, not so much a oneman band because he does have a little help from his friends, Jeffery Clemens (Drums) Adrian (Bass) and Sam (Percussion). So, the album, it’s an all-acoustic stripped-back, and yes, medium raw kind of album. Steely Knives is the first offering, and it did put me in mind ever so slightly of Steve Earle. Now, there is nothing wrong with that, and I don’t for one moment think that James had Earle in mind when he wrote the song, it just resonated with me in that way of thinking. Tinfoil Hat, which was released as a single, has a dark, morose feel, the lyrics dragging the guitar down and then, suddenly back up again, in a topsy-turvy tale of darkness. On the other hand, Gravy Train has a more lighthearted, upbeat approach. The guitar has the sound of a train roaring down the tracks, and the lyrics once again prove that James is adept as a songwriter. I Could Just Die Right Now is as dark and morose as life gets. This is not a song about someone wanting to die, but more about the moods we can all find ourselves in from time to time. It is very cleverly done, Earl James is telling a story more than he is singing a song, a different interpretation of one’s feelings. This album succeeds in many ways, lyrically, and thought-provokingly, and it can also come across as a storybook, not just an album of fine tunes. Early James has produced a gem of an album. Tune in, relax, and be prepared to be taken somewhere you’ve not been before.

STEPHEN HARRISON

EDDIE 9V SARATOGA

Ruf Records

US-based bluesman Eddie 9V returns with his new album Saratoga. The Ruf Records release covers a vast sonic landscape which takes the listener on a musical journey across the album’s twelve amazing tracks.The title track and opening song of the album is perhaps the author’s favourite song of recent times. Saratoga has received frequent radio airplay and it’s easy to understand why. The track’s captivating chorus draws the listener in. The song is an earworm of the highest calibre, once you hear it the song will stay with you for days. Recent single Halo follows. The song has a sweet, soulful, finger-picking groove. The addition of horns adds a wonderful texture, whilst Eddie’s voice and vocal delivery, particularly on the high notes is on point Songs such as Cry Like A River transport the listener to the 60s. The song is almost like a time machine, harkening back to the glory days of artists like Otis Redding. Subsequently, the funky groove, tight beat and wonderful backing vocals of Love Moves Slow make it one of the many stand-out songs on the release. And although songs like Cry Like A River may have more of a retro feel, it’s tracks like Delta and Red River which bring the album up to date with a more contemporary soulful blues sound. Wasp Weather is reminiscent

DOM MARTIN

BURIED ALIVE

Forty Below Records

Having recently seen this powerhouse trio at Edinburgh Blues Club, I was eagerly awaiting this double album release, this is intrinsically better played on vinyl this is just an observation of listening to these sixteen tracks. Capturing the raw energy and soul of his live performances, this record serves as both a testament to his undeniable talent and a gift to his rapidly growing fanbase. He deserves the plaudits and awards as his musicality is hypnotising, mesmerising just a unique artist. This outstanding live release offers an intimate yet electrifying experience. These songs showcase his knack for storytelling, with stripped-down acoustic renditions that let his intricate

a must-listen; a triumph that cements Dom Martin’s place

fingerpicking and gravelly, impassioned vocals take centre stage, like the opener, Daylight I Will Find You. Tracks like Howlin’, Belfast Blues and the broody, Buried In The Hail are drenched in emotional depth, their melodies weaving stories of longing and resilience. Unhinged, brings a rocky groove and riff of its own, bass player Ben Graham and drummer Aaron McLaughlin are the perfect rhythm section, and they all have that intrinsic chemistry on stage that connects with the audience making these live events special. They unleash scorching electric blues swagger on numbers like, Lefty 2 Guns and 12 Gauge, that draw Dom to be

compared to legends like Rory Gallagher and Stevie Ray Vaughan. For blues aficionados and newcomers alike, this live release is a must-listen; a triumph that cements Dom Martin’s place as one of the most exciting contemporary artists in Blues music today.

COLIN CAMPBELL

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OLLEE OWENS

NOWHERE TO HIDE

Independent

her vocals are astounding, this is a powerful release

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

guitar riffs perfectly capture the mood of the song title. Truckee is perhaps one of the most unique songs on the album. It’s more of a traditional acoustic number, which conjures up images of legends like Crosby, Stills and Nash. Towards the end of the album, Chamber of Reflection illustrates the funkier side of Eddie 9V’s repertoire. Whilst album closer, The Road to Nowhere shows that the artist can croon with the best of them. Saratoga continues to showcase Eddie 9V’s musical evolution. Holding his own with the great and good of the contemporary blues/rock scene. Exciting times beckon for the soulful blues artist.

