Raw Ramp Music Mag Trouble Edition September 2015

RAW RAMP

The Spirit of Music EXCITE Your Ears

TROUBLE EDITION

VINTAGE TROUBLE

MISS JILL SCOTT JOE SATRIANI PUBLIC ENEMY BUCKCHERRY BUDDY GUY

GRACE POTTER THE MACCABEES WALTER TROUT

NEAL MORSE

Image: @neilmach 2015 ©

EnkElination — Angelic Hard Rock Page 13

RAW RAMP MUSIC MAG

TROUBLE EDITION Vintage Trouble Page 4-5 Walter Trout Page 6-7 Grace Potter Pages 8-9 Buddy Guy Pages 10-11 Miss Jill Scott Pages 14-15 Pink Cigar Pages 16-17 Public Enemy Pages 18-19 Rock Candy Funk Party Pages 20-21

Image: @neilmach 2015 ©

Neal Morse Pages 26-27 Dornik Pages 30-31 The Maccabees Pages 32-33 Joe Satriani Pages 34-35 EnkeliNation - Page 13 Sweet Crisis - Page 13 Buck Cherry - Page 22 Nine Miles South - Page 23 Michael Baker - Page 28 Wicked Venetians - Page 29 Irontown Diehards - Page 29 Larkin Poe - Page 36 Meghann Wright - Page 37 Brothers Rasputin - Page 37 Micky Moody - News — Page 23

Five Fabulous Women of the Blues Pages 24-25 www.rawramp.com www.facebook.com/rawramp www.twitter.com/rawrampmag Front Cover Image: @neilmach 2015 ©

Ty Taylor —Dynamic vocals...

VINTAGE TROUBLE 1 Hopeful Road Words & Images : @neilmach ©

EYE GLINTING CONFIDENCE The sound of the American band Vintage Trouble recalls the best days from the blues and rock era — invoking treasured memories — like the “Chess Studio” years of the Rolling Stones or the “School Days” of Chuck Berry or even those “Ed Sullivan” shows that were populated by The Animals.

The band is based around the dynamic vocals of Ty Taylor and the persuasive guitar of Nalle Colt (Nalle also doubles-up on the rhythm and lead guitar.)

Their local chum, Rick Barrio Dill, was brought in to play bass. He, in turn, led along Richard Danielson to play the drums.

Together, they capture the true essence & soul of the old-style bluesrock movement. It’s true that, so far, they have made it ‘bigger’ in Europe than they have in their home country. Due, in large part, to their exposure through British TV on the Jools Holland show and supporting Paloma Faith on her tours.

We have been listening to the new album 1 HOPEFUL ROAD: ‘Run Like the River’ boom-shackabooms and shuffles along. The swampy slide guitar helps to motivate the true slinky nature of the song.

Soon, the track has more snakes and wriggles than a Mississippi bottomland ditch. Perhaps you could call this swamp soul.

‘From My Arms’ has a delicious bass.

And a fine voice-line from Ty that is smoothly elegant — yet corroded.

Filled with eye-glinting confidence.

It’s as if Mathis had glugged a tub full of acid and a quarry load of river rock before singing.

Still, this has more grace & elegance than a superfly pimp on his special night out. But it lacks the burst of vital energy that might have made it stand out from the herd.

‘Angel City, California’ is a real tight jam boogie — with a seductive singalong chorus and a happy beat.

And ‘Shows What You Know’ is a slow-mover. Dragging across the dance floor before it waltzes right into your heart.

This is what VT are good at: Honest, sincere & passionate soul. Dramatic, but pure of heart. You roll with it.

But you do not get rolled over.

So, the guitars move like diamondbacks snakes in sticky grass.

And the bass notes are blotched with rhythms that are slightly funky.

Above all, the voice rises and presides like an over-generous angel.

For those seeking a cross between Creedence Clearwater Revival and James Brown — this is for you. An escape. Just immerse yourself in the healing waters!

But perhaps the VT sound could be less compromising. And more progressive.

Perhaps the guys from Los Angeles might try to draw more influences from contemporary musicians rather than constantly harping back to a favoured epoch…

It’s as if, on this release, they were trying to make us believe that Stax Records and the early Motown era were Utopian times (they weren’t.)

But so what if 1 HOPEFUL ROAD seems slightly veteran?

Vintage Trouble make good, cleanliving, homegrown American Music.

And it’s the very best there is.

Yes, this is vintage.

Walter Trout — Thriving and electrifying...

WALTER TROUT

Triumphant Return Words & Images : @neilmach ©

ANXIETY PAIN RESCUE

American blues guitarist, singer and composer Walter Trout became the influential guitarist for Canned Heat in 1981.

“At first I wasn’t strong enough to play a single note on the guitar…”

He says.

This led to an invitation to play in John Mayall’s Bluesbreakers where he shared the stage with fellow guitarist Coco Montoya.

“But as I regained my strength — the music came back to me. Now when I pick up the guitar, it is liberating, joyful, and limitless. I feel like I’m 17 again…”

He left the Bluesbreakers in 1989 and formed the ‘Walter Trout Band.’ The group developed a successful following across Europe.

One reason that Walter is still here with us is due to the overwhelming generosity of his fans and supporters.

In 2013, Trout’s album — Luther’s Blues —was nominated for a Blues Music Award in the ‘Rock Blues Album of the Year’ category.

This included a YouCaring campaign (set up by Kirby Bryant, the wife of British blues guitarist and Trout protégée Danny Bryant.)

Contrast all that to the beginning of 2014, when Trout lay in hospital without the strength to move or tospeak — unable to recognize his own children. They watched, horrified, as his body started wasting away.

Alongside various concert tributes — the support-team raised $245,000 toward Trout’s lifesaving health care. .

He lost 13 pints of blood and was in a coma for three days.

But on Memorial Day, May 26, 2014, Trout had surgery, and the slow healing process started.

We have been listening to the lead track from the new album —the appropriately titled — ALMOST GONE: This has howling harmonica, yelling guitar and gritted-teeth vocals that enhance the pain, pleasure and liberation of that difficult journey.

It was a harrowing experience…

Of anxiety, pain and, finally, rescue. But it was also a time of love and giving.

So here’s the man. Thriving and playing wild. And here’s his sound.

It’s electrifying Link: waltertrout.com

Grace Potter MIDNIGHT

Words : @neilmach © Images Provided by Artist or Artists’ Representative

BREATHY SEXY SPARKLING Midnight is the first solo album by Grace Potter It is also the first release since she and her band The Nocturnals released their “Lion The Beast And The Beat” disc back in 2012.

Although —it’s true — the vocalist and multi-instrumentalist has been busy.

As well as creating this album, she has also appeared on Gov’t Mule’s album Shout! — recorded in 2013 — providing lead vocals for the song “Whisper In Your Soul” And she opened for The Rolling Stones in June, this year.

Potter is well-known for her highquality, thought-provoking vocals — eliciting comparisons with great blues singers like Janis Joplin or Koko Taylor.

This new album, however, seems to be a bit of a departure — towards brighter and more cheerful rock territory.

The album starts with ‘Hot To the Touch’ — At first this comes across like the lively melody of a racy Bond theme tune.

