RAW RAMP MUSIC MAG Summer Blues Edition by NEIL MACH

RAW RAMP

Keeping the Spirit of Music Alive FRESH Sounds for New Ears

SUMMER BLUES EDITION

JO HARMAN

ALABAMA SHAKES BETH HART JJ GREY PALAYE ROYALE KILL IT KID LARRY MILLER

REBECCA DOWNES ERJA LYYTINEN STEVE WHALLEY AARON KEYLOCK

Jane Chloe Pearce RED BUTLER PAGE 16-17 Image: @neilmach 2015 ©

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SUMMER BLUES EDITION Page 4-5 Jo Harman Page 6-7 Alabama Shakes Pages 8-9 Rebecca Downes INTERVIEW WITH JJ GREY Pages 10-11 Pages 14-15 Aaron Keylock Pages 16-17 Red Butler Pages 18-19 Erja Lyytinen INTERVIEW WITH BETH HART Pages 20-21 Pages 24-25 Beth Hart Pages 26-27 Kill It Kid Page 28 Larry Miller Page 29 Steve Whalley Page 29 Sonny Landreth Pages 30-31 Jared James Nichols Page 32 Neal Schon Page 33 Venice Trip / Fred Abbott

JJ GREY PAGE 10-11

Image: @neilmach

JO HARMAN

Dirt On Her Tongue Words & Images : @neilmach ©

Jo Harman’s evocative voice, and her compelling stage-craft, has already seen her dubbed one of the most exciting blues singers of a generation and have earned her an award — British Blues ‘Female Vocalist Of The Year’ 2014. Jo recently released a new album,‘Jo Harman and Company’ recorded Live At The Royal Albert Hall’ by the BBC.

Whilst a simple piano accompanies the faltering voice that is still tormented by the challenge of forgiveness.

seductive

The pace steps as slowly as a funeral procession – but is as generous as an unexpected smile from a stranger.

VOCALS

This is an intense song, majestic and reflective, and full of private praise and the triumph of love over grief.

These songs retain their strength through total honesty.

We listened to her 2013 studio album ‘Dirt On My Tongue’.

I Shall Not Be Moved has saddened piano and a haunting vocal.

The double-A sided single “Heartstring” [ with ‘Sweet Man Moses’] starts with scratching post rhythms and liquid keys – these run long & thick like syrup, souping into the fissures of the song.

It’s a song of strength and potency. Though it feels as if it sways tippytoed on the edge of a vast and very scary chasm of regret.

Jo’s voice clarifies the whole piece – airily lifting the melody so that it spreads gently – and soon it starts to float like cotton fibre blowing in the morning air. This is a song full of buttermilk evocations and seductive moonshine vocals. ‘Sweet Man Moses’ is moody and generously muggy. A wispy organ runs along the edges of the tune,.

The guitar laments alongside the voice, like a river of crystal. Soon the pace becomes more optimistic. Then the voice regains its full and rightful dominion.

MOONSHINE

Jo’s voice tinkles along with the silver-liquid piano on the jaunty number ‘I Don’t Live Here Any More’. Here is something that is steeped in moonshine honey and it shimmers like a lost moon. The song has a generous country air. The lyrics are full of clarity and vision, though, like most of the numbers on this wonderful album, a certain sadness lies within those tear-stained folds.

We all yearn to be ‘Worthy of Love’. And this soft song faces the state of ours (and a lover’s) readiness to commit... Will a sweetheart flit and leave? Will we waste yet another night, unrequited? This slowly waltzing hymn has a tender voice that never weakens.

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ALABAMA SHAKES NO LONGER Retro-Vintage

Words & Main Image : @neilmach ©

Blues will destroy you… But the spirit of the soul heals. We don’t know if anyone else said that (but we just did) — you can almost hear the sentiment running through each vibrato moment of this new record by Alabama Shakes. And so, if you pine for the agonized psychedelic soul of Janis and you miss Marvin so much that it still hurts… And if you want some soul trickled onto your hard blues to make ’em a little sweeter… Then the Alabama Shakes are a perfect fit. Some critics have argued that this album is difficult and unnecessarily arty. Some say the band have tried too hard. Others point out there are a few duds in there (there are not) — and that the various jangly sound experiments disrupt the flow. But we suggest that all these things may not be so bad… Because now the Shakes have got your attention! Because you need to concentrate if you are really gonna understand the joy and the pain. Don’t let it just wash over you. Let it soak in. Deep. The very first track on the recording ‘Sound & Colour’ has the type of sound-experimentation that you had better get used to. It has silvery glockenspiel chips and a pastel background with a silver finish of sunburnished peach-fuzz. It also has angular strings and jazzy horn corners. It’s like looking at your backyard through some ripple effect glazing – and recognising something familiar which is actually quite strange.