ADAM KENNEDY

ERIC STREET BAND; THE WORD ON THE STREET

THE WORD ON THE STREET

Independent

Here’s a sad story which no doubt affected many bands during the great

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 Gregory Crowe

Covid blight 2021-22. The Eric Street Band, comprising Dennis Siggery, vocals, Gordon Vaughan, guitars and keyboards, Henry Smitson, bass and drummer Adam J. Perry are joined here by an impressive Dave Raphael on harmonica. Just as Covid’s Grim Reaper started waving his scythe around the band had scored a hit and even charted in the USA with The Eye Of the Storm, the band were silenced. What followed was the cancellation of recording this the new set of compositions, problems with gear going down and the inevitable separation from one another during the pandemic took their toll. Thankfully, all that’s behind them and there’s no doubt here that hardships have one benefit – they truly tighten up blues music. Track 4, The Truth Hurts, is a sturdy, heart-felt slow blues with some stirring guitar from Gordon Vaughan behind Dennis Siggery’s always well-delivered vocals. Having a superfan contact in the USA willing to devote their time to a British band is always a bonus. Sadly, The Eric Street Band lost their great transatlantic support, Diana Swens, to illness in 2023. None the less, Diana’s support would

LIONS IN THE STREET

MOVING ALONG

Interior Castle Music

I have to admit that this is my first encounter with this band, I’ll apologize now. The band can list many influences and meetings with people who were around at the end of the ‘60s and early ‘70s, when you hear the album, you’ll understand why. Don’t be fooled into thinking that Lions In The Street is some sort of caricature of days gone by, these guys have taken Blues/Rock, and ‘60s and ‘70s rock, and brandished it into their own make-up. The title track, Moving Along, opens the album, when I say opens it, it kicks the doors off. Chris Kiinon on lead vocals drives the album track after track, forging a pathway as if his life depended on it.

a must-listen; a triumph that cements Dom Martin’s place

Raspy raw, and full of conviction, Chris Kinnon pounds his way through the lyrics without seeming to take a breath. It’s a high-octane juggernaut of an album that takes no prisoners and turns your mind a hundred different ways, allowing you trips down the musical memory lane. Mine Ain’t Yours starts with a riff Not a Million Miles Away from The Faces, Stay With Me, and having such a gravelly vocal, Rod Stewart also pos up in the memory bank. You get that feel, that energy that bands such as The Faces had in their armory. Lady Blue does allow the band to take their foot off the gas pedal slightly, but you can feel that the song could suddenly combust at any given moment. Hey Hey, Arlene has Chuck Berry written all over it, from the opening riff to the jumping beat and rhythm that almost threatens to bring back Chuck from the other side. I have to say, I’ve thoroughly enjoyed this album from start to finish, I can only imagine how good this band is in a live setting. Hopefully, I’ll find out before too long.

STEPHEN

HARRISON

have doubled had she heard this album. Solid, honest blues all written by Siggery and Vaughan – trust The Word on The Street – it’s rarely wrong.

ROY BAINTON

JEREMIE ALBINO

OUR TIME IN THE SUN

Easy Eye Sound

On last year’s release, Tears You Hide, Toronto singer-songwriter Jeremie Albino proved himself a talent to watch, with a powerful, versatile voice that moved seamlessly through rock, soul, blues, and folk. His latest album, Our Time In The Sun, builds on that foundation, highlighting a new level of intensity and ambition under the sharp production of Dan Auerbach. Albino’s voice, alternately soulful and gritty, shines through each of these twelve well-crafted tracks, marking him as a true rising star. The lead single, Rolling Down the 405, captures the spirit of classic open-road anthems with a bluesy swagger reminiscent of early Rolling Stones. It’s a perfect summer tune, practically begging to be blasted

on a long drive with the windows down. Elsewhere, Albino’s more soulful side emerges in tracks like Baby Ain’t It Cold Outside, Our Time in the Sun, and I Don’t Mind Waiting. With backing from the likes of former Dap-Kings bassist Thomas Brenneck and drummer Malcolm Catto, Albino’s sound nods to Otis Redding and Irma Thomas while keeping things fresh and vibrant. His ability to stretch within genre conventions is a highlight, as with Dinner Bell, a swampy blues number bursting with loose, infectious energy. Give It To Me One Last Time starts as a soulful ballad before erupting into a chorus and guitar solo that evoke a psychedelic rock finish. The final song is Hold Tight, a stripped-down, acoustic love song, a fitting, intimate ending to a record brimming with heart and promise.

