Raw Ramp Music Mag Purple Edition May 2016

RAW RAMP

The Spirit of Music EXCITE Your Ears

PURPLE EDITION

ULTIMATE PRINCE

ROBIN TROWER JOE BONAMASSA JANIS JOPLIN

SIA DANNY BRYANT PURSON DAN PATLANSKY FOXES BIG BOY BLOATER STEVIE NIMMO MÄRVEL MOULETTES

Image: @neilmach 2015 Š

Purson — Prog Festival Pages 8/9

RAW RAMP MUSIC MAG

PURPLE EDITION SIA Page 4/5 PRINCE Page 10/11 Robin Trower Page 12/13 BONAMASSA Page 17 Dan Patalansky Page 19 Moulettes Page 29 Big Boy Bloater Page 35 HRH Blues Report Review Page 39 FOXES Page 37 Interview with Micky Moody Page 23 Sugarman Sam Page 25

Image: @neilmach 2015 ©

Janis Joplin - Page 15 Purson - Page 15 SANDY DENNY - Page 26 Danny Bryant - Page 27 Anderson/Stolt- Page 30 The Rides - Page 31 No Sinner - Page 32 Stevie Nimmo - Page 41 Steve Hackett - Page 43 Kane’d — AOR Festival Pages 6/7

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SIA - Majestic fluency

Photo Credit : Jaguar PS Shutterstock

SIA

THIS IS ACTING

Words : @neilmach 2016 © photo: Jaguar PS Shutterstock

IS SIA UNSTOPPABLE? She is the busiest woman in pop, a prolific songwriter and a blubbing yet wonderful singer ... but who the heck is Sia? You do not really know who Sia Furler is... And that’s because she has consciously and cleverly kept herself away from the media spotlight.

Although she is not actually on the sidelines (she has appeared on the American version of The Voice, and she regularly turns up at awards shows. She worked, back in the day, with the English band Jamiroquai) — she seems to fear overexposure. So Sia is rarely photographed, she is never interviewed and she shuns the modern ideas of vanity & celebrity.

You’ve probably seen the captivating choreography on the video for the 2014 single “Chandelier” and you probably thought, “Wow! I wonder who that girl is?” But we guess you weren’t talking about Sia! [You were referring to the ballet dancer Maddie Ziegler no doubt.] That’s the power of her modesty.

If Sia appears, as she sometimes does, in a video, she ensures that her face is covered. If she has a slightly inhibited attitude towards fame it’s possibly because she has had to fight off panic attacks during her life. She has also struggled with addictions and has admited she suffers from severe depression.

Yet, even without media exposure, her “Chandelier” song became a smash all over the world. Then three subsequent singles — “Elastic Heart” “Big Girls Cry” and “Fire Meet Gasoline” hit the charts... They made her brand to be reckoned with.

“This Is Acting” is her seventh studio album. It was released earlier this year.

It is undoubtedly one of the finest albums around — such a rare blend of songs (all embellished by those notoriously sniffy ‘n’ sulky high notes.)

Listening to it, one soon speculates that this girl is probably the most important songwriter in the world right now.

Expect an electro-pop album — because “This Is Acting” is influenced by soul and dance — but also be prepared for surprises along the way. Sia has a long history of adorning pieces with hip-hop, ska and other ideas... Many of which she has picked-up from world music.

Apparently most of the songs on this album were written as gifts for other artists. But they were rejected by the ungrateful sods. [Hence the title, by the way: Sia is so shy/modest that she “dreams” she is “acting out” these songs for the other singers. “I was writing for other people...” She said. We are glad that the ingrates rejected these compositions, because Sia has a rare vocal talent … a voice that wafts, spreads and sways like a loose sari ribbon in the wind ...

Nobody else possesses quite the same majestic fluency that she does.

“Alive” and “Bird Set Free” are the kind of interesting ballads we’ve come to expect since “Chandelier” — so powerful and so moving. They connect to each listener in unexpected ways. They penetrate into mind-vaults and get absorbed through the skin.

We also have upbeat dance songs on the album, like “Move Your Body” and “Cheap Thrills” (the Sean Paul version is the best, go seek.) And of course, we have epic songs that combine all the subtleties of the Sia trademark, like “Unstoppable” and “Broken Glass.” This album is not only a commercial success, it is also an achievement both artistically and aesthetically.

The album starts with “Bird Set Free” (rejected by Rihanna and then recorded

by Adele, who decided afterwards not to use it.) It was co-written with Greg Kurstin.

Kurstin worked on Lily Allen’s “Alright, Still” and, more recently, he co-wrote Adele’s “Hello.” The Sia version has a piano that floats free of the jetty.

The military snare-drum comes alive and the voice will back-comb through your bristles. This is a large and vigorous self-empowerment anthem.

Releasing your heart, loosening your chains (and buttons) so you know you can fly free.

“Alive” is Adele, through and through.

Even with the same shunting rate of percussion we would expect from the singer, and icy drops of piano falling from the top-end like shards. This feels dangerous, like holding back huge power. Before energy bursts through barricades, uncontrollable.

“One Million Bullets” judders nervously like a steamroller crossing a railway line. “Move Your Body” has a twisting, rippling synth: Reminiscent of the type of sound Vince Clarke released on his early Erasure keys.

And more stomping euro-pop beats than you could adequately prepare for, all generated by military drums.

“Unstoppable” is probably the strongest song on the album. It is about female empowerment and, lyrically, Sia compares herself with a Porsche.