‘Dont Wanna Fight’ is slacker and more elastic than a rubber band bracelet. The rhythm pulsates like a thumb hit by a jack-hammer. Everyone seems to agree that this is one of the strongest tracks on the album. It is rooted in honesty, so it sits at the back of your scalp, before crawling into your head late at night, to knock some sense into you. It’s that kind of song. ‘Dunes’ has that unblemished vocal that we were seeking right from the start. The song is simple and fancyfree with knockabout drums and guitars that are cheerfully fuzzbunny… hair messed up and bubble-gummy. The pay-off for your patient wait is some rock-power in the last third. This is gritty and loopy in equal measure. We liked ‘Future People’ with those anklets of silver guitar that reflect the pain in that incredible voice. Just when you thought this was a complicated mesh of soul, out comes a big fat vat of rock to roll over you. ‘The Greatest’ is so sludgy and real that you can imagine your kids playing it down at your local bar. It’s almost like a lost Stones record. A real gem. And ‘Shoegaze’ has some more rhythm and blues. With an effective hook and a melody line that flows real nice. This will stand several listens and still continues to grow on you.

strangely shimmering imagery The album concludes with ‘Over My Head’ with some more of that strangely shimmering imagery. It is tender, serene and totally compelling. It is likely that Brittany and her band still want to be loved by you… But they are not willing to be re-sold and re-packaged in the retro-vintage store any more. And who can blame them? What artist wants to be strangled by the convention of tradition? So this album is a reminder that the Alabama Shakes are not the revivalist blues-soul outfit you thought they were. They are not fragile antiques that should be kept locked up behind glass and sent to your ungrateful brothers when you die. No, they are living, breathing creatures of the 21st Century. With cool hearts, young desires (yet untapped) and a lot of experimenting still to be done.

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GOES BACK TO THE START

Rebecca Downes Back To The Start Words : @neilmach ©

Rebecca Downes is a UK Blues Sensation

A cool beat and a feast of rhythms push-along this trolley of delights.

She has released her debut album this year titled ‘Back To The Start’ and available via Real2Reel Records.

This has a great chorus and lyrics that can almost make you blush.

The singer is based in the West Midlands UK and is quickly establishing herself as one of the star attractions in the new vanguard of British Blues players.

It is bad, beautiful, clean and oh-so natural. ‘Basement of My Heart’ seems as old as the crows that hang outside those Southern ante-bellum homes.

With her unique and powerful voice, drawing influences ranging from Blues and Soul to Jazz and Rock, Rebecca’s performances have been likened to such legendary artists as Tina Turner, Etta James, and even Janis Joplin.

This song is disturbing, eccentric and full of mossy shadows and hoodoo moonlight.

The material for the album is all original, written by Rebecca herself and with co-writer Steve Birkett.

The album ends with the wonderfully nostalgic ‘Little Girl’.

The album begins with some brilliant guitar-work on ‘Messed Up’ – and the voice of Rebecca is instantly gratifying. It’s a mixture of flame and nitric acid. This track has some beautifully sinuous organ and creative piano. But the powerful voice remains centre stage – what an incredible opener!

mossy shadows and hoodoo moonlight

The only thing that lights up the darkness is that the swamp-torching voice. What passion!

Jewel-like bites of guitar brighten the mood, and that velvety voice (this time it remains earthbound dark and low) wraps around your insides until it wrings-you-out. You will feel… Sad all over! Here is authentic and potent blues …with vocals so inspiring they will open up your heart… You better light the flame!

‘When I’m Bad’ is slightly more rakish.

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JJ GREY

“I have really started noticing life…” ”

JJ GREY

Talks About

Ol’ Glory

Words & Images @neilmach ©

We meet JJ Grey on a typically drenched English afternoon in the elegant surroundings of London’s Leonard Hotel. The roots-blues musician looks tidy and neat – keen and observant. His eyes flick this-way-and-that as if he is a flinty-eyed and energetic Rat Terrier on the look out for his next meal. JJ Grey has released his new studio album entitled Ol ‘Glory. “This my seventh disc…” He smiles. “I counted ‘em all up. I am excited … and very satisfied.” “It was great fun making it — it was a whole lot of self-discovery for me … singing it… It’s been a blessing for me to just be a part of doing it.” The album consists of a whole bunch of new songs. “Yeah! But some of those songs, they write themselves … one of the tracks “Turn Them Loose” I wrote in London years-and-years ago. (when I lived here) but I never finished the lyrics completely. I also wrote a couple of tracks (‘The Island’ was one of those) while I was recording ‘This River’ [the last album] — it might have been whilst I was waiting to get a piece of gear fixed… I might be by myself on the piano or on the acoustic. [That’s when I wrote it out.]

In fact one or two were written before This River but we weren’t ready to do ‘em yet.” Is this an album about patriotism? “No, I never thought about that … Actually.” “It’s about a relative of mine. At a family funeral they had an old-time Gospel Group and they were singing “I’ll Fly Away” (the old gospel tune) and my uncle just jumped up out of his chair and he hollered “Ol’ Glory…” “So it wasn’t about the flag — although I can see why folks make the connection — especially since the Country Ghetto cover (the third album) depicts the original colony flag – which was a rattlesnake – and included the words “Don’t tread on me.” (The Gadsden flag is often viewed as an enduring symbol of American patriotism.)” “Ol’ Glory kinda signifies to me something… in that moment… when my uncle yelled out… what he yelled was so real (he is not the kinda person to yell out anything, actually) and it was something that was so out of character — that it has always stuck with me. And so I have always thought about that moment – when people talk to me about The Glory. ”