COLIN CAMPBELL

KENNY “BLUES BOSS” WAYNE

OOH YEAH

Stony Plain Records

At 80, legendary singer, songwriter,

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

and piano firebrand Kenny “Blues Boss” Wayne continues to redefine aging in music. The U.S.-born, Canadian based musician, Wayne remains as prolific as ever, with his newest release. This marks his fifth album in eight years, and this is a showcase of Wayne’s ever widening musical palette. Wayne opens with the lively, boogie-woogie of the title track Ooh Yeah, a jolt of energy that sets the tone for both this release and his live shows. He navigates the blues with a mix of styles, from the Latino inflected, Sailing with the Sunset, a nod to New Orleans and Professor Longhair, to the soulful, Temptations inspired, It’s Pouring Down, where rain reflects his emotional depths. Wayne’s prowess as a producer shine throughout, especially on tracks like Baby, I’m Your Man, which features a punchy horn section that enhances rather than overpowers. On the thumping Blacklist, Wayne combines his sharp funk groove with raw lyrics about romantic frustration, underscored by electric piano shades reminiscent of Ray Charles. One of the releases most surprising moments is Try It Out, featuring bluegrass

sentimental ballad I Wish Things Were Different, but Wayne’s core blues sensibility triumphs with tracks like Honey, Honey, Honey. With Ooh Yeah, Wayne’s voice and energy remain vibrant, defying his years with the spirit of an artist just hitting his prime.

COLIN CAMPBELL

MARY COUGHLAN REPEAT REWIND

Hail Mary Records

Mary Coughlan has been writing, recording, and performing for forty years. This brand-new album sees a further continuation of her career as a singer/songwriter. Most of the songs contained on the album have been written by Coughlan, with a couple of covers thrown in for good measure. Repeat Rewind opens the album which is not the norm for albums to have the title track as an opener. I digress, the song is a lovely, relaxing ballad, easing the listener in gently. Mary Coughlan has gained fans throughout the world in the realms of Folk and Americana music, which this album has in spades, but there are also a few Jazzytype numbers as well. Marital Bliss is one of these Jazz tunes, in fact, it’s also a duet with guest vocalist, Dave Browne. Their respective voices combine so well together proving that Mary Coghlan is not just a one-trick pony. Or two tricks if you count Folk and Americana individually. Freefalling is another slight deviation from the norm, an up-tempo tune that allows Coughlan to stretch her vocals a tad more. God Only Knows, originally performed by The Beach Boys is a wonderfully delivered tune, a lot slower than the original, but still retaining its lyrical majesty. Coughlan has done a great version here, almost as good as the original. More Like Brigid is the last song on what has been a wonderful album. An album full of great songs, and an album that reminds us who Mary Coughlan is, a brilliant artist.

STEPHEN HARRISON

MOJO MAN

FREEWORLD

MORE LOVE

SwirlDisc

For over thirty-seven years, FreeWorld has been a cornerstone of the Memphis music scene, embodying the city’s rich tapestry of sound. Drawing inspiration from legends like Booker T. & the M.G.’s, John Coltrane, The Meters, and Bob Marley, this multicultural ensemble fuses rock, soul, funk, jazz, gospel, and reggae into a vibrant, ever-evolving groove. This is their eighth studio album, and was recorded with Grammy-nominated engineers Kevin Houston, Ari Morris, and Brad Blackwood. These tracks stand out as a testament to their creative vitality and enduring legacy. The release pays homage to FreeWorld’s late founding father, saxophonist Dr. Herman

FreeWorld

cements their place in the pantheon of eclectic timeless music

Green, with heartfelt tributes like the eloquent instrumental Red Moon, featuring Green’s reflective spoken words. The title track, More Love is a gospel-tinged anthem sung by Jerome Chism, asking listeners to “spread your love to those around you.” Tracks like Give Until You Live, with its New Orleans second-line rhythm, and the reggae-infused Heart On The Table highlight the band’s stylistic breadth. Instrumentals such as Rush Hour and Who Knew? spotlight their stellar horn section, including Peter Climie on tenor sax, Alex Schuetrumpf on trumpet, Frank Paladino on baritone sax, and Freedman Steorts on trombone. The release crescendos with D-Up (Here’s To Diversity), a poignant bonus track celebrating unity with contributions from over three dozen Memphis artists. This release has the feel of an open love letter to Memphis, a call for harmony, and a triumph of collective artistry. With this release, FreeWorld cements their place in the pantheon of eclectic timeless music.