(We didn’t know the Black Forest car manufacturers were feminie icons, but so be it.) This is not the first song on the disc that reminds us of “Alejandro” (the hit by Lady Gaga based on songs written by ABBA, Ace of Base and Madonna before her) — but that is not necessarily a bad thing.

Sia. Is she unstoppable? Probably, yes.

Listening to this, you will get charged with the same power she uses ... To gain determination and confidence.

Kane’d —

Raunchier

ted...

than expec

Russ Ballard — he wrote the “National Anthem”...

HRH AOR REPORT AT PWLLHELI 2016 Words & Images : @neilmach ©

FLAMBOYANT THEATRICAL STYLE

“It’s easy to overlook the fact that rock music is a two-way process — ” A wise old rock fan started to tell us at the top-notch HRH AOR Festival held at Hafan Y Mor, Pwllheli in North Wales.

“The pastor comes out to address the congregation…” he explained, “wearing robes of office and administering certain sacraments … but it must be remembered that there will be no supernatural occurrences unless the audience gives freely their energy and unrestrained participative engagement.”

These thoughts were spinning around our minds while we watched the vivid and thoroughly polished show from GILBY CLARKE at the tail end of the superlative weekend. This is the American musician & singer/songwriter who famously replaced Guns N’ Roses‘ Izzy Stradlin during their Use Your Illusion Tour.

More recently CLARKE formed his own supergroup with members of Metallica and Mötley Crüe.

He was testament to the truth we were told… that a genuinely talented druid will always use the motivating force of the crowd to conjure up thunderclouds and lightning.

The GILBY CLARKE band gave us a whole bunch of self-penned numbers and some expertly chosen covers … These teased and tantalized the audience — creating a mystical swirl that went way beyond conventional scientific understanding

Other wayward necromancers and assorted rock ‘n’ roll supernauts included the ever effervescent QUIET RIOT and the dreamy smooth band of gypsies known as THE QUIREBOYS. Even unswerving glam metal deniers had to admit it that these two were stand-out performances.

We were super excited to see Benedictum singer VERONICA “THE V” FREEMAN perform. She sounded like a cross between Freddie Mercury and DIO (according to an enthusiastic fan.)

Other favourites were Stockholm’s CAPTAIN BLACK BEARD whose “Divided Feelings” had a twilight country-swing to it and rivers of bitter expression.

Midlands UK rockers KNOCK OUT KAINE played sparkling constructions like “Ain’t Your Kind” with searing-hot guitar intrusions. It was a stunnerlicious set based around some songs from their new new Cruel Britannia EP … not too flashy but a spectacle of music and energy nonetheless.

And Swansea’s BEAUTIFUL STRANGERS who played torrid and slightly brutish numbers from their Crash & Burn release. Their show was flamboyant and theatrical with more proactive pussyfooting from singer Stu (Dade Davies ) than a vengeful cougar on the prowl.

RUSS BALLARD was 45 minutes late coming to the stage (blaming hold-ups on the highway), but the band played a full-set … which meant that the hard rockers from New York TYKETTO [playing songs from Don’t Come Easy] had to cut their set short to accommodate … I know which set we would have preferred the HRH stage bosses to have kept intact.

But the crowd went sing-along crazy for the old-time hero and let’s be fair… If rock ‘n’ roll was a nation state, Russ wrote the national anthem for it. In the rock nation, you don’t get much more patriotic than BALLARD!

Friday night was completed with RAINBOW singer and Death Alley Driver JOE LYNN TURNER who played a dynamic hi-octane set bursting with Deep Purple and Rainbow numbers that were familiar to many…

On Saturday MÄRVEL’S Papa Bear singer was terrific and so was his guitarplay… in fact the musicality of the entire band was sensational … shame their songs weren’t punchier, ordered, or fizzier. Most memorable was the W.A.S.P. cover though — it was brilliant!

Australians THE RADIO SUN played a warm and compelling short acoustic set in the VIP lounge followed by a stunning full-electric set later in in the day. Their sound was elegant yet exciting.

The Estrella Warriors were out in force for Thurso’s rock heroes ESTRELLA …

The band demonstrated how to bewitch a showroom with rhythms that exploded, sound-waves that rocked the room like pure energy and chorus lines that were as rampant as stampeding bull elephants.

ICONIC EYE (image above) played a sweetly disconnected Unplugged session in the VIP room before giving a fine performance on the main stage. Their guitarist was super-quick and highly accomplished but their vocalist Tim seemed a teeny-bit bleary eyed and vacant. However the thrusting pace of their “Hidden in Plain Sight” kept things interesting.

Adorable Welsh indie rock band KANE’D [pictured, left] — boasting three beautiful sisters — also played a quality unplugged session before going onto the main stage to play a full-electric set “with less clothes on…”

As they suggested, their show was seedier and raunchier than expected. Those harmonies were just awesome though… and the crunching guitars and pounding beats kept us clapping.

Over on the sleaze stage we loved the idiotic rock ‘n’ roll mischief from those high-spirited yet endearing pranksters A JOKER’S RAGE. Trickery and high-jinks were in abundance but the North England band also played us some insanely good music. (Congratulations to the drummer who announced his other half was expecting at the show.)

Also special mention must go to BLACKRAIN, the French rocker outfit who closed the sleaze stage on Saturday at around 7pm and played such a glorious show. Their stage performance was one of the highlights of this super weekend. These stellar musicians played with noble intention and genuine humility … they should have been placed higher on the billing.