What’s keepin’ us from reaching out, touching the glory? “Well, when that moment – when it comes to you… although it is so real you may not recognise it… and that’s a glorious mystery...” Glory also means heaven doesn’t it? JJ Grey creased his forehead up at this suggestion. “Yes, I was born and raised a Baptist … when I was in church as a child I always thought of it as the glory that God gives out. He emits Glory. But not necessarily in a religious sense – but in a spiritual sense. The two are not always separated in some peoples minds (cos’ they get caught up in the dogma of rules and regulations) — then they miss out on the glory!” “This record is about me recognising and seeing The Glory (for the first time). It’s true that over the past 6 or 7 years I have really started noticing life … and now I have started living it rather than thinking about it. I realize that, before, I was living my life vicariously through my thoughts about life… rather than actually living life.” “So, [that’s] the impetus behind this album. That is what this is all about…”

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SOUNDCLOUD CHOICE Bobby Schneck Jr is a singer, songwriter, guitar player, and musical artist from St. Louis, Missouri. A member of the Devon Allman Band. His trade-mark is that super-sweet treacle-tone that he plays with a reggae beat. ‘Dead On The Ground’ also show-cases a gritty voice that is reminiscent of Prince on a grey day. A loquacious organ streams through this vintage track. It’s a real treat. Philly Songwriting & Production team Jeremy Lloyd & Samantha Gongol are known as Marian Hill — producing songs that sound like a cross between Drake and Ella Fitzgerald — marrying bass-heavy, idiosyncratic beats and seductively soulful vocals. ‘One Time’ from the Sway EP is slow and clicketty. With enormous bass beats and that naughty sway in the voice. It sends an erotic chill through your bones. A Bo Diddley number from 1961 and the single from The Strypes EP “Young, Gifted & Blue” — You Can’t Judge A Book By The Cover is fast and frothy. With giddy-up rhythms plus some super-tight vocals. Although the look (and the attitude) seem to be from a distant past... The Strypes are actually a 4-piece rhythm and blues band hailing from Cavan, Ireland, and they formed in 2011. If you are hankering for Chuck Berry or early Stones look no further The spine-tingling & lushly magical song ‘Florida Kilos’ is on the third studio album (Ultraviolence ) from this American singing-songwriting sensation. Lana Del Rey wrote this song about addiction... And it glints in the sharp Miami sunlight like a coke dealer’s blade. Inspired by Waylon Jennings, Willie Nelson and Johnny Cash — theCalifornian country music artist Gary Allan has released the soothing blues plodder ‘It Ain’t The Whiskey’. It’s rich in hope, and aromatic as fine brandy with wonderfully crafted musicianship and soul-filled lyrics. Words: @neilmach © 2015

Palaye Royale Get Higher Songwriters, performers, rockstars, co-producers, filmmakers, champions. Years ahead of their time (yet years & years behind it) frontman Remington Leith, guitarist and organist Sebastian Danzig and drummer Emerson Barrett formed Palaye Royale in late 2011. The attractive band, from Las Vegas, Nevada, have been touring the western United States on their #HighSchoolNation Tour after their single “Get Higher” took off. The band are also preparing for their first full length album. We had a listen to the new single: Imagine the slutty struty sexiness and the urgent blues-rock power of The Black Crowes in combination with the gritty smoke and the manly sleaze of the early Stones… and you come close to the sound of Palaye Royale. Guitarist and organist Sebastian is remarkably chiseled and bears an uncanny resemblance to Jeff Beck as he changs at the strings. Remington is the frontman with the grainiest voice you have heard for a very long while. And Emerson is the single cylinder mad-hatted thumper. And he sends the songs hurtling along. We don’t quite know what’s going on with the Steampunk mixedup messages or the squeeze-box hugging. But we don’t really care… Because we love this band all the same. It’s about time we had a pop-rock band on the block who aren’t afraid to be sexually ambivalent, are cleverly ambitious and artistically sure-footed and yet can purvey classic blues-rock sounds of this style, quality & substance. Here they are. Now watch them grow!!

Luckless Vindication Blues The peripatetic player & grafter Ivy Rossiter — originally from Auckland, New Zealand — has been touring solo this Spring, bringing her Luckless album with her and singing the ‘Vindication Blues.’ We had a listen: Right from the surprising twinkleness of ‘Telephone Song’ this album grips at your heart and it won’t let go. The first track quickly turns into a remarkably acute amphora of dark and cloudy sounds. A burgundy vocal purrs out — standing on the shoulders of those glassy jangles. ‘When You Asked Her To Stay’ is a whirring, carbonated fuzz-fest of metal salts. The voice buzzes like may-bugs caught in the cross-breeze.