The vocals are breathy and sexysparkling. The whole damn thing bubbles and spits uncontrollably — like sausages burning on the grill.

But, hidden beneath all the sophistry, charm and the supersmart production —this is quite an old and (if we may say so) familiarsounding rock ‘n’ roll number. It’s OK. But it won’t blow a hole in your heart!

Of course, it’s all about 1980’s right now. So we have more brightly coloured synth-work on ‘Instigators’.

This really is one of our favourite numbers. And it is quite heavy.

It’s as if Joan Jett had decided to perform a La Roux number.

‘Alive Tonight’ has a similar chugging riff. The production is great Naturally, there is also a touch of and the voice is flame-haired and blues still there, hidden deep. (If inspired by strong emotions. you search hard enough you might find it.) We discovered traces of We could not help thinking, though, “John the Revelator.” that it sounded like a Eurovision Song Contest crowd-pleaser. With This new album is hopeful, positive that over-friendly, sing-over, comb- and appealing. over chorus.

Grace Potter has still got an aura ‘Empty Heart’ starts with an acoustic about her. Agreed. guitar and some gleeful handclaps.

Reminding us of vintage Kinks.

But will this record be influential?

That’s another story…

This is one of the only numbers on the album that actually utilises the Is it strong enough to be able to bewitching brew of strength, grit and attract back her many fans? fortitude that only Potter can tempt us with.

It seems unlikely.

She offers up her whisky-soaked voice and her frisky jig. And it’s all we can do to stop ourselves leaping for joy. Yes, this is a swinger and a swayer… And we loved it!

‘Delirious’ could be a song from any Madonna album. It has that same atmosphere. Redolent of the eighties and proud of its plastic finish. Red shoes, lipgloss and strutting fashion triangles.

Buddy Guy —Born to play guitar...

BUDDY GUY

Born To Play Guitar Words by @neilmach © Images Provided by Artist or Artists’ Representative

WHEAT MALT AND WATER

Buddy Guy is considered to be the first modern blues man.

During a fruitful career, he sought friendship and collaboration with ‘pop’ artists causing some fractious opprobrium from the ‘serious’ minded Blues fraternity.

His newly published and wonderfully fresh studio album “Born To Play Guitar” features friends including Van Morrison, Joss Stone, Kim Wilson & Billy Gibbons.

The recording includes heartfelt tributes to B.B. King & Muddy Waters… Perhaps reminding us that Buddy is Last Man He is often cited as the reason Clapton picked Standing! We had a listen: up a guitar. His creative genius inspired Hendrix. And he is best friend to the B.B. King said that Blues is “An expression of Rolling Stones. anger against shame and humiliation…”

His new album (produced by Tom Hambridge) is a summation of his lifetime’s work.

It is also a timely reminder, lest we forget, that even if he is a man for all seasons — Buddy Guy is, now, our only breathing connection to the classic Chicago blues era.

Born in 1936 in Louisiana, Guy learned his trade with a two-stringed diddley-bow that he built himself. He joined local bands and began performing around the Baton Rouge bars.

In the 1950’s he moved to Chicago and in 1958 he managed to get a recording contract with Otis Rush. Shortly after, he was recording with Cobra Records.

During the 1960s, Guy played with Muddy Waters as house guitarist with Chess. He also started a musical collaboration with harmonica player Junior Wells.

In 1965 Guy participated in the European tour of the American Folk Blues Festival.

In the late sixties he appeared on stage with Eric Clapton, Led Zeppelin, Jack Bruce, Stephen Stills, Buddy Miles, Glenn Campbell and others in Staines, England [at the legendary Staines Supershow.]

Guy has won six Grammy Awards during his long career. He was inducted into the Rock and Roll Hall of Fame in 2005 by Eric Clapton and B.B. King.

But there’s not much anger, shame or humiliation in this work. Guy is proud of his contribution to the world. (And so he should be). And, although he faced his fair share of alligators, weasels, crows and prairie dogs (in the business) — he saw them all off. Now he stands proud. And accepted.

“I was born in Louisiana…” Guy reminds us, on the opening (title) track of the album.

And he was “Born To Play Guitar” — the grit in the voice is real. The striding bass saunters like a back room wench. As the honky-tonk piano starts to trill-out its liquid. Soon enough, the guitar spits and sparkles like a fire in the grate. We are so lucky to be able to spend some time in the company of this beautiful person. And, of course, his “bad machine …”

It is said that Buddy Guy doesn’t play guitars…

He punishes them.

“Wear You Out” is a hot and steaming rockfrenzy with Billy Gibbons. Here the work is fast, dirty, muddy and heated. The text could easily be about his woman. Although, in this case, the words are about his guitar.

We also enjoyed the anxious shadows, the malevolent spirits and the dark bruises rising on the track “Crying Out of One Eye.”

This treads slowly and deliberately. The expressively sullied guitar gurgles in the joists and rafters. While fat horns create more stalwart frameworks. The voice here is wheat, malt and water. Dirty as a cypress swamp den.

Harp player Kim Wilson plays on “Too Late” (and also Kiss Me Quick.) The track is a filled with bar-room chaos. It’s a bye-bye song. The groaning harmonica seems more frazzled and frayed than it has any right to be.

The moving “Flesh & Bone” is a prayer-hymn for B.B. King.

With emotional vocals from guest star Van Morrison and a sympathetic organ that winds through the slightly cloying slide guitars… It’s hard not to be affected by this.

Especially the “Mummy and Daddy” line. It will bring a choke to your chest.

But this is also a joy-filled number, because life is “More than Flesh and Bone…” Faith cannot be explained in words. It’s a way of living. Faith is a miracle to enjoy.

Perhaps the best way to illustrate the true nature of faith is through music like this. Full of wonder. And, in the case of Buddy and B.B. King — faith has been generated, harnessed and demonstrated by living a full life… And completing it with experience and generosity.

Constantly atmospheric. Abundant with expression and feeling. Stuffed with hopes and promises. This new album might make you cry!

The songs may fill your soul with sadness.

And you might dwell on lost opportunities. Or perhaps loves forgotten. But, take heart…

These songs are about hope. Not loss.

Perseverance. Not weakness…

He was born to play guitar. So, allow his sounds to enter your bones. And run fresh through your veins!

SOUNDCLOUD CHOICE Sir Paul has popped up on Soundcloud to give away a song! Yep! Take It Away from the ‘Tug of War’ 2015 reissue is a super track. Bumpy and funky with quality bass guitar and a reggae feel. We especially liked the chattering keys. Catchy and groovy!

The English rockers Foals have a new album titled WHAT WENT DOWN which features the track “London Thunder.” You can hear it free on Soundcloud. According to lead singer Yannis (Philippakis) this is their loudest and heaviest album yet. But this track is almost serene — with an exquisitely eerie atmosphere and a moist, moonbuttery vocal.

Bella Union, the record label, has released the newest single from Lanterns on the Lake titled “Faultlines” free on Soundcloud. The four-piece indie rock band from Newcastle-upon-tyne, UK have created something that is properly atmospheric and romantic. The vocal washes around you like sand & sea-water. And the song grows in stature until it completely absorbs your heart.