Yup! This year, the HRH AOR Festival in North Wales was filled with experts and the elite. The best of the very best.

Epic music, great party, amazing audience …

Tickets can be booked online at www.hrhaor.com

The Enid

le passion...

— Incredib

Anderson — Too much flute?

HRH PROG REPORT AT PWLLHELI 2016 Words & Images : @neilmach ©

GODS ANCIENT & MODERN

Once again a multitude of singleminded devotees convened at CAMP HRH in Pwllheli NORTH WALES this Spring for the UK’s pre-eminent 3 DAY PROG MUSIC EVENT.

After long trips via sparkling blue-waters and ice-coated mountains — the faithful had made their way to pay devotions and respect to PROG GODS both ancient and modern …

The classic rock outfit — HAMMERHEAD from Workington UK — kicked off the festival at the Bonga Wonga Show Room on Thursday evening with a set that could certainly be described as dynamically powerful — fizzulated even — although not necessarily progressive. Yet these guys possessed the raw edge to get things moving and the party started. It was a beglamored beginning.

Next was the technical prowess of the Birmingham trio OKTOPUS. They presented a brash mix of sexy jazz / funk and mathematized intellectual creativity. It was a big leap of faith for the revelers … to go from classic rock to genius-jazz-cookie in about an hour. Not everyone enjoyed the complexity … but there was enough sparkle on stage (and in the audience) to keep the mood going. We were reminded of the seventies folk-proggers Spirogyra.

There was double-necked bass complexification from British proggers THIRD QUADRANT as well as some sturdy compositions and honest keyboards. The band were mostly active in the 1980s and have seasoned well.

The irrepressible ARTHUR BROWN along with THIRD QUADRANT paved the way for the theme of the weekend … it soon became obvious the festival was to be a celebration of survival – even flourishing – we were assembled to toast these noble prog paladins who had defied the ravages of time to bring us our sounds…

The Welsh weather was ultra-sunny and warm as we headed into the Bonga Wonga on Friday. It was a shame that we were missing the rays… but THE FIERCE & THE DEAD were playing songs from their newly released “Magnet” album.

SEPTEMBER CODE were not to be missed.

This exceptional Greek band, singing in English, played a sequence of numbers which were often beautifullycrafted, of traditional character, and seemed spattered with gothic darkness.

The EDGAR BROUGHTON BAND were a successful outfit during the late 1960s psychedelic era. Slightly hallucinogenic, they were always controversial and a bit of an acquired taste. But “EDGAR” BROUGHTON is a calmer-cat now. His acoustic set at HRH PROG 4 was dotted with interesting fragments, delicious morsels, a little bit of clever bitchin’ and some very tasty tales.

Glasgow’s ABEL GANZ have been around since the 1980s too. They seemed reinvigorated, healthy and energetic.

CURVED AIR were one of two bands who pulled out of the festival because of hardships (the other was SOLSTICE) — but PURSON (above) slotted into the gap as snug as a pug in a velvet rug.

Sonja Kristina was a sexually powerful female entity back in her day (ask any member of the grey-hair army in the room and they will tell you!) PURSON’S founder and lead singer Rosalie Cunningham is built from much the same mold. When the Southend-on-Sea band last played at HAFAN Y MÔR they seemed exciting but a little haphazard and disconnected. Now they are shiny and sensational. Their new “Desire’s Magic Theatre” release is highly desirable. And their show was a psychedelic cloud of trippy experimentalization and swiveling hippiness.

The Canterbury psychedelic rock and jazz scene were represented by SOFT MACHINE and CARAVAN. It’s amazing to think that “In the Land of Grey and Pink” was released 45 years ago! Despite drummer Richard Coughlan’s death in December 2013 the band have remained active.

The sun was hiding behind mist and mountains on Saturday. We emerged from floors and walls like bees from warming hives as we made way to the Mash & Barrel for a nice cup of tea and SCHNAUSER (first on) who had driven up from Bristol UK.

The HRH House Band THE ENID have played all the HRH PROG Fests so far:

Their DUST tour has been amazingly successful and this was to be just one of a handful of shows to include Robert John Godfrey before he retires gracefully (from live rock) in April. He will hand the reigns of the ENID over to vocalist and “New Freddie” prog-star Joe Payne. The audience were transported and beguiled by the incredible passion of the performance. For those who had not seen THE ENID before, this was an eye-opening experience.

Next was FOCUS. The DUTCH band formed by yodelling flautist and Hammond organeer THIJS VAN LEER have made a career out of one album “Moving Waves” (they created many others but this is the only one that folk remember.)

Almost everyone had a copy of “Moving Waves” back in 1971. Most fans purchased the disc to get hold of the extended version of “Hocus Pocus” — then went on to enjoy Side Two even more . So we were delighted when the band played the entire movement for our pleasure. Naturally, the crowd went nuts for the 1973 single “Sylvia.”

It might sound a bit churlish to suggest that there was too much jazz-flute and not enough rock n’ roll in IAN ANDERSON’S headlining set after FOCUS. But don’t forget, we had already had the full Ron Burgundy from VAN LEER.

The “Tull” show (if you can even call it that) was filled with small portions of recognizable songs … and plenty of jazzy interludes.

The fantastic festival came to a close in style with the fabuluxe VON HERTZEN BROTHERS [they played HRH PROG ONE in Rotherham.] They are from Helsinki in Finland.