And the excited riff is semi-transparent and intricately crested. ‘Road Retreats’ has a similar chugging rhythm, with low rumbling guitar and an even lower voice. This is dark, and it should certainly be described as downhearted. ‘Comfort Hotel’ is sweet and healing. With a brilliant but troubled voice that is like lime soda. The guitar here creates shimmers of blue-green… As the song lyrically unfolds amid suggestions that, perhaps, the artist is backing away from commitments. Lament filled indie blues-rock with trembling moments on guitar and a voice that helps to remind us that we should not dwell too long on missed opportunities. Main Image: Justyn Rebecca Denney Strother

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Aaron Keylock A Blank Canvas Words & Images : @neilmach ©

From his headlining appearance at the Charlotte Street Blues Club in London at the tender age of just twelve Aaron Keylock has been amazing blues fans with his phenomenal guitar-play and maturely written songs. Now 17 years-old — Aaron, from Oxford UK, is already a veteran of more than 200 live shows, playing either alone or with his great rhythm section. He has shared festival stages in Spain, Holland and France with such luminaries as Slash and Joe Bonamassa. While acknowledging his influences such as Rory Gallagher, The Faces and the Rolling Stones...This young guitar prodigy has also written more than 30 of his own songs, including the impressive “Medicine Man.”

We got to see his Blank Canvas show in London at Camden’s The Foundry: Starting with the choo-chooing “Medicine Man” the first of Aaron’s songs whistled in with a blazing furnace of fiery guitar and the hearty smoke of a billowing rhythm section. Shimmering chugs of guitar helped to locomote this song along —the chorus was hypnotic and those bottlenecked guitars were sublime. “Just One Question” is slow and just beautiful. Tear-drops of the palest and shiniest guitar snuck out, whilst Aaron’s voice was soulful and just a tad gravelley. Perhaps like it outta be. It was an incredibly passionate piece.

AT 17 — HE has already shared stages with Slash &

Bonamassa Aaron’s play and his stance reminded us very much of Johnny Winter (Self Destructive Blues) with that emphasis on swishy play over-and-above the (perhaps more limited) vocal artistry. Aaron explores the full range of what a guitar can offer — but so brilliantly and so neatly that it constantly amazes you how he can pull such things off! A stunning performance by a real guitar prodigy in a relaxed and informal setting.

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We managed to catch up with the slack-crutched heavy Blues Band RED BUTLER from Brighton, UK last weekend. Formed by Alex “Red” Butler in 2012 (hence their name) — the band boasts the fine and feisty vocals of Jane Chloe Pearce. Along with “Red” on lead guitar, Mike Topp on bass guitar and Charlie Simpson on drums, this is a talented young outfit. The band creates an amalgam of blues styles (think classic Etta James) thrillingly mixed with modern interpretations of blue-tinged rock reminiscent of Glasgow’s King King. We caught up with the band at the annual Blues Festival held at the Pleasure Park in Cleethorpes, England.

Songs like ‘Last Page Of The Blues’ are feverish hot. Played fiercely and sensually by Alex on lead guitar, and soaked in oily-smooth basswork from Mike. Jane never stops moving and grooving. She has more energy than a king-snake trapped in a bucket… Spiralling, arching and tantalising her way through every beat of every song. And her vocals are so powerful and nuanced… She is perfectly able to ‘cry’ over the liquidgold blues licks laid down by Alex and those heavy rhythms from Mike and Charlie. She’s an ‘old-fashioned’ blues shouter in the best of traditions.

more energy than a king-snake Their ‘Jaywalker’ song (taken from debut album ‘Freedom Bound’) is ordered and convincing with a jiggling set of rhythms and some insistent riffs. And it’s hotter under the collar than a vicar caught in the lingerie section. Alex can seem a little sinister (devilish) at times… And Jane is so bouncy it is hard to look away… But, wow, this band can really, really play! A very exciting new blues band for you to discover and to cherish.

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Think of the history of slide guitar and you remember Blind Willie McTell, Robert Johnson and Fred McDowell.

The Sky Is Crying has been universally applauded as her best and bluesiest work to date.

Think about the electric blues and you can trace a lineage heading back from Elmore James to the current Queen of Finnish slide guitar Erja Lyytinen.

It is a dazzling collection of stripped-down, old-school blues.

Since first stepping foot in a recording studio nearly 15 years ago, Erja Lyytinen has become a bona fide star in her own homeland and a celebrated fixture on the international blues-music scene. Her most recent album, the Elmore James tribute The Sky Is Crying – was recorded a few months before she gave birth to twins (you may scarcely believe it.)

CRAWFISH HUNTS AND MISTY RAINS

But each note has been carefully and vividly recorded in There is darkness in the mossy the studio, and brought energetically to life during her sides, yet glints of silver in the widely appreciated live shows. crests. And although Erja’s authentic play is consistently outstanding, there’s also a fresh modern vibe in there too.

Erja’s vocal is clear-cut (without being shrill) and is acidic enough to stab bold creases across the guitar work.

It’s as if she is re-telling the story of the electric blues in her own words.

She doesn’t use a resonator... And although the strings are touched so lightly, the sounds come across clearly and convincingly.

‘The Sky is Crying’ fizzes and bubbles like a mountain cascade.

They evoke lost memories, such as darkening pools, dusktime crawfish hunts and misty rains on balmy morns.