On Soundcloud you can check out the slow-tempo & heavily bass-driven track by Copenhagen’s Reptile Youth (who are Mads Damsgaard Kristiansen on keyboards + vocals & Esben Valløe on bass.)

“Away” (the Lotte Rose Remix) has got the ripest beeps and squeaks you will have heard in years. And the uncommonly clear and persuasive vocals are not only nostalgic but also poetically elegant... It’s as if Duran Duran went up to heaven... And they came back to earth with the sound of angels.

It seems almost impossible that you might have missed Major Lazer & DJ Snake’s “Lean On” (featuring MØ.) But the track is still free on Soundcloud. This is a slow hippy groove and — as MØ lithely demonstrates — a thigh-based tendon stretcher. The lyrics are impeccable, the sounds rise gracefully heaven-bound. And DJ Snake’s input makes you want to put on your best dancing pumps and shuffle for joy around your harem.

Words: @neilmach © 2015

EnkElination Angelic Hard Rock Taking its name from the Finnish word for ‘Angel’— the band called EnkeliNation is a melodic hard-rock ensemble formed in 2011 by performer Elina Siirala.

Elina is a classically trained former opera singer from Finland — she moved to London in 2008 and fell in love with the power of rock and metal.

In 2012, Elina started working with guitar player Shadow and this collaboration brought the sound of the band to a new level.

Elina and Shadow have been joined by drummer Ben and, most recently, bassist Julia.

The band played the Dames of Darkness festival in May 2015 (where we saw the band perform) and are currently writing new material for their second album.

We enjoyed the talented performance from Elina and (for the first time) we witnessed the sensual Julia on bass guitar.

Elina’s vocal was ardent, courageous and articulate.

But what made this set special was the excellent interplay between guitar and vocal...

Words & Images : @neilmach ©

Link: https://www.facebook.com/enkElination

Sweet Crisis Blue Belly Groove SWEET CRISIS is an English rock band that was formed in Cambridge in 2013.

The band’s debut single ‘Fight About Nothing’ has a blue belly groove...

Sweet Crisis features a core trio of talented musicians: Centering around the vocalist/rhythm guitarist Leo Robarts, with Piers Mortimer on lead guitar and piano plus Dave Cullen on drums. In the studio the band also use session player Peter Martin on bass. All of the band’s songs are written by Robarts and Mortimer.

And a boogie rhythm that rattles through your inner chambers.

The band’s influences include Free, Jack White, The Rolling Stones, The Black Keys and Led Zeppelin.

The vocals (they are reminiscent of Robert Plant) are wide open and smiling.

This song is dirty… Sodden with vital fluids, sweat-stains and tears of sorrow.

The guitar runs like molasses through open veins.

This is smoking hot and dangerously polluted… A smog-ball of roll-back rock.

They also draw inspiration from such diverse sources as Pink Floyd and vintage soul music.

Regret nothing, keep movin’ on…

“We love those old records by Free, the Stones and Humble Pie…” Says Robarts.

Words @neilmach ©

Image Provided by Artist’s Representative

Jill Scott —Silver Laced...

MISS JILL SCOTT

WOMAN

Words & Images : @neilmach © Images Provided by Artist or Artists’ Representative

WORDS SHIMMY OUT SMOOTH

Miss Jill Scott is a singer, model and actress born in Philadelphia, Pennsylvania.

Scott is a soprano, drawing on her high vocal register. Her voice is often-times infused with the heat of jazz, the theatre of opera, the grits of R&B and the swift wordiness of hip hop… It has a distinct style that could be classified as neo soul.

We have been listening to her fifth studio album (her first since 2011) : Starting off with “Wild Cookie” (a song written by Scott togther with producer Warryn Campbell) — this has a trotting pace.

Words shimmy out smooth and fast. So many ideas… And this intro brings us neatly to the vivid and loquacious “Prepared” whose regular beat and jaggedy shots of rhythm reminded us of “Bennie and the Jets”

by Elton John.

Of course, here we get swishy vocals that gently flutter as they droop. Or glance sultrily around corners. The guitar-work shines and the song is peppered with clever wordplay.

“Run Run Run” is fast and clappy.

This song will be admired by the young, especially enthusiasts of Meghan Trainor (it has that same bubble-gum doo-woppiness of “Lips Are Movin”) yet it will also appeal to those older jukebox-era Wall of Sound aficionados out there. This song has burpy horns and powerstretches in each-and-every limber note.

“You Don’t Know” (by Jerry Ragovoy) was released as a single back in March. It’s dark-purple in hue. With words that will pull the feelings right outta your heart. This is soul for adults who know how to deal with a climactic finish.

“Closure” is scrappy fun. The number contains a sample from Curtis Mayfield’s “Get Down”.

Here and there the voice grins, chirrups and soars. It’s about saying goodbye to a villain-bum who has been eating y’all out of house-andhome.

It’s a somersaulting fun-park of a song, culminating in squirting cessation. “Does the closure start today?” We all must ask…

The beautifully undulating “Jahraymecofasola” soothes frayed edges, and reminds the listener that Miss Jill Scott can be lascivious as well as charming.

This runs smoothly. It is silver laced jazz with meanings so true… This song will cause your insides to glow!

Beauty and wonder from a supreme soul singer.

We have missed you, Miss Jill Scott…

And, my-oh-my, look how you have grown!

Image: @neilmach 2015 ©

Edd Whyte —Scintillating...

PINK CIGAR LIVE REVIEW

Words & Images : @neilmach ©

LONDON’s ROCK N ROLL GRAFTERS

Pink Cigar have been slogging for several years now.

But it’s high time that they were recognized and applauded.

Because — in truth — they are one of the hardest working bands in London... Genuine craftsmen, and out-and-out rock ‘n’ roll grafters.

Established in 2010 — this closeknit Notting Hill Gang have gigged throughout the UK and opened for Razorlight.

We caught the OFFICIAL RELEASE PARTY for their new single GENERATION NEXT. The band hit the stage hard in London’s Tin Pan Alley — at the famous and magnificent Alley Cat… They were in high spirits and determined as hell.

And that is good, because a citywide tube strike meant that a lot of friends could not be there…

Singer Whiplash (image above) is a cross between comedians Noel Fielding and Nigel Tufnel.

With the same gormless look (sorry) — but you cannot help but love him to pieces.

In the summer heat, some equipment failures were almost inevitable…

Edd Whyte provides the scintillating guitar sheen and also wonderful backing vox.

“This is real live rock ‘n’ roll folks…” The boys shouted out to patient fans. One was waving a Pink Cigar banner.

Sam Rutland rebounds and flies around with the bass guitar…

Whilst the only one who doesn’t look like a throwback to Carnaby Street circa 1966 is Sid Mayall. [Son of Rik.] He just looks like an angry monk. Sid is on drums.

There’s blues, glam and punk in the Pink Cigar numbers.

But this show is so wonderfully melded together, you cannot see where genres join.

So, for example, we recognized slabs of Johnny Kid & The Pirates in between riffs that were recognizably Sweet and yet with clatterings of Ramones style punk.

Then “Blues to Bed” thundered in. This had a twangy riff and vintage rattle.

‘Strange’ was wobbly — with a purring Stray Cat type strut.