COLIN CAMPBELL

 Gregory Crowe

LOVE & REVOLUTION

Continental Record Services

Mojo Man is a high-octane, 10-piece juggernaut of blues, rock, and soul,

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packing a punch that only a seasoned band with a razor-sharp brass section and powerhouse rhythm can deliver.

The Mojo Horns: Reinier Zervaas, Henk Brüggeman, Emiel van der Heide, Robin Bogert, and Marco Muusz, lay down the explosive brass lines that define the band’s rich, retro-infused sound. They’re anchored by a rhythm section that’s as tight as it is soulful: Mark Eshuis, Dennis Hemstra, Patrick Cuyvers, and Bas van der Wal groove together seamlessly. Out front, Marcel Duprix commands the stage with raw charisma, delivering vocals and guitar work that tap deep into the spirit of the 60s and 70s. Mojo Man’s sound is drenched in American rock ‘n’ roll swagger and unmistakable British soul vibes, blending influences into a vintage-inspired yet electrifying live experience. Jealousy, dives deep into the psyche of a man haunted by the image of his wife with another, spiralling from a mere glimpse into a consuming obsession. This lyrical soul-baring track captures the precarious edge between suspicion and madness, a standout tune. The opener Love And Revolution, sets the tone a stomping rock and roll tune. Happiness is another up-tempo tune despite the emotional lyrics. Seventeen brings mellow tones on this soulful track, Marcel’s vocals never better on this reflective track. Before We Forget brings in a slide guitar driven tune with Big Pete guesting on harmonica very atmospheric and builds up well. Twelve well- crafted songs a wonderfully produced well balanced stylish release, highly recommended.

COLIN CAMPBELL

THE DOOHICKEYS

ALL HAT NO CATTLE

Forty Below Records

When this album dropped through my letterbox and I saw the name of the band, the title of the album, and indeed, the cover, I immediately had a vision of what kind of album this was going to be. You may have already formed an opinion on the name of the band and the title, but it’s not all Stetsons and Pitchforks. Granted, this is an album leaning toward Americana and Country, but it also throws up the odd Rockabilly guitar and some Scotty Moore-inspired stuff. The opening track, Rein It In Cowboy, does have a certain Country twang, but as I said, It’s not all Stetsons and Pitchforks.

What does appeal to me is the sense of humour that Hayley Spence Brown and Jack Hackett put into their lyrics, they make songs comedic which makes the album joyous and lighthearted. Mr. Fix It is one of the tracks that encompass the Scotty Moore-type guitar playing, early Elvis if you like. It’s a Rockabilly, foot-stomping shake-your-ass kind of tune, which puts a smile on my face. Please Tell Me You’re Sleepin’ is a song that I couldn’t quite believe what I was hearing. Let’s just put it this way, it’s a tale of walking in on someone who you think may be sleeping, then realizing that they are not alone, and you can’t quite get the thought out of your head. I’m not going to say anything else, except, well done to these guys for injecting so much fun into the lyrics. This is not a Blues album, it doesn’t pretend to be, It’s an album of great singing, great writing, and an album of fun. Highly recommended.

STEPHEN HARRISON

THE HARPOONIST

DID WE COME HERE TO DANCE- OR DID WE COME HERE TO DIE

Tonic Records

The Harpoonist, aka, Shawn Hall has released his first solo album after being with his musical partner, The Axe Murderer, yes, you read that correctly. Their partnership lasted for seventeen years, so maybe this is a time out for good behaviour. Shawn Hall originates from Canada, and lists among his influencers as, Sonny Terry and Aretha Franklin. So, that is what we know, now onto the album, which is something of a venture into the unknown. The album was recorded by Canadian Gordie Johnson who has worked previously with Big Sugar, a wellknown Canadian band. The album was recorded at the ranch owned by Johnson in Texas. Good People opens the album, which is also the lead single, and it has a great harmonica and a vibrant rhythm. I kept expecting the song to suddenly erupt, it had that feel of building slowly, but, surprisingly, it leveled out, that’s not to say that I didn’t enjoy, it because I did. I May Not Have It Together, takes a more direct route down the Blues trail, earthy, and more direct. Throughout the album, I tried to put my finger on what the album was all about and found that I couldn’t, but this is what makes the album so appealing, it makes you think outside of the box. Another thing that floats my