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BETH OPENS HER HEART We meet in London’s Soho on a bright afternoon. Beth Hart is looking confident and eager — her eyes flickering with interest and expectation. We have been listening to her compelling new album ‘Better Than Home’ and we wanted to know what her own thoughts about it were. “Its a very, very different type of record for me… from what I have done in the past” She tells us. “Especially when it comes to the narrative … And it’s also different in the way that its more focussed (musically) and when I say that, I mean that it’s not so genre-bending. It’s not ‘all over the place’ like a lot of my records are.” Are her records ‘all over the place?’ “I love to do a lot of genre-bending in my records because that’s how I like to write… But on this record the producers were very, very focussed on my strong-suit which they believe is that I’m a songwriter and they wanted me to dig deeper into my vulnerability — instead of hiding around stylistic-wise. At first I didn’t know what they meant… ” “If I sing a rock song I feel so strongly about it… in fact any song that I am singing I feel really into it — otherwise I wouldn’t be doing it. But they said, in their opinion, they just felt that when I write a song like “LA Song” or “Light On” it means something more. They particularly loved the writing about pain.”

“So I said to them — I don’t wanna make another record like that at all. But the producer said, ‘Listen, just have a little faith in yourself… get to work … do not co-write…Just dig and see what happens.’ So I turned in a lot of material. In fact I turned in well-over forty songs. And in that mix I was still trying to convince them ‘lets do a jazz record’ or ‘lets have some hard rock…”

“ I always thought of myself as someone that was highly insecure and overly sensitive… ”

“Well, actually, I feel very surprised. I feel suprised that I have so much joy and faith in me.”

Full Album review on Page 24 Beth Hart was talking to Neil Mach

“And I carry a lot of shame.” Shame?

“Yes, and I realized that [with the making of this record] there was a part of me that has a lot of faith. And trust. And hope. And I do see It must have been hard… how beautiful it is to be alive. And it was interesting to see how scary “It was really frustrating, it was really that was… To talk about and to sing hard. And at some point I realized about. And to put that out there. what I was really afraid of. And that But after that whole process was was that I was afraid to stand in my done, well… It was the most difficult own voice.” experience I have ever had (making a record) by far!” “I figured that if I stood in my own voice — and I was rejected by my How long was the process? fanbase or by a new gathering — then I wouldn’t have anyone to blame it “It was a year and a half of working on. I was really scared of that.” with the producers before we ever went into the studio. It was just me “And I think that because I became turning-in song-after-song-afteraware of that… it made me angry. song.” Then I told myself, ‘Lets face the fear and do it anyway.’ Because, at the “And now, the funny thing is, (and end of the day, it’s not like the worlds this is why the title is so perfect for gonna stop spinning if I’m rejected this record) this process has helped for who I really am or for what my me choose a new path in my writing. voice really is at this time in my life. ” This is something else. It’s a new way of looking at life. And at the medium “So I had to stop taking myself so — at what I can do with that. I learnt seriously and just trust in the prothat there is also healing and joy cess.” to be had. And it’s OK to have joy. And it’s scary because now there’s So did Beth feel more valiant now somewhere to fall.You can’t fall when that she had gone through the proyou’re in sadness. You are already on cess? the ground.”

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Winter Brave New Single: “As You Once Were”.

The Boston alt blues/rock duo and garage-funk band ‘The Winter Brave’ consists of Jake Scarpino on guitar and vocals and Sam Scarpino on drums and vocals. The brothers have released a new single “As You Once Were.” Their third EP titled “The Hand You Never Seem to Lend” is out this month (June 2015.)

“As You Once Were” drives along with a primitive chug and prongs of chromium guitars. The main vocal is rapid and waffled. The song really gets going when those scurrilous guitars begin to gurgle... Then they fume as they get strafed by those vocal imperatives and the kicking, rim-fire beat.

chromium GUITARS strafed This is terrifically exciting bluesrock with shimmering vocals and astonishingly adept guitars — a riot of uncontrollable energy.

Helena Johnson TAKES IT HOME Soulful and slick, Helena Johnson has created and mastered a unique and powerful sound that’s showcased perfectly in her new single ‘Take Me Home Tonight’. Originally from North Yorkshire UK and now based in Liverpool, Helena has impressed audiences and critics alike with her stunning live shows backed by a 10-piece band, complete with the comedicallynamed horn section ‘The Horn Supremacy’. We listened to the new single – Helena’s voice is deeply magnificent – like shifting wavelets of crushed velvet moving into your soul… It has depth, sensuality and caves of hope with cathedrals of despair. Complete and convincing. And, even if it is slow and this number is bluesfelt, it contains a safe and steady pace – the piano magnificently builds it up – so that the vocal is raised high … The “No Regrets” lyrics are open and passionate. This is a sensational song – an ordered mix of styles- jazz, blues, even country. Laced together with shot silk vestments of voice. It’s a voice you will never forget.

Photoshoot by P:M Photography

‘Mafro’ Douglas Smokehouse Excitement Matthew ‘Mafro’ Douglas is a young British singer songwriter and guitarist whose music is steeped in the blues. We first came across Mafro when we saw he was a contender in The Future Of The Blues Competition — organised by The Blues Magazine in partnership with the Mascot Label Group and Big Easy Bar.B.Q and Lobstershack restaurants — whose aim is to uncover the unsigned blues talent of the future.