It was cool and sluggish. Like a muscular panther sloping off to have a nap after finishing a slap-up meal.

‘Spit Fire’ was the most Spinal Tap of them all…

Yet even this gurgled with gorgeous dizziness.

The repressed, fizzing fiasco of ‘Generation Next’ was towards the end of the magnificently vibrant set.

What a show — full of wallop, overflowing with musical magnificence and unrestrained, crazy enthusiasm.

Public Enemy— Motivation...

PUBLIC ENEMY

LIVE FROM METROPOLIS Words @neilmach © 2015 Photo Credit (Public Enemy Group Shot): David Wong Metropolis Images Provided by Studio

THE HEARTBEAT OF REVOLUTION

A documentary film and a very special concert.

A show performed by the most compelling hip hop act of their generation. We have news that a valuable recording is about to be released …

This still feels urgent and neat though (now) we are more used to the innovative cut-up techniques that were used on the original take (it was revolutionary…) Yet , even now,that incredibly powerful poetry cannot be ignored.

On 6 August 2014 — Public Enemy performed a one-off concert in one of the most historical recording studios in London. It was the most intimate concert of their career. Soon you’ll have a chance to own the soundtrack and to get involved.

Flavor Flav’s song “911 Is a Joke” was originally recorded for the band’s 1990 ‘Fear of a Black Planet’ disc — so it was released eleven years before the September 11 attacks.

The close-and-personal show took place in the same room that Amy Winehouse put down her ‘Back To Black’.

The concert was recorded in front of just 125 fans. It took place at The Powerhouse — Metropolis Studios.

Twenty-five years after the release of Public Enemy’s most successful album “Fear of a Black Planet” — the rap legends including Chuck D, Flavor Flav and DJ Lord — performed their fan favourites, interspersed (as you would expect) with some frank exchanges.

Why London?

“London is ground zero, this is Public Enemy’s base….”

Songs at the concert included the classic super-hit ‘Bring the Noise’ which appeared on the soundtrack for the 1987 film ‘Less Than Zero’ and contained shout-outs to all and sundry (not least Yoko Ono) and also included reference to thrash metallers Anthrax who later released a competent collab.

It’s worth repeating the line: “Too black, too strong?” over-and-over, to get an idea of how far we have travelled since 1987.

Chuck D’s lyrics (and vocals) still contain the power, the vim and the heartbeat of revolution.

Despite the provocative prophecies, anyone hearing this, of a certain age, will undoubtedly smile to themselves. That’s the anarchy of Public Enemy! Yes, you will think of The Fresh Prince of Bel-Air. And, yes, you will nod along to the hypnotic, shining beat. It’s so good that we cannot help ourselves. We get emotionally involved.

The hi-top fades of 1989 might be salt ‘n’ pepper now (hopefully, they are completely grown out) — but the revolutionary zeal that those days ignited cannot be quenched. Or can it? With ‘Fight The Power’ the band turned their back on “All that 1963 nonsense…” And decided to commit.

Chuck D uttered “Bass!” and the reply was “How low can you go?” But now — in 2015 — the nation is filled with zombies. How low did they go?

And it’s not only crack-heads either! The adolescent population has been de-skilled, de-educated and freed from any sense of responsibility and obligation. The ‘man’ won!

And the Zombie Nation was (de)-mobilized.

Re-listening to this superb track (and comparing it) — it is easy to say that the original is still the best. It was such an incredible achievement. Deep, anxious and filled with amazing patterns! Light and dark moods, intricate rhythms… But not too overlycomplicated to enjoy.

The 2007 hit “Harder Than You Think” produced by Gary G-Wiz became popular in 2012 as the sound-track for the London Paralympic Games.

Above all the other tracks by Public Enemy, this song reminds us that Hip Hop used to be our motivation.

Back in the late 1980s, of course, they preached to “Brothers and sisters.” Not to “Ho’s and Gangstas.” And rappers rapped about social issues. In a way that stars don’t do today.

God give us strength to, please, make it happen again…

So what has happened to hip-hop since? Why has it lost its authority? Why do the Hip Hop artists of 2015 seem less well educated than Public Enemy? Why are todays stars unable to take a stand? Why are they less articulate?

Why do they lack inner strength? Why are they less able to impose their wishes? Why do they seem unable to demonstrate their dignity? All we can say is — Thank God for Chuck!

But these days, it’s harder than you think!

“Night of the Living Baseheads” was the third single for Public Enemy. It was taken from the album “It Takes a Nation of Millions to Hold Us Back.” The subtext of this 1988 hit attempted to deal with the effects of crack ( or “base” ) cocaine.

Do ya remember when rap actually meant something? Yeah, us too!

RCFP — Guitar Driven Funk...

ROCK CANDY FUNK PARTY GROOVE IS KING Words @neilmach © 2015 Images Provided by Artist or Artists’ Representative

Bonamassa— Liquid Guitar...

Bergmann — Producer...

ROCK CANDY FUNK PARTY released their new album ‘Groove is King’ this July Rock Candy Funk Party is a project that involves the greatest collection of rock musicians in the world — whose sole intent is to get totally funked out.

So we get: Tal Bergman (producer & drums) ), Joe Bonamassa (guitar), Ron DeJesus (guitar), Mike Merritt (bass), Randy Brecker (trumpet/horns arr) Daniel Sadownick (percussion) and with Billy Gibbons acting as (MC: Mr Funkadamus.)

‘Groove is King’ is their second funkster project together and offers the audience “An aural kaleidoscope, mashing-up funk, rock, dance, electronica, jazz and R&B into 14 original tracks and 2 covers.”

‘We Want to Groove’ — their 2013 release — was smooth and genuinely jazzy. This new album has more rocky ambitions, and focuses on the vitality of guitar-driven funk.

We had a listen: “Tonight Groove is King…” Says MC Funkadamus… And so we spin into the Title Track which judders with overdriven twangy fuzz — like an orchestra of rusting “Snoopy’s Harps” getting high on a trampoline.

This piece has more eloquent folds than the drying zone of the Dhobi Ghat outdoors laundry.

“Low Tide” is dark, sticky and glutinous — like Tom Trot blacktreacle toffee. It gets stuck in your gums.

FUNKED OUT BOOTY RUB The album concludes with the burning track “The Fabulous Tales Of Two Bands” which is a mash-up of all your favourite slices of EDM — presented here in the form of a super-cool cocktail.

The bass-guitar is superlative and the horn notes shine through like golden-saffron. The sinewy organ is You will not believe the bitterness of ripe & delicious as it threads through the dark grooves you are fed around the latter parts like a surgical suture the 1:40 mark. made of silk.

The fuzziness will rattle the Ron DeJesus adds guitar to ‘Don’t barnacles from your sweet patootie.

Be Stingy With The SMPTE’ and this And that’s for sure. will take you back to your disco days.

The RCFP are a considerablyThis has style, elegance and more greater-than-average-band — and stradlin’ gristle-grind than a Sin City here they offer up more lap-dancer short-on-tips. hyperventilating booty-rub and decorative deliciousness than a The yummy trumpet from Randy dressing room at a burlesque dancers Brecker is bright and victorious. convention.

And the rhythms are truly hustlin’.

Funk you very much!