boat about this record is the fact that you hear Jazz, Blues, African rhythms, and the odd spot of reggae, sometimes within the same song. I’m still not sure what this album is all about, but what I am sure about is this, It’s a great collection of songs, that make you sit up take notice, and see for yourself.

STEPHEN HARRISON

THE TERRAPLANES BLUES BAND

LIVE AT TEMPERANCE

Independent

Bristol’s own Terraplanes Blues Band ignited the stage at the Temperance in Leamington Spa, delivering a blistering set infused with British Rhythm & Blues, plus flavours of Louisiana and New Orleans. This live recording proves they are such a wonderful hard hitting groove laden blues band Their name nods to the Robert Johnson classic Terraplane Blues, and fittingly, they summon that same raw blues spirit. The lineup features Nick Scrase on guitar and vocals, Eduardo Allen on harmonica and backing vocals, Andy Hutt on drums, and Craig Shaw on bass. Having played together for over a decade, the band opened with two highlights from their Midnight Train EP. The title track, Midnight Train, set the tone with rich harmonies, while Voodoo Blues highlighted Eduardo’s captivating harmonica work alongside Nick’s slide guitar prowess. Of particular note is their rendition of Highway 61 a true stomping tune. Fans were treated to stomp-worthy renditions of Robert Johnson’s Walking Blues and the timeless CC Rider. Their original, Pick Myself Up, from their Stepping Stones album slowed the pace down. T Nick performed a haunting solo of Me & The Devil before Eduardo joined for Johnson’s Love in Vain. Their Rolling Stones reinterpretations, Spider & the Fly, and Little Red Rooster sparking the audience anew. They powered through with originals like, My Malaise and Night Bus, sealing the night with the rousing Rattlesnake Blues leaving the crowd whooping and wanting more. They delivered a gospel-infused encore, John the Revelator. A superb live release from a band on the rise, catch them when you can.

CAMPBELL  Kaelan Barowsky

OLIN

MISSISSIPPI MACDONALD

I GOT WHAT YOU NEED

I’ve been a fan of this guy and his music for over a decade. Each release just moves him further up the feeding chain and with I Got What You Need, a ninetrack offering, he again highlights his mastery of soulful blues and cool lyricism. This is MacDonald working hard, always with his own love of good soul music shining through. His personal favourites, like OV Wright, simmer and stew here while his vocal range is near-perfect for the material covered. Just give Hard Luck and Trouble a listen to catch a full flavour of this guy’s huge talent, then, maybe, follow up with one of his own compositions, Soul City One, to catch the real flavour on display.This is an album that simply delivers at every level, an excellent release from a UK blues-soul master, who consistently turns out top quality work with an eye and ear steeped in Memphis soul,

IAIN PATIENCE

JERRON PAXTON

THINGS DONE CHANGED

Jerron Paxton is a relative youngster but his depth of traditional blues knowledge and talent is already huge. Formerly calling himself Blind Boy Paxton, he has repeatedly shown himself to have an unerring ability to work the old, 1020s and 30s acoustic blues sound with astonishing ease. With this fabulous 12-trck release on US Folkways Records, he truly hits the blues nail on the head. Switching from acoustic guitar to fretless, fivestring banjo, bones and harp, Paxton has a total mastery of the music that first lured him in and kept his interest. This genuinely sounds like that ol’ acoustic blues from the early twentieth century, before the Chicago electric movement even took wings. Anyone and everyone who loves old school, acoustic blues music will absolutely adore this guy and this recording. An absolute must-have release for us all.

IAIN PATIENCE

INDEPENDENT BLUES BROADCASTERS ASSOCIATION

10/10 9.5/10

“ T h i s y e a r ’ s m u s t h a v e b l u e s a l b u m . ” – P o w e r p l a y “ S t e v e H i l l i s a p h e n o m e n o n . ” – M a x i m u m V o l u m e M u s i c

5/5