If anyone is ever going to make another superlative prog-rock single that is able to survive the pop charts — then it is gonna be the lads from Von Hertzen (or maybe Steven Wilson.) They tend to create loud ‘n’ fast prog-pop fantasies. It was just the right kind of restoration and refreshment we needed before daring to go back out into the icy mountain air.

What a show! What a party!

Tickets can be booked online at www.hrhrog.com

Prince —A soulful man...

ULTIMATE PRINCE

HOW TO DIP INTO HIS VAST BODY OF WORK

Words : @neilmach © Images from Artists Representative

MASTER CREATOR SUPERSTAR

A few hours after the shocking news of his untimely death, the busy social bees on Facebook were already sharing their favourite video of PRINCE performing with Tom Petty, Steve Winwood and Jeff Lynne (amongst others) on the George Harrison number “While My Guitar Gently Weeps” at the 2004 Hall of Fame Induction show.

The stock comment was something like, “My God! I knew he could play … but I’ve never really understood… until now… how good PRINCE really was…”

At the time of writing this piece the 2006 2-CD compilation album titled ULTIMATE PRINCE has already reached number 10 on the album charts.

Undoubtedly sales will increase. But how does the “average listener” even begin to approach the extraordinary body of work that the American singer-songwriter, multi-instrumentalist and record producer left us?

Prince was the pioneer of Minneapolis sound, and yet his music has always integrated — if not celebrated — a wide variety of styles, including rock, R&B, soul, psychedelia, and pop.

Even from a very early age (Prince co-wrote hits with family friend Pepe Willie aged 17) he experimented with styles. A demo recording submitted to various labels around that time led to his contract with Warner Bros.

His album “For You” was released in 1978. On that disc he performed all the vocals, played all the guitars (electric and acoustic) as well as all the keyboards, including moogs, and tumbled all the drums plus rattled a whole load of other creative percussion instruments (over 20 in all.)

Five albums were released before the “Revolution” in 1984. These were during the Purple Rain years that took us up to “Kiss” and “Manic Monday” 1986.

After Prince’s second film, Under the Cherry Moon flopped, he wound up The Revolution and he fired Wendy & Lisa. Prince went solo again.

These were the “Sign o’ the Times” years.

1991 marked the unveiling of Prince’s newborn band, the New Power Generation and in 1992 they released the 12th Prince album, Love Symbol.

In 1994, Prince began to release albums in quick succession as a means of extricating himself from the tight contractual obligations of Warner Bros.

Nine albums were released before 1999. His seventeenth studio album “The Gold Experience” is often cited as one of the best R&B albums of all time and included the global-hit “The Most Beautiful Girl in the World.”

In 2000 Prince stopped using the Love Symbol moniker and returned to using his stage name “Prince” because, he says, he felt ‘free’ (from the Warner contract.) Prince was inducted into the Rock and Roll Hall of Fame in 2004.

Rolling Stone ranked Prince at number 27 on their list of the 100 greatest artists of all time.

Rolling Stone also suggested that Prince was among the top 100 guitarists of all time (# 33)

In response to being compared with Hendrix, he said “If they really listened to my stuff, they’d hear more of a Santana influence than Jimi Hendrix…”

Miles Davis, who collaborated with the Purple One towards the end of his life, said Prince reminded him of a combination “James Brown with Jimi Hendrix, Marvin Gaye… and Charlie Chaplin...”

So his discography includes 39 studio albums, 5 soundtrack albums, four live albums, compilations and thousands of other pieces.

How do you even start to dip into all that?

One solution is the 2006 2-disc set “Ultimate Prince.” This covers the period from “I Wanna Be Your Lover” (1979) right up to “Cream” from the Diamonds and Pearls album.[1991.]

“Controversy” ” has that urgent twangy rhythm that grabs you by the collar before pushing you onto the dance floor. And the song-title is brilliantly paced with (and often confused as) — “Count your blessing.” Clever/ Wonderful stuff!

“Uptown” has a thunderous start and then fragments of golden light. These emerge before the snake-like synth slides in and you begin to relax through the vibrations. This song addressees prejudices and racism, mixing political statements in amongst the dance beats.

So we kick with the rhythm and yet we still get the ideas filtering through the soles of our feet.

The rockabilly number “Delirious” is an 8-bar blues piece with swinging horns and wild invention found in every slot.

The bump on “Gett Off” the power-single from “Diamonds and Pearls” is amazing. If you thought there were a lot of ideas on this song, you’d be right. This number was written over many years and includes the bones of at least three other songs. It’s a celebration of 1969 James Brown, and also includes some pukka brass jazz / funk as well as the obligatory rock guitar.

Listen to these songs again and you will be reminded that behind all the arousing musical confetti and the razzle dazzle sequins was a soulful man who wanted his sensitivity to be taken seriously. Prince was a master creator, a game-changing culture generator, and a true superstar & champion. And that’s why a vacuum will be left.

Words: @neilmach 2016 © Images: Artist or artists representative Quote: http://www.rollingstone.com

Robin Trower —Baptismal?

ROBIN TROWER

Where You Are Going To? Words by @neilmach © Main Image: © Rob Blackham

OMNISCIENT SLIGHTLY PORTENTOUS

Best knowm, in Britain, as the Procol Harum guitarist and vocalist, ROBIN TROWER has been busy.

He will release his new studio album “Where You Are Going To” this Spring [May 6] as well as starting a 13 date tour this fall with Stevie Nimmo.

He is currently gigging in North America.