But this track is largely a vehicle for Bonamassa’s liquid guitar, which filters through the edges. Ignore the timecode, just feel the groove on this.

There’s certainly an intention to entertain on this album, so tracks like “C You On The Flip Side” with its purring bass-beat and ripples of guitar — are sure to get audiences up and dancing.

‘Don’t Funk With Me’ has a huge riff and jiggly bits around the edges that wiggle as they flaunt their jazzy pedigree. But otherwise this is a rockin’ triumph.

Words @neilmach © 2015 Images Provided by Artist or Artists’ Representative

Buckcherry New Track: “The Madness”

The Los Angeles multi-platinumselling rock band Buckcherry — truly one of the hardest working rock bands on the planet — have released their seventh studio album this summer.

Titled Rock ‘N’ Roll — the new album reignites classic rock ‘n’ roll music in a way that fires up imaginations and recaptures hearts.

We have been listening to the latest track to be released from the new album:

“The Madness” has terrific speed and incredible silk-martini hottness.

The elegant lines of guitar are lacy and aware. And as skilled & powerfully hypnotic as a Friday-night grinder with a generous tip to look forward to.

ADRENALIN FUELLED HOTTNOSITY

The voice is masculine, lean and agile. Ultra-strong, but without being badass.

They create the kind of harmony and melody that other bands can only wish for. Yet they still retain the swagger and pomp that sets them apart from the mundane.

And that’s wonderful fun thing about Buckcherry...

Pure, adrenalin-fuelled rock hottnosity

Nine Miles South THE RECKONING The Guildford, Surrey (UK) country and blues inspired hard rock band “Nine Miles South” are preparing to launch their new EP. The band have also added a couple of fantastic dates to their touring schedule including Hard Rock Hell in Wales on November 13th, with Black Label Society, UFO, Helloween, Gun, etc.

They have also been confirmed as support for the Skinny Molly show at the North Devon Arena in Ilfracombe, on November 18th.

In preparation for the live shows — we listened to “The Reckoning” This laid-back, slow number slides oozily — like an alligator slithering himself sullenly into the muddy creek.

Nine Miles South — Potent power...

It’s got more stealthy resonance, more furtive corners of damp moss, and more undeniable shuffle than a group of Kentucky bootleggers hiding their spare bottles before the federal agents arrive.

The vocal (Sebastian Mikkelsen) is sweeter than sugar maple and slides down real easy.

And the guitar (Jon Antony) is filled with capable twang.

The rhythms (bass by Andy Sleigh & drums by David Wilson) are perfectly executed, mature and suggestive.

This is better than your average country rock/blues — with more potent power than a case of hot moonshine…

Words @neilmach © 2015 Images Provided by Artist or Artists’ Representative

Here They Go Again Whitesnake Legends BERNIE MARSDEN & MICKY MOODY Will Play HRH BLUES Festival 2016 English rock and blues guitarist Bernie Marsden (best known for his song-writing with WHITESNAKE — having written, or co-written with Coverdale, many of the band’s biggest hits — including “Here I Go Again“) — will be headlining next year’s HRH BLUES FESTIVAL 16-17 April.

The other great Whitesnake guitarist — Micky Moody — will also be appearing.

Bernie Marsden got his first professional gig with UK heavy metal outfit UFO. He then went on to play with Glenn Cornick’s Wild Turkey in 1974 — before he joined Babe Ruth in 1975.

Bernie joined Whitesnake in 1978 and contributed to eight albums — from Snakebite to Saints and Sinners .

Guitarist Micky Moody is also a former member of Whitesnake, Juicy Lucy and Snafu.

He has performed alongside almost ‘anyone who is anyone’ in the business, from Eric Clapton, Alvin Lee and Rick Wakeman to Jon Lord, Newton Faulkner via Uriah Heep, Alice Cooper and many others.

Recently he has been active with Snakecharmer (we reviewed their superb album on these pages.)

Other headliners for HRH BLUES 2016 include THE YARDBIRDS, DR. FEELGOOD and TEN YEARS AFTER. WWW.HRHBLUES.COM

Sena Ehrhardt — Fabulous

Five Fabulous Women of the Blues to Rediscover 1: Sena Ehrhardt

3: Malina Moye

Sena Ehrhardt has emerged from Minneapolis to be one of the freshest, funkiest and most fabulous voices of the blues scene.

Considered one of the top female players in the world, acclaimed singer/songwriter and left-handed funkster Malina Moye is one of the most exciting musicians around.

Since 2011 and the ‘Leave The Light On’ release critics have taken notice.

“Things You Shouldn’t Need To Know” the scintillating track taken from Sena’s latest Blind Pig release, ‘Live My Life’ is an immensely satisfying number.

She finds determination in each note, and makes an impact with every nuance.

This song is made to work as hard as she does.

She’s just incredible!

2: Shemekia Copeland Shemekia was born in Harlem, New York in 1979.

Now she is a force to be reckoned with on the blues circuit.

She’s opened for the Rolling Stones, headlined the Chicago Blues Festival and has played numerous festivals worldwide.

Her delivery is fierce and red-hot. And she possesses an incredible vocal timbre with a plummy finish.

Alligator Records have now set a release date this September for her Outskirts Of Love.

COURAGEOUS ENTHUSIASTIC CONTROLLED

Her recent sultry/soft track “Are you the One” was filled with a repressed sadness and hidden resolution.

5:Ana Popovic

And although it was less funky than most of her numbers, it was still filled with style, elegance and Fendering effervescence.

Widely regarded as one of the worlds most viable female guitarists... The career of Ana Popovic has always been meteoric.

4: Orianthi She is only 24 years old, but the Australian guitarist Orianthi (now she lives in Los Angeles) has already experienced what most aspiring musicians can only dream of…

It shows no signs of slowing-down just yet.

The 5 x Blues Music Awards nominee merges smoking, electric-funk slide guitar with jazzy instrumentals and tight blues grooves… Plus, of course, her soulful feminine vocals.

To get an idea of the kind of passion, energy, fizz and talent she delivers, check She has opened for her hero (Steve Vai) out her Hendrix cover of ‘House Burning — supported an idol (Carrie UnderDown’. wood) — traded solos with a legend (Carlos Santana) and shared the stage It’s courageous, enthusiastic and with the King of Pop (Michael Jackcontrolled. son.)

It’s the 50th Anniversary of the song “I Got You Babe” — so Orianthi has decided to cover the song (in some style) with Richie Sambora.

They put down the track at the Capital Studios in L.A. It’s a fun collaboration of a classic number. Check it out!

Words @neilmach © 2015

Neal Morse — Testimony

NEAL MORSE MORSEFEST 2014 Words: @neilmach ©

HIS MOST ELABORATE CONCERT The Nashville progressive rock superstar Neal Morse (originally of Spock’s Beard) is about to release a superior live recording of Morsefest 2014.

Neal Morse has been a prog-rock entertainer and superband leader since the 1990’s. He joined with former Dream Theater co-founder Mike Portnoy and the Flower Kings’ Roine Stolt and with Marillion’s Pete Trewavas to form the supergroup named Transatlantic in 1999.

And in September 2012 he released a solo studio album entitled “Momentum” together with his “Flying Colors” band— another Morse led super-collective.