As a runner-up, Mafro played his Hendrixy guitar at The Big Easy Restaurant in Chelsea. We loved his heavy blues ‘Adoring Fool’ — performed with sparkling efficiency and acidic in quality. It was full of shaking excitement and hot & bluesy smokehouse vocals. Link: https://www.facebook.com/pages/Matthew-Mafro-Douglas/

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BETH HART Grammy nominated American singer-songwriter Beth Hart released her stunning album ‘Better Than Home’ in April 2015. Beth’s life could be summed up in one simple line, taken from title of the first track: Because she “Might As Well Smile.” Her voice falters as it faces up to yet more of life’s unrelenting little challenges. Even the corner-shop proprietor seems to possess more philosophical sense than Beth does (some days.) And the TV preaches at her when she is vulnerable … leaving her feeeling weakened and warning her about her ways. The carefully plucked guitar adds underlying tension to this matterof-fact gospel soaked blues number. Perhaps the sentiment is empty — it’s certainly defeated — the clue is in one of the final lines: “I’ve got nothing to lose…” There’s a vacuum here — and all that fills it is a single feeble smile One of the most primitive reflexes we have (we were all born with it) is called the grasper reflex — it’s the need to ‘Hold On’ to something (or preferably) someone to stop ourselves from falling. So ‘Tell ‘Em To Hold On’ explores that shared human condition with some perfectly crafted insights… and an uncanny ability to get right to the nub of the thinking. If this song rings true for you, you are not alone..

Album Review

Better Than Home

There’s nothing more emotionally blues-worthy than a woman singing in a fragile, weepy way — as she vainly attempts to grab her man back from the close embraces of another lady. Carly Simon, J-Lo (cover), Anita Baker and Dolly Parton have all done it — now we get the same kind of reactions from Beth. This time it is in memory of her mother.

“I’ve got nothing to lose…”

‘Tell Her You Belong To Me.’ She says. This has that fully quavering voice, replete with such trembling pathos it will make you choke too! And those flickering feathers of deep discontent will cause goosebumps to rise all over. This is not only tremulous and nervous — but it also rises valiantly towards the end — like a great eagle on the wing. Finally, Beth is able demonstrate her true strengths — determination and perseverance — in the face of overwhelming odds.

The album closes with another sweet piano song.

‘Mechanical Heart’ has already been released as the first single from the album. It has a dark presence that runs through it like a black mark might run across your clean sheets. This love song is beautifully introverted and ridiculously self-critical. What kind of woman declares that she has a mechanical heart? Beth’s kind.

This is certainly reminiscent of Janis Ian (“At Seventeen”) with almost the same progression, the same clever fusion of jazz and blues, and, of course, a familiar sighed and saddened anguish. But this is a hymn sung to a mother. So it’s not as introspective as Ian’s ode. And this song will be, in all likelihood, the most sincerely loving song you will hear all year. ‘Better Than Home’ recognizes that things are not always perfect in our world — and although we don’t have to run off to escape from all the problems (just yet) — it’s nice to know that there is always a better place to go. We can leave for it when we’re good and ready… For raw emotional discharge, uncomfortable nervous passion and articulate under-statement … this has to be the album of the year Words @neilmach © 2014

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KILL IT KID They Owe Nothing

We have been listening to our favourite band’s most recent album. And my-oh-my do we love it! British quartet Kill It Kid released their newest disc last Autumn — titled You Owe Nothing: Opening track ‘Black It Out’ has a bruising bass and a mud-fest of infusing guitar. But it is those sputtering bursts of ruby-red loganberry vocal that will focus your attention. They possess incredible psychic energy. ‘High Class’ is sufficiently sluggish. And more ‘Jack White’ in stature than other tracks on this astonishing record. It is stripped down elegance. Guitarwork shines. And the beat plods like a bandit – shot in the leg by a goody-goody law-man. ‘Sick Case Of Loving You’ has some fancy keyboard trills provided by Stephanie. And the whole piece flusters like a doxy who has lost her escort to another broad. Vocals from Steph are vehement and poignant. And the drama created by Chris (vocals) is as powerful as ever. Top marks to Marc too … for some rattling good drums. KiK are the only group that can make the sound of lovin’ seem as dangerous as an artillery barrage on the Western Front.

‘Caroline’ is their chance to bring us something that makes Joe Cocker and Jennifer Warnes sound like two insipid teenagers who have lost their sense of passion. Yes, it’s fairly standard fare. A bar-room ballad, if you like. And it contains the album title in the lyric: “You owe nothing … but to care.” But the zeal and devotion passes through this track like blood through a honeycomb. No wonder it is the first video from the album! We thought that Kill It Kid was a folk-rock band at first (way back in their Bath Spa days.) The fiddle and banjo are well gone… Then we realized that they were a blues-rock outfit. But now they are heavier than a slab of cemetery stone. Now they’re a Grunge-Rock band. So ‘Blood Stop And Run’ doesn’t surprise us at all. Vast sheets of guitar, growling bass-notes – and the voice of Steph — which is like a frothing cauldron of blood soup and maggotty decay. We find more spirited-possession with ‘Hurts To Be Loved By You’. Experiencing this is like watching the gunk from your lava-lamp bubbling out to penetrate into your heart —

heavier than a slab of cemetery stone – it burns like a deadly venom. The pouty voice and the torrid rhythms are so lame-hot and so lethargically caustic, that we sincerely suggest you lay down to listen to this track. This whole album is a lesson on how painful love can be. About the passions that torment and the pain that gnaws. Kill it Kid teaches us that desire is like a stormy sea – it is always wearing us down. Until, all that remains, is loss. There is a dark energy flowing right through the heart of this album. The roasting tongues will fry your brains with their heated passions. And the flailing drum-dances and the careening guitars all add to the drama and the biochemistry. This is the best blues-rock we’ve heard for a very long time… ‘YOU OWE NOTHING’ is OUT NOW on Sire