Trower’s new release is a continuation from his 2015 Something’s About to Change. In fact, he only stopped the recording process to go on tour.

“I like to play guitar for 2 or 3 hours a day…” He explained, “And that invariably leads to a new song idea every few days…”

“In terms of influences […] I was channelling a combination of James Brown and John Lee Hooker on the funky “The Fruits of Your Desire” and the album closer “Delusion Sweet Delusion”… I am really looking forward to playing those live on tour.”

TROWER also wrote two love songs dedicated to his late wife, “We Will be Together Someday” and “I’m Holding On To You.”

She died after a long illness, in February of 2014. We listened to the new album —

It is not surprising that the songs on this disc have a heavy hearted sense of urgency… as if the advancing years will soon snap up and munch the 71 year old guitarist, like a maliciously pursuing alligator.

Thus the first track, “When Will the Next Blow Fall” feels omniscient and slightly portentous.

This song could be seen as a “time running out” number for the musician — but to us it seems to be about the misery and pain that victims must go through in war-torn places of crisis like Syria.

The lyrics are distressing — although the pace is not unpromising.

The wah pedal creates warm tones and some of these rhythms paddle-tramp as if they are escaping. The long-vowels in that gravel-voice are downbeat (without being gloomy) and the words are slightly sandy. Imagine Mark Knopfler was performing “All Along the Watchtower” and you’ll get some idea of what this is like.

That previous song burns into the scar-tissue of the next track “Where You Are Going To” like a tobacco burn.

This song is filled with dust-storm minerals — as if blackened by uncontrollable climatic shifts and dirty skies.

It also seems Dylanesque. Not without joy, but nevertheless solemn, thoughtful and reflective. The lyrics are handled very well, like a petitionary prayer. Maybe this is about capitulation.

Maybe it’s about admitting that we have no control over what is coming…

The rundown end is looming and there’s nothing we can do. But all hope is not lost. To this end, the guitar pleads for our forgiveness. And any grief that still remains is handled with modesty and gentle decorum.

The rhythms waft in rivulets.

Like spasms in time. So this number gives up its energy and release… with sensible notions of salvation drilling deep into bones and flesh.

The track “The Fruits of Your Desire” combines the joy and boppiness of pavilion funk-soul with the serious resolution of a blues jam i.e. Trower — ever the alchemist — transmutes something that is funkadelically James Brown into something that has more in common with the aggressive sound of rock. This is a stand-out track.

“We Will Be Together Someday” is reminiscent of Sonny Bono’s soul sounds. Long bones of guitar curve towards the rib. This might be characterized by sadness, but it is not inconsolable. It just melts away your heart while you listen.

The final track “Delusion Sweet Delusion” is a merry jig with a groovy beat and boogie-down atmosphere. But, though this song is filled with optimistic upward strokes and some good-time vibes, it still retains an affecting inner pain. As if life is a burden. But, soon, spiritual relief will arrive.

“Take triumph and disaster …” says Trower, “and treat them both the same …”

This is a splendid achievement.

The songs sparkle and light up in all the right places. And you never feel sadness or depression creeping through the veins.

In fact, there is a revitalizing freshness to it all. Joy and hope seeps from every fibre…

This is a baptismal album …. full of life-giving waters and prayers for the soul …

Very highly recommended.

Words: @neilmach 2016 © Picture this page by artist’s representative https://www.facebook.com/RobinTrower

SOUNDCLOUD CHOICE We checked everything PURPLE related for this special issue.

And what better way to start than DEEP PURPLE’S life-affirming disaster movie number “Smoke On The Water” which was shared on Soundcloud by LifeGivingSound from Hudson, NH. Who cannot love one of the easiest riffs in rock history? (It can be played with a thumb, we know, we tried.) But let’s not forget that rattle-some percussion either, or the best bass-line ever and, of course, that incredibly fluent organ. Now let’s all sing together, shall we? How about: “Fyaar in the sky ...”

JIMI HENDRIX “Purple Haze” comes next. Those angular slices are like shards of energy. That’s how the song starts, then it takes it easier. Grooving. The voice is angrier than usual “I feel funny... I don’t know why...” Well, you would too, if you had taken in a lungful of angry purple smoke (maybe it was the smoke from the water?

Just an idea.) You will “Kiss the sky” also when you re-listen to this. You can imagine a body dripping in sweat and plum-coloured fumes rising through the floor-boards. Oh yes!

The Russian music-duo of Julia Volkova and Lena Katina aka T.A.T.U. has tremendous success with their debut single “All the Things She Said” back in 2002. Remember it? Well now PURPLE have created a dark and moody special version of their other hit “Not Gonna Get Us” with male voices and pale rhythms. This is full of silver synths and eerie emptiness that lurks in beteween the gaps. It is touching and memorable.

The NEW RIDERS OF THE PURPLE SAGE is an American country rock band that emerged from the psychedelic rock scene in San Francisco, California, in 1969. Their best known song is “Panama Red” and this has been shared by BMG Rights Management. This frolics like a Palomino loose on the prairie folds. There is darkness and attitude here, but it is hidden behind the trips and the jaunts.

Here’s something different, from THE WHISPERS. An American band from Los Angeles, California, who produced tons of successes in the 1960s. They are famous for their “And The Beat Goes On” and we listened to the Purple Disco Machine Edit. This maintains that motivating stomp and the cool-as-ice vocals. If you like your deep funk purple in colour ... try this for size.