Now Neal Morse has revealed his new live album titled “Neal Morse — Morsefest 2014 — Testimony and One Live.”

Morse fans will know that we get a slice of Hotel California on ‘California Nights’ but the mention is purely derisive as the cynical mind of Morse critiques the work and realizes there must be something more than an Eagles playlist to believe in.

The recitative is in ‘diary form’ with the words clearly enunciated. Morse is no Jon Anderson —he does not use his voice as an instrument.

The vocal is basically used to act out the story.

His voice reminds us of Bryan Adams (in pitch and dimensions) and is quite robust enough to bring out the nuances in each song.

Curious audiences should be aware that this concept piece is full of Christian Message and affirmation of the Gospel.

It is released this summer as a SPECIAL EDITION 2 DVD/4 CD collection. A record of a very special performance.

There are assorted superb little hymns and spirituals. Sometimes these take the form of barnhouse jigs. For example, there is an excellent fiddle-solo by maestro Eric Brenton (who also worked on the original album and with Spock’s Beard.)

Longtime collaborators joined Neal to perform the classic albums “Testimony ” and “One.”

At other times things become grander and more theatrical.

Complete with 4 piece horn section, 6 member female backing vocal section, violin and cello, full orchestra, percussion with timpani and chimes, dancers, special guests and incredible staging — this was the most elaborate concert of Neal Morse’s career.

Sometimes (for example on the magnificent ‘Rejoice’ ) the clever Baroque Variations morph into a special kind of musical energy.

Neal even flew out Rich Mouser — who worked his magic on the original studio albums — to do the front of house mix!

The first part of this recording bundle is the ‘Testimony’.

“Testimony” (as perhaps the title suggests) was a 2003 concept album based around Neal’s life and his journey of self-discovery, which led him to find faith. It consists of five movements, with themes, motifs and varied openings.

“The Land of Beginning Again” has a cinematic look. With several golden moments, thumping drums helping to strengthen guitar-work effervescence laid down by Grand Experiment bandmate Eric Gillette. Bill Hubauer (keys) also adds emotions, chirps, squeals and talkative licks.

Listening to this again, we became more aware of Morse’s undoubted talents as a composer.

The sounds might easily be associated with work by Rick Wakeman and especially with his great symphonies such as the secular Journey to the Centre of the Earth.

It is significant that some of the pieces on this collection remind us of Bach, who created some of the most beautiful religious music in the world.

However, even if this is sacred music, it’s not particularly moralistic or “sermonizing”. It is filled with lighter moments, humour and jokes — and it is invested with the kind of rock n roll attributes that give it an raw edge.

The overall message of this magnum opus is that we should not waste our time here on earth.

Our lives must be understood…

Opportunities must be grabbed and existence must be experienced.

Disc Two contains ‘One’ performed live last year (orginally issued in 2004.) This is also ambitious, passionate and filled with delicate instrumentation.

This amazing collection is all about instrumental prowess. Some moments are less angry, more sublime.

And, even though the story is a personal one, the often surprising and always invigorating musical content serves as a sign (or indeed proof) that Morse is certainly blessed.

Blessed with courage and conviction...

Yeah, sure!

But, most importantly…

Blessed with faith.

The 6-disc DVD and CD set, with 2-disc Blu-ray set is released by: http://www.radiantrecords.com Words: @neilmach 2015 © Images provided by artists agent or representative.

Michael Baker — Uplifting Words & Images @neilmach © 2015

MICHAEL BAKER Live in Hoxton 2015

This April we reviewed the new E.P. by the Brighton (UK) singer, songwriter and folkpop musician Michael Baker.

We described his fabulous “Keys to the Kingdom” as “Soaring and soulful...”

This summer we had a chance to see Michael perform live at Zigfrid von Underbelly in London’s East End. Michael sang with unselfish enthusiasm.

His buttery, hickory-smoked vocals were robust and rugged...But he could also reach truly effective highs.

The best moments were when he got angry.

And then the furious drama spat out!

Emotions whipped across his face. Like a cruel wind.

For this reason, and the remarkable showmanship from his talented band, this was an hypnotically transfixing experience.

In fact,each song was so seriously rendered that Michael turned it into a slog. Though it was never a slog for the delighted audience — who had rarely seen such generous passion.

‘Leaving it All’ allowed contrition and sobriety to extend through carefully picked guitar moments. Michael told us us that this song was inspired by his own grandfather who had made the decision to return to his country-home, once the call of the innercity lights had failed to excite him. It was a song about passing time and lamenting some moments, yet cultivating the next.

At Hoxton Michael performed with his full band, but still made room for one-or-two delightfully ‘busking’ solo numbers.

He tends to take his ‘lighter’ acoustic songs with him from place to place (he never stops working) — and these are often performed in a trio, with his bassist and drummer.

So he tried out the new song ‘Trouble With Sleep’ which was delivered with flickering eyelashes of beat and groans of antipathy.

The song was built gradually from beneath dark blue-tinted surfaces. “We will never be lonely…” He almost cried.

The liquid electricity of Chris Horsfall’s guitar often cut across the grooves of Michael’s songs. And these sounds, plus the melodic keyboard work, helped to provide acidic rind to the folk rhythms.

Songs were almost always perforated with secret uneasiness — perhaps (even) a sense of foreboding. Michael’s song-writing tends to embrace folk, blues and even rockabilly sounds. So, although they might seem deep and penetrating, his songs are also lively and filled with uplifting spirit .

It was an evening of melancholic fun.

Wicked Venetians Live at Basingstoke If you like the idea of gently unfolding drama in music — maybe you like Muse — and you are entertained by the idea that the voice in rock could/should be grandly operatic —perhaps in the style of Queen… And that all of these sounds should be encapsulated within a post-punk world which is dark and somewhat troubled — then you’ll love The Wicked Venetians.

We saw the Surrey (UK) band performing at the excellent Amped Stage at Basingstoke — during the borough’s wonderfully organised festival event this summer.

Eschewing their normal trio arrangement (and now with the super-talented Sian Sanderson on guitar and backing vox) this left Sam (lead vocals) with more freedom to hop around and play-up to the happy crowd. The band has been working on new material, with three songs almost ready for release.

Although much of the set at the festival included well-known and much performed older numbers.

Sam Pickett — With Sian Sanderson

The band line-up was completed by Steph on drums, keeping everything tight and rhythmically in-check (this was especially evident when things appeared to be veering towards overblown theatricals) — and, of course, with James on his reliable bass.

“This is love that we are losing…” Whimpered Sam. And he certainly, he seemed ‘Horrified’.

‘Sleepless’ was dark-blue and proceeded like a night-fighting prowler-cat might do, as he gently stepped back home.

Guitars bubbled and sparkled around the voice.

And Sam strut his stuff, screamed, groaned and generally overplayed his part.

He was like a vintage-era golden-screen actor weeping over agonizing internal conflicts that only he understood.

Despite the ever-present hyperbole, this was a breathtaking spectacle.

Delivered almost effortlessly, and with brilliant musicianship of the highest possible quality.

Words & Images @neilmach © 2015

Link: https://www.facebook.com/TheWickedVenetians

IRONTOWN DIEHARDS Step Inside We have been watching the sensational new promo video for new song ‘Step Inside’ from Belfast’s Irontown Diehards.