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Larry Miller

Live at Cleethorpes Blues Festival 2015 Larry Miller is simply unmissable. If you get a chance to see him live, we urge you to do so. He’s one of Britain’s greatest blues guitarists and also one of the best all-round performers we have. He’s a Cockney fusion of everything you most liked about Jimi Hendrix and Gary Moore. He gives everything. Absolutely everything. This year we saw him playing live at Cleethorpes (we have seen many times in the past) and ... Actually... We think that he’s a genius.

But the old rascal is too modest to feel any complacency. And, although his achievements are many... He is still undiscovered by most. And that’s mystifying. Larry is a player who likes to work. And so the man is an unfinished canvas. We are not the first to notice that something extraordinary is happening... He is getting better (more energetic, dynamic and more talented), as each year passes. Just listen to the sighs and the simpering heat of his guitar-playing on ‘Cruel Old World’ (from the 2010 Album Unfinished Business)

— to know that the excitement about Larry is actually downplayed. And we love his singing style too. At Cleethorpes he moaned like a bloodhound lost on a dark night. His take on the Rory Gallagher numbers were better for being unpolished, rough edged and rawas-hell. The tendons stand out from his arms as he manfully rips into those guitar strings, and while doing this, the hairs will stand up. on your own neck too. Stirring stuff!

Steve Whalley Live at Staines Riverside Club, UK Blues. They are all about loss and release. So when it’s 110 degrees in the shade... And your baby has left you... You hit the bottle (or worse) and you cry away those “blue devils”. Steve Whalley is a great teacher. The songs he chooses, and his unwavering delivery, exemplify the true nature of depression and deliverance. So, seated with his guitar and just a bass (for a portion of the set, before his drummer shows) he became evermore smoky intense with each of his numbers. We saw him at the excellent Staines Riverside Club this Spring. Joni Mitchell had just been taken ill and so this gave the Sad Café musician an opportunity to go heavy-hearted into the sorrow-cycle of ‘Woodstock.’ Ballads ‘Rodeo Girl’ and ‘We Belong Together’ were almost whittled from dry oak — dramatic, parched and lean. With Steve barking out the words as if his life depended on it. And after swapping from guitar to mandolin and back again, he played Chuck Berry and Dylan. His gritty voice always sincere, and richly smooth. His musicality always sublime. His songs were filled with anxiety — lessons learned about bad relationships, life altering misfortunes or the heartbreak of loneliness — stories re-told with sympathy (and you guess) some experience. Words & Images @neilmach © 2015

Sonny Landreth Bound by the Blues Sonny Landreth’s new album ‘Bound By The Blues’ was released this month (June 2015.)

The voice is smoldering smoky, warm and aromatic and reaches a traditional chorus with grace, dignity and style.

The recording marks a return to the rootsmusic of this famous slide-guitarist known as the King of Slydeco — presenting a big, bold collection of tracks that swagger like the best of classic rock.

At around 1:20 the guitar makes its mark…

We listened to the new song ‘Bound by the Blues’:

This is blue toning and accomplished rock with a stimulating husky voice and a guitar technique that is way beyond masterful.

This has some sharp edges to begin with — with blunt chords axed out — crisp (but without feeling dried out.)

Here, sepals of long golden-flame interplay with other less flashy licks … as they all vortice tetchily around a rugged surface.

Then comes the ornate orange-peel fingertwisting steel guitar dance… This spirals and twists with deadly accuracy.

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Wisconsin-born and Los Angeles based singer-songwriter and guitarist Jared James Nichols has been confirmed as a special guest of Glenn Hughes for his 2015 European tour. Jared is famous for his particularly powerful and rousing guitar-work that has been favourably compared to Lynyrd Skynrd’s Gary Rossington. Jared has been playing guitar since the age of 14, and by the age of 21 had notched up over 500 gigs. At that point, he had already jammed with many legends including Buddy Guy, ‘Honeyboy’ Edwards, ‘Big Jim’ Johnson, Kenny Wayne Shepherd and Derek Trucks. We have been listening to his debut album ‘Old Glory and the Wild Revival’: Starting with ‘Playin for Keeps’ this is a sizzlin’ profusion of acidicly shimmering guitar shapes and fizzed up rhythms. The grit-fed voice on this track is just the right side of charcoaled buttery bourbon. This is a stunning opener, reminding us of the extravagance of Deep Purple at their heaviest (think of “Speed King” to get the idea.) The clever sculpting and the rising metal fury on this track is thrilling.