Finally, we checked out the Toronto based Cave-Wave and lo-fi chill-wave musician XELΛRΛIN (bottom pic) who has emerged to share his “Purple Magic” on Soundcloud. After the cave-dripping movements and hella-blade into, this angled product approaches like fragments from a glass mirror. Penetrating and dangerously, shrewdly inventive. If you like atmospheric vibrations and excellent synth facilities, you should try this one.

Words: @neilmach © 2016

JANIS JOPLIN LITTLE GIRL BLUE

JANIS JOPLIN is one of the most revered of all female blues rock singers. She rose to fame in the 1960s then joined the 27 club in the 1970s.

It seems though that the “Queen of Psychedelic Soul” was a tragically misunderstood figure…She wowed millions (still does) and was burning brightly right up until her death in ’70. Joplin has been a profound influence on singers from Stevie Nicks to Florence Welch.

Last year’s revealing documentary (directed by Amy J. Berg) exposes the truth behind JANIS: LITTLE GIRL BLUE.

The Movie explored the life and work of the legendary musician and included rare archive footage, fragments and comments made by stellar figures such as John Lennon, Jimi Hendrix, Otis Redding and Mama Cass Elliot. The film shows Joplin at her best.

Sony Music Entertainment Australia has now released a significant career-spanning anthology — JANIS: LITTLE GIRL BLUE (Original Motion Picture Soundtrack) —which brings together 17 essential Janis Joplin live and studio performances, including classic solo performances and Big Brother & the Holding Company tracks. The album also debuted an unreleased version of “Piece of My Heart” (also featured in the documentary and recorded live at the Generation Club in New York City in April 1968 during the Wake for Martin Luther King concert.) We had a listen:

The album begins with the sublime beauty and acoustically emaciated craftwork of “Careless Love.” This is a superb place to begin, dusty and blemished. Yet enthusiastic and truly raw.

The 1967 Big Brother and the Holding Company single “Down on Me” is juicy and groovy with a danceable rhythm and a jolly chorus. But that notable scalding voice is already present.

The Blues are hotter and the atmosphere is sweatier on the Joplinwritten track “Women Is Losers” released following the Holding Company’s success at the counterculture focal point – the Monterey Pop Festival.

But it’s not all scalding blues on this amazing collection: There is also some warm-hearted and convincing country folk.

The Janis Joplin & The Full Tilt Boogie Band version of Kris Kristofferson and Fred Foster’s “Me and Bobby McGee ” was perhaps written as a hymn to Joplin (though she denies it) — it has smooth interjections of silk organ, talkative guitars and more loss and discovery than taking a hitchhiking ride into a bleak desert with a dangerous stranger. The song was released in 1971, after the death of Joplin, and reached number 1 in the United States.

The incredibly inspirational songs in this collection — often cataloging the difficulties of life and the consequent loss and regret — are more energetic and revealing the second time around …

Always worth repeated listening and full exploration —this is an essential purchase for anyone looking for quality and excellence in vocal performance as well as incredible song-writing.

Words: @neilmach 2016 © Pictures by artist or artist’s representative

PURSON Desire’s Magic Theatre We have been looking forwards to hearing the new album from (UK) band PURSON. Titled Desire’s Magic Theatre — it is a striking kaleidoscope of hypnotic gypsy electrics, ultracoolness and braided sexiness…

Opening with the waterlogged boogie-woogie of the title track, then switching electrifyingly to the butt wiggling ecstasy of “Electric Landlady” — this new album is like a sluttish and coquettish hooker flaunting herself in a foxy house downtown.

Yup! There are some awesome and sexy jive moments…

And precisely when you thought that this wasn’t a prog-rock record “The Window Cleaner” bulges out of the sack with neat birdcalls and some flamenco guitar.

And on this track, the butterfly kisses of organ and the astro-lust in that voice reminds us, so much, of Sonja Kristina.

And the smog of blues-based sounds embellishes the discolored air as much as the fallout from a cigg party in a busy smoking-shelter...

The album ends with the barbed drama of “The Bitter Suite” and some congregated and quirky cabaret tantrums.

This is more fun than being taken by the hand into the psychedelicatessen … And being allowed to choose whichever fizzing pleasure tablets you might need for your head…

Check this, now… and stock up on your legal highs and boogieland kicks…

Desire’s Magic Theatre by Purson is released April 2016 Words & Image: @neilmach 2016 ©

Photo Credit: Laurence Harvey Š

Bonamassa —Most courageous offering yet?

JOE BONAMASSA BLUES OF DESPERATION

Words : @neilmach © Main Image: Laurence Harvey ©

DANCING BULLFROG ROARS

We all know that when we have blues in our hearts when there is no sun! But sometimes we need to give in to our despair … if only to see where real strength can be found.

Only when we have lost all hope — in those desperate moments — a kind of reckless frustration absorbs and surrounds us. In this state of mind we are often at our most productive — in despair we find zealous inventiveness.

We cannot imagine what kind of pain stimulated the worldfamous New York blues rock guitarist & singer/songwriter JOE BONAMASSA to venture down to Grand Victor sound Nashville [the historic recording studio owned

by Ben Folds] along with longtime buddy and Caveman producer Kevin Shirley for an intense fiveday session.

The session included such prominent musicians as South African session drummer Anton Fig, percussionist Greg Morrow, Cajun blues bassist Michael Rhodes, prog-rock keyboard wizard Reese Wynans — and a sizzling selection of horn players (like Supertramp’s Lee Thornburg) along with some incredible singers such as Mahalia Barnes and Juanita Tippins.