This Northern Ireland based Hard Rock band are a new project comprising of Phil Dixon on vocals, Andrew Baxter on lead guitar, Mark McCallion on bass guitar and with Gordy Gray on drums.

The new number has fluttering guitars, muddy bottomed darktoned bass and faster-the-better drums.

The weathered vocals are markedly friable, almost sticky.

And the guitar... Well, the guitar cuts like a diamond.

The song-structure is electrifying.

This is exciting classic rock…

Hitting hit your Toby Jugs (your lugs) where it counts — and played with the highest thermal energy you can imagine!

Video here: https://youtu.be/74pIMrgI-z0 Words @neilmach © 2015 Image provided by the artist or their representative

Dornik — Experimental rawness?

DORNIK DORNIK the Album Words: @neilmach ©

LINGER ON EACH NUANCE

The aspirant London soul-star, multi-instrumentalist, songwriter/ producer and über-talented vocalist known as DORNIK (Dornik Leigh) has now released his eponymous new debut album.

Before taking the limelight, this extraordinary entertainer (who has an incredible vocal range) was the drummer for Jessie Ware.

(He still maintains his pad beside him on live shows, perhaps as a comforter.)

His spectacular vocal delivery and upper register artistry means that Dornik has been (lovingly) compared to PRINCE. His songs contain bouncing funk and imaginative twists — so it’s certain that you will be reminded of The Purple One. Although, perhaps, his wide vocal range and experimental rawness could be best compared to New York singer Bilal.

We had a listen to the new album: The disc begins with ‘Strong’ which has wriggling bass notes and darting rhythms…

The vocal is almost superhumanly elegant — with a fine coating of sugar.

The falsetto on this track (and others) reminded us of Barry Gibb.

The vocal shone through thin — satin frosted — it reminded us (quite remarkably) of Samantha Sang in texture.

Blush’ is grander.With an assortment of beats and crooked percussive moments. This could have been a bit confusing— if it were not so damn groovy.

For sure, you will linger on each vocal nuance. And you will wonder at the dislocation loops and the pressure drops.

It’s as if this song was difficult for him to do. As if his ideas, perhaps, had to be wrested out. So they splutter and spray. Whilst maintaining an easy equilibrium.

‘Stand in Your Line’ has a bumptious beat running right through it.

The voice is crystalline energetic — almost transparent at times.

And we loved the interatomic spacing of the lines. And the way his voice flies clear of those sounds — to set its own neat patterns.

‘Shadow’ has lots of loopy ideas.

These swirl and twist around the central beat like caterpillars round a licorice stick.

One of the most endearing things about Dornik’s delivery is his articulations — those small coughs, wheezes and vocal nods that he casually imparts. It is an essential part of his performance.

On this record, these expressive moments — the ticks and the chirrups — are revealed carefully and politely.

Possibly, the strongest number on the album is the hypnotic ‘Drive‘ — with its thrusting riff and a penetrating bass-blast.

The rhythmic pace here is delivered with predictability. But the highly polished voice sets new standards in perfection… Whilst also radiating warmth and confidence.

If you are looking for sweetness in your cool soul-jazz and you prefer albums to offer up lots of little experimental moments— then this is definitely for you.

Vibrant and exciting work from a new star in the making…

‘Dornik’ the debut album is available now.

The Maccabees Marks To Prove It

Words: @neilmach © Image provided by the artist or their representative

SAD PASSION LONGING AND APPREHENSION

It’s been a long wait for The Maccabees fourth album — ‘Marks To Prove It’. (They announced the disc way back in 2013) — but here it is at last.

Eleven tracks— reflective and strong.

The London (UK) five piece are often compared to Foals — in other words — they produce fun indie-rock that is filled with lightness and feeling.

The new album begins with a crash and the title track ‘Marks to Prove It...’

The guitar has a fit of the screechies and fizzes like a frantic soda… So the vocals holler in unison.

But, soon, it all calms down to a palatable sun ripened pluminess.

The chubbiness in general (of rhythms and bass) soothes — and helps to overcome any earlier anxieties you might have had. The overall effect is undiluted cheeriness.

The second song — ‘Kamakura’ — is one of several stand-out tracks. It begins in pensive mood.

The down-beat is insistent and it rumbles along like a trolley with a problem. But, otherwise, this is gloriously addictive.

‘Ribbon Road’ has a mysterious edge, of gravel and cream. Like the rim on your Nan’s favourite china teacup.

The percussion is soft and dewy.

Chewy almost. And the vocals rise and fall like a lover’s blanket.

‘Spit It Out’ is even more sentimental. With a big bass groan.

And a spark of piano. The voice here is parched. Almost nonexistent. And praying.

But things come gradually to life.

And when they do, the pace is almost urgent. This one of our favourite songs. It show-cases the stunning dynamic range of Orlando Weeks (vocals.) And the guitar work is amazing too. The song develops like a Russian nursery rhyme.

Full of sad-passion, longing and unprovoked apprehension.

‘Slow Sun’ is another crucial number.

With a stepping stone commute of beats and a golden trumpet voluntary by Mike Davis.

This number reminded us of Manfred Mann’s version of Mighty Quinn. That same kinda bruising bass, comprehensive percussion and walky-talky, acoustic voice.

The album concludes with the wonderful ‘Dawn Chorus’ which has psychedelic influences and contains more beautiful moments of muted trumpet. (Who says Tijuana Brass is dead?)

If you like mellow melodies, meditating lyrics and wondrous folkindie rock — then you will admire the artistry on this carefully crafted album.

The Maccabees are Britain’s Flagship indie-rock band.

And this is their finest output yet…

Link: https://www.facebook.com/TheMaccabeesOfficial

Satriani — This will ease your mind...

JOE SATRIANI

Shockwave Supernova Words: @neilmach © Image provided by the artist or their representative

LIKE THE STARDUST WE ARE MADE OF

Joe Satriani is often called “the people’s favourite guitarist.”

That is because his guitar-work feels very natural. It is sincerely played, with an organic charm.

Take for example the title track ‘Shockwave Supernova’ from his new album, which is as surprising as a meteor bursting from a black cloud.

It has a classical feel, with bright explosions of guitar — these seem to explode out-and-into the interstellar medium; (And it’s a super cosmic backcloth too, of bending drum-work and other stimulating orchestration.)

This artist’s universal appeal is immediately clear. His work is like the very stardust we are made of.

‘Lost in Memory’ has a bubbling pace — a constant cascade.

Like the heartbeat of your local river, perhaps. As it winds through a neighbourhood. The guitar almost sprouts from the banks of this beat.

Sometimes jumping higher — then crystal-clear it darts into the fringes.

Satriani gathered together his favourite musicians to collaborate on this beautiful album.

Mike Keneally (keys and guitars) Marco Minnemann (drums) and Bryan Beller (bass guitar.)

But for the ‘Crazy Joe’ track the rhythm is handled by Vinnie Colaiuta (drums) and Jane’s Addiction bassist — Chris Chaney.

On this track, the guitar is almost trying to talk to you. Attempting to clarify points. The bass notes sound reggae-based (Vinnie plays with Sting, so perhaps there is a link.) It’s a real Rompa-Stompa.