This has a reliable heartbeat of rhythms (Dennis Holm on drums and Erik Sandin on bass) and has a glorious shout-out chorus that will please young head-bangers. ‘Let You Go’ might remind you of of Aerosmith. This is a melodic and anthemic boogie. It will suit a large arena. And it has an effusive amber guitar line that treacles through the back-end. ‘Can You Feel It’ is fast and spirited and reminds us of vintage Free. It sparks with a rare energy. And we also loved the heaviness of ‘Blackfoot’ with that sharp riff and those mighty backing vocals from Jessica Childress ( she found fame on TV’s The Voice – Season 4 with Usher.) This song stamps and cries, like a medicine man dancing hard for rain. ‘Take My Hand’ is plain and acoustic in resonance. It seems (at first) to suit the ‘Wild Revival’ title of the album. With honest lyrics and a mystical perspective. The guitars glide with silvery prospect and the voice is as dry as the parched earth at Sand Creek. Then, almost without warning, the whole thing opens up like a pit of fire.

GUITARS SNARL AND BITE BACK And guitars snarl and bite-back like Black Hill crows quarrelling over festering meat. The album comes with two live recordings (from his earlier EP —‘Live at the Viper Room’) including You Won’t Last and Playin’ for Keeps. These songs demonstrate his true prowess. Because, as a live musician Jared is totally intoxicating. With power and energy in every fibre and thrills shooting through every note. Here are stunning blues — delivered with style, punch and authority. Heavy, hot and magnificent. Jared James Nichols’ new album “Old Glory & The Wild Revival” is released by Listenable Records. Jared is special guest on Glenn Hughes’ October UK Tour which starts at Southampton Engine Rooms on Saturday October 17th.

‘Crazy’ is riffy. With the kind of guitar-line that makes you purr deep down inside and gives you a big smile across a care-worn face.

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Neal Schon

VORTEX — Words @neilmach 2015 © and Image by Kaley Nelson © Neal Schon is best known for his work with the bands Journey and Bad English. He was also a member of Santana before forming Journey.

like a flamenco dancer’s fan cuttingthrough-the-air.

Now he has announced the release of a new album Vortex.

Then the percussion becomes more and more pressing, while reflective silver threads of guitar start to ripple through the tense atmosphere.

The 2-CD all-instrumental album utilizes rock as its foundation, while also embracing elements of jazz, classical and world music in an 18-track collection of original compositions. We had a listen: Not surprisingly, this starts fast and rhythmically —

Although speedy, this is also pin-point accurate.

After the first adrenalin rush — we are incited by a different sound — this time in the form of squeezed squelches… These are well-placed, besides the magnificent structural embroidery of those accompanying theatricals.

Then the principle guitar arrogantly promenades itself once more, showing-off those skilful highs. Superb tension and release instrumental-work, with super-sharp bull-lance electricity present amongst all the other highcoloured banderillas of sound. Link: hwww.facebook.com/schonmusic

The London four-piece Venice Trip have released their debut EP ‘Look Forward’ — on RYP Recordings. Disc opener and title track ‘Look Forward’ is full of Pink Floyd jumble. Not that there’s anything wrong with that… This is psychedelic perfection in crystalized form, with coloured crests of glittering synth and smoothly eroded ridges of sound. The merry-go-round echoing voice (Andrés Alcover) is just-the-right side of innocent and vulnerable. Guitar (also from Andrés ) soothes and anoints. It is fabulous stuff. ‘Oh Katy’ is far blusier. The sprawling organ (Ben ‘Shenny’ Camburn) offers a buttered mirror of sound that is spread across the violet rhythm.

Image: Kamila K Stanley

The voice is creosote dark. And the percussion (Joe Wood) is hard and thirsty. ‘Father Of The Universe’ collects up some sizzling-sparkling guitar and has a smooth vocal. The song soon muscles along, and when it does, it is a noble beast. A number that strides with ambition and pride. Psychedelic rhythm & blues — superbly executed and wonderfully achieved.

Fred Abbott is a London (UK) based musician and… until now … best known as a guitarist and keyboardist in the recently dissolved Noah And The Whale.

‘The new video for ‘Adrenaline Shot’ features two of Fred’s former Noah And The Whale friends: Matt ‘Urby’ Owens and Michael Petulla.

A supremely talented multi-instrumentalist and composer, Abbott joined Noah And The Whale in 2009 and went on to huge success, especially notable for his major contribution to the 2011 Platinum-selling and highly acclaimed Last Night On Earth.

There’s some serious attitude in this rooftop rocker.

Fred has just unveiled his video for the song ‘Adrenaline Shot’ from debut solo album ‘Serious Poke’ which will be out later this July on British indie label Lojinx. It was co-produced by Fred with Martin Hollis, whose diverse credits include Grinderman, The Rolling Stones and Take That.

The guitar-work is authentically greasy / dirty. The voice is hoarse, with a tang of rye malt and yeast. And it is the driver for this exciting song. This is intelligent roots rock ‘n’ roll with dynamic shine and working-man thud. So expect the body and fullness of a dust encrusted Chevrolet Sting with the smoothness and precision of a softail cruiser.

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