But whatever dark blues tipped Bonamassa into his“Blues of Desperation” we are sure that this is his most highly-flavoured, courageous and fully conscious offering yet.

If, after looking at that fine list of musicians, you are thinking that this album could maybe be a little indolent & perhaps well upholstered — even complacent — think again.

These songs are rough-hewn, and undernourished. They are hungry for affection and often emotionally insecure. Strains and bruises are all too clear. On these songs the blues are whiskey-soaked and tear-splashed.

Yes, it’s a stressful life and yes it’s filled with anguish. So Bonammasa and his team of tunesmiths will want you to relate to that sense of loss — the thirst — and the state of despair.

“I want people to hear my evolution as a blues-rock musician…” Said Bonamassa, about the new album.

“Somebody who isn’t resting on accomplisments and who is always pushing forward and thinking about how music can evolve and stay relevant.”

The disc begins with “This Train” and with a chank of rusted and jangled iron wheels on sparkled rails. This is a driving & purposeful number and it motivates the entire album.

The riff is darker and more bituminous than a cloud of culm-dust in the Fayette County mineworks, with that kind of ashy sub-metallic luster we have come to expect from Bonamassa.

Backing vocals peek out from behind fibrous notches in the sound. And the creative drums pop & punctuate the air like sizzle cakes on a griddle.

“Drive” is the first video to be taken from the album — this is cleverly ambient and filled with hollowbody fruitiness and gentle groove. This is as low-slung as you can get… Sleek as a panther-cat slinking for prey.

Title track “Blues Of Desperation” has a distinctly Native American ambience with some Ghost Dance rhythms, bullfrog roars and wild turkey gobbles. This number has a coppery sheen and dark beards of guitar that trill luminescently through a blotted landscape.

For a taste of imperturbable Cotton Club charm and silkalicious saloon bar greasiness, try the track “Livin’ Easy” with its fluid, syncopated rhythms, chatting piano, titilating horns and dog-tired vocals.

The album concludes with “What I’ve Known For a Very Long Time” which has a punching burst of cold-worked copper guitar and some richly heartfelt vocals.

This album has it all — temperament, strength of personality and amazing perception. It is selfpossessed, serene and sometimes oh-so sober — yet it still radiates with sunflower brightness and huge bear-claws of passion and generosity.

Highly recommended.

Photo Credit: Laurence Harvey ﾂｩ

DAN PATLANSKY 窶認lashes of brilliant light...

DAN PATLANSKY INTROVERTIGO

Words @neilmach 2016 © Main Photo: Laurence Harvey ©

PURE SULKY BLUES Photo Credit: © Tarryne Rautenbach

The South African singersongwriter and guitarist DAN PATLANSKY releases his new studio album entitled INTROVERTIGO in the UK on May 6.

The album is the follow up to the highly successful “Dear Silence Thieves” with those ready-made radio hits “Backbite” and “Fetch Your Spade.”

To dovetail with this hot release, Dan will be guesting on tour with KING KING. This kicks off May 12 at the Manchester Academy. He will start his own headline tour in June.

INTROVERTIGO is the dizziness and disorientation experienced by an introvert who has spent more than 5 minutes with an extrovert! [Urban Dictionary.]

And perhaps that’s how Dan feels — at least a part of the time. He is a quiet man with his own insecurities. The music industry is a rough place to be and can be quarrelsome.

Maybe that’s why Dan feels excited and energized when he spends time alone. (Although it’s no reason to immolate himself! We feel that is rather “over doing” it…) We listened to the new album —

The first track, “Run” is about fleeing. And a special type of bolting too. It’s about the life-saving run you have to perform when escaping from a wilding mob who possess the single-minded mentality of a horde.When did we humans (great apes, after all) learn this bullying blood-lust habit of mobbing, flocking and herding?

It’s an odd part of human behaviour. A behaviour perhaps copied from ungulates. Or was it learned more recently — fired by propaganda, hatred and paranoia in recent centuries?

The mob is a horrible thing. They only feel strong enough when they gather in overwhelming numbers… Then they will chase, reduce and destroy far more gallant heroes than they ever were. And it is not just physical crowd-behavior we are talking about here. Vile mobs do it online too. We see courageous and independent people attacked every day on Social Networks, for example.

So this songs harnesses the repressed fight-or-flight energy needed to preserve ones life.

Ready for the moment you face a pack of wild-things.

This track is emblazoned with electric shocks — laser beams of guitar slice through the air like cracking bull-whips. The voice is consistent, but hectic. And the fall of the drums is like a runaway herd.

Next is the antique sounding “Poor Old John” with its rockabilly twang, Sun Studio confusion and a big beat wangdoodle atmosphere.

This is all about the retribution due to Old John when he has been found-out messing with another man’s woman. It’s good old blues. Pure and sulky.

“Sonnava Faith” unpicks the Samaritan’s Purses — those offertory bags — that are passed around to the over-credulous congregation at collection time.

One worries about those fools of faith — you know, those daring souls who place unerring trust into false shepherds and the deceptive miracles that they pretend to perform.

This song has rusty riffs that feel high-strung and nervous.

The voice seems whisky smeared — and when the lead-break comes — it rips through like a gash in the side of the canvas of the tent crusade. It enables the real light to enter in. So the flock can make their escape.

The final track — which is surprisingly angry and bruisecut — is all about Dan’s little-baby daughter Sofia. She has such magnificent power in the Patlansky household. She exerts total control. Yet she is so tiny.