The great thing about Satch is that he does not get obsessed about the recording process or technical problems.

And although the album is superbly put-together (co-produced and engineered by John Cuniberti and recorded at Skywalker Sound in California) the love of his music just shines out. You can tell that Joe and his band mates just want to get into the groove. That is why this is so fluid.

Rock fans will particularly like the ‘Scarborough Stomp’ with its tarnished organs and bleached-out riffs.

The solo here seems particularly burned. Buzzed and hammered.

Here are good times… Dreaming high.

We admired the decorative cortication of ‘Butterfly and Zebra’ — a small but perfectly formed samplet of verdigris guitar cleverly superimposed onto a membranous palette.

These songs do not dramatically lunge in… They are not trying to dominate their way into your speakers!

And, probably, that’s whole point of Satch’s work. He wants his song structures, his ideas and motifs, to crystallize gently. To grow — in productive symbiosis — so that the music shines a light on your own life experiences. And the tracks will come to enrich and enliven your spirit.

Never openly grand or especially fussy, here are complex works filled with potential healing.

Musical blessings that you will allow into your life.

These songs will give lasting peace and help ease your mind.

Shockwave Supernova is Out Now on CD, Download and Vinyl.

A World Tour begins this September 17th in Europe.

Larkin Poe — Blues in their bones...

LARKIN POE

Live at the World Famous 100 Club in London American roots-rock band Larkin Poe from Atlanta, Georgia (U.S.) are the Lovell sisters Rebecca (24) and Megan (26). They run with their drummer, Marlon Patton.

Their sound incorporates exquisite vocal harmonies, big guitar riffs, and slide guitar virtuosity. They are often compared to the Allman Brothers.

The band have toured relentlessly, most recently with Elvis Costello, as well as headlining their own shows.

We were able to pick them up, kicking off the second leg of their 2015 European tour, at the legendary 100 Club in London. The band played plenty of hits from their first full-length album ‘Kin’ —such as ‘Jailbreak’ — with those grizzled guitars ...

Rebecca tends to lead most of the songs, with her expressively hickorysmoked voice and playing her jangly guitar.

Megan provides gloriously acidic licks from the Dobro. These purr, buzz, hum and sometimes just gently glide into the air. And her voice resounds in much the same way.

The harmonies are perfectly rendered, and they sound especially expressive when they are layered upon huge splashes of heavy guitar.

So songs like ‘Don’t’ are not only persistent but also engaging. They show-off the clever song-writing skills of the girls.

Leadbelly’s Black Betty was a real high-point of the show. The crowd in London rallied to those huge gurgling, blackish riffs. And the voices shone through the familiar ashened sounds, like stars glinting on a volcanic night.

It was a phenomenal show.

With songs that were clear and bright enough to get the crowd dancing.

Yet, with enough lip-licking, lapsteel fun and sparkling electricity to constantly remind us that these sisters were born under a dogwood canopy in the Southern heat— with country blues in their bones.

Words & Picture: @neilmach 2015 ©

MEGHANN WRIGHT Nothin’ Left To Lose - New Album words @neilmach 2015 ©

Fresh from her @VansWarpedTour this summer, the Brookyn-based singer-songwriter Meghann Wright has released her first full length album — “Nothin’ Left To Lose”.

The disc begins with ‘Black Kiss’ which has raspy vocals that lay near to neatly strummed acoustic guitars and some clap-along rhythms.

This jazz hearted pop has some fancy Motown fringes…

‘Leavin’ Cleveland’ has almost the same clacking clapperboard beat as the famous “Stand by Me” with those big inflatable bass notes.

But that’s where the similarity fades. The vocal is papery yet proud.

And the guitars jangle as the drums beat faster and soon the piece reminds you of Stone Cold Sober era Paloma Faith.

There is a fair amount of drama here. This is a solid and powerful performance and a stand-out track.

‘Good Manners’ is softer in tone and less sensational. The lyrical repetition and the breathy tones reminded us of Ellie Goulding.

This is gorgeous, although, perhaps, a little too fluffy.

‘Cocaine’ is fast working and engaging. A popular song with a stout heart and an air of insolent defiance and tasty disobedience. But don’t listen to this with your heart… Listen to it with your brain…

Because it’s a song of warning.

‘Left My Heart in Brooklyn’ has a dark mottle and a sadness that pervades all the beauty of that simply strummed accompaniment.

Fortunately, things brighten-up a bit when the work-day whistle comes in, but this will still leave you with an aching heart and a tight knot in your stomach.

Candid and emotional songs from a sensational singer and a masterinterpreter of life’s most memorable moments.

BROTHERS RASPUTIN Like Psychedelic Bee Gees Singer and guitarist Mitch uses live looping techniques whilst prowling the stage, confronting members of the audience, and delivering his soprano vocals and his choppily funkadelic lead licks. Nick Taylor (bass) and Rommy Turtev (drums) add the rhythms.

These three London (UK) musicians, known as Brothers Rasputin, released their new EP ‘Get Over It’ this summer.

Featuring prestigious guest appearances from film composer Patrick Jonsson (the Oscar-nominated Virunga), jazz musician Mike McEvoy (Soul to Soul, Steve Winwood) plus backing vocal duties performed by the likes of Kelli-Leigh (Duke Dumont/Second City) and Bridgette Amofah (Rudimental) — this new set of recordings embellishes the Brothers with a slick wide-screen sheen to their intuitive groove.

We listened to title track: Get Over It — This secretes indulgent smears of wallowing fruitiness... As the liquid-cool guitar chuckles across adroit beats.

The vocals from Kelli-Leigh and the acclaimed session singer Victoria Beaumont, togther with those from Mitch, are incredible. Foxy and smooth.

The tune lingers long afterwards, like a chocolate stain on a favourite shirt.

The slap happy bass is full of charm and vigour, and the punch drunk drums keep the bubbling guitars on track.

Funkadexterous and elegantly experimental Surf Soul — this is saturated with luxury.

Like a psychedelic version of the Bee Gees!

Alabama Shakes — Reviewed in the Raw Ramp Summer Blues Edition All material copyright. All rights are reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission of RAW RAMP. Whilst every effort has been made to ensure the accuracy of the information contained in all our web pages and on our printable magazine publication, the content is naturally subject to change and we cannot guarantee its accuracy or currency.

We do not give any warranty as to the ownership of the copyright of any material forming part of this website and do not accept any liability for any direct, indirect, incidental or consequential losses arising from the infringement of any third party rights in relation to any material on our websites, or in our magazine.

Our website has links to many third party information providers who are not affiliated with us. We do not endorse any of these sites, nor the information or merchandise contained or offered by these sites. We cannot make any warranties as to the accuracy, reliability or security of any information you might be requested to give any third party and, in no event shall we be liable for any damages whatsoever.

The opinions of any contributors expressed herein do not necessarily state or reflect those of RAW RAMP MUSIC MAGAZINE, or its directors or employees.

Prices are accurate at time of going to press.

To contact the editor email: editor at rawramp dot com TO ADVERTISE CONTACT: sue at rawramp dot com Raw Ramp Logo Zoran Zivkovic