In fact, in a very real sense, she is Queen of the World.

She is “Queen Puree.” This Hendrixy number has splotches of green and black that bloom-up like mildew on the surfaces. The ragged guitar suddenly flashes brilliant light — brightness hitting you in the unprepared eyes — like sudden wake-ups in the night. And the voice is ugly-tired and wornto-the-bone.

Yes! We can guess how Dan feels!

MÄRVEL “It’s about melodies...”

MÄRVEL INTERVIEW

Words & Images @neilmach © 2016

CREATED ELECTRIC HEAVEN

There were many curious sights at HRH AOR this year but none more freakishly extrovert than MÄRVEL.

They are a Swedish band formed in 2002 when John Steen (The King) with Ulrik Bostedt (Speedo) and Tony Samuelsson (The Vicar) spent their high school exchange year in Colorado, USA wisely — i.e. dodging classes, swigging beer and playing rock n roll in a garage with friends.

The band have a ‘revolving’ bassist — hence Ulrik Bostedt (Speedo) — who isn’t allowed to cross Swedish borders — so he is replaced by another character “The Aviator” (he tours abroad) and also recently a third bassist “The Burgher” who joins the band for some missions.

It would be difficult to describe the band without using adjectives that might be unfamilar to you… but here goes:

MÄRVEL are three very tall Edwardian hipster/Goth sadomasochists who wear 1940s steampunkist uniforms — adorned with shiny metal things — and they cover their faces with bondage masks. When questioned, they speak almost nothing… Yet they play high-decibel rock ‘n’ metal glam-fantasy numbers with lots of catchy riffs and some lead-breaks that make metal-fans cry in adoration. And their intoxicating vocals seem created in Electric Heaven. Meet MÄRVEL — Tell us what is happening in the Märvel world.

“We are working on a mini-album, just six songs, because we felt we didn’t want it to take too long between releases. We have had Hadal Zone Express, our most recent album [2014] out for a while and we wanted to keep people excited [with the mini-album] and we will get back into the studio in the fall.”

“Well, it hasn’t been written yet! It’s in the process of being written. But I guess it will be more of the same. If you like Märvel stuff then you will probably like the new ones.”

So is the W.A.S.P “Love Machine” cover real rock then? [It was played at HRH AOR] Why did you choose to cover that number?

So, when you are actually writing, what do you do, test it out on an audience? Is that part of the process?

“Well, we grew up listening to W.A.S.P. We had it close to our heart. It was always there, you know.”

“Yes, that happens. But we haven’t really decided the direction of it yet, so… We get songs written in multiple styles… Then we choose a path for it.”

Did you de-construct that and then recreate it again?

What style do you think they will like here at AOR? Have you done any research to discover what the crowds wants to hear at the festival?

“We are here to play rock ‘n’ roll. It will be high-energy. For sure.”

Imagine you had travelled in your timemachine and whizzed back to 1980s Sunset Strip… Who would you want to meet down the L.A. Boulevard for a drink and a smoke?

“It’s hard to meet Lemmy now…so yes him.

And also Mötley Crüe — that would be nice.

Well, maybe not nice… but it would be fun, probably. As you might haver noticed we are not answering quickly. We are not the usual rock ‘n’ roll guys. We are not rowdy party dudes. We are more into the music than the err…. [life style] … we let the other bands do the partying.”

So would you say you’re a technical band then?

“No, it will be all new stuff...”

“No, not at all. We feel it here [they slap their chests] heart and mind. We listen to such different music. From Northern Soul to West Coast sounds and heavy metal and rock.

Motown, folk music, anything… We’re music lovers. First and foremost. It’s all about the melodies..”

Tell us about the new stuff then…

Anthems?

Will you be playing some of the songs from that EP on stage today at the HRH AOR festival?

“Nah!”

“Yeah! That’s what we try to do. If we do a cover, we wanna make it our own, of course.

So we don’t want it to be note-for-note. We tried [the song] out for maybe a year in a live environmnet to see how it worked and we really liked it and we have a fantastic video for it…”

So you are glam rockers dressed as Marvel heroes / anti heroes… How come Marvel Comics Group haven’t sued you yet?

“Well, we have the dots over the A ” “Actually, we got an email from a guy who wanted to make a comic strip of the band.

[Which is fun] We did that early on with our first singles. In the beginning we didn’t use the umlaut over the A. A lot of Swedes pronounce the band-name “MELDVEL” and in Germany they say it it like “SCHMAEGEL” but for us just “Marvel” is best…”

Congratulations on your successes so far...

And welcome to Hard Rock Hell and good luck with the new album.

Märvel were talking to @neilmach 2016 © At HRH United on the AOR stage Images by Neil Mach

Micky Moody “Black & Chrome sounds good...”

MICKY MOODY

INTERVIEW

Words & Images @neilmach © 2016

ANNOUNCES FRESH PROJECT

We met up with the English guitarist MICKY MOODY in the comfortable surroundings of the O2 Academy, Sheffield during the 2016 HRH BLUES Weekend (reviewed in this edition.)

Moody had arrived at the venue with the singer Ali Maas.

Ali Maas began singing as a teenager in Horsham, Sussex.

As a young adult she gigged with indie-band “Playing at Trains” and at this stage began to develop skills as a songwriter. She formed the rock band McQueen with Levitation producer Mike Dignam and she met up with the Russian rockers Mumiytroll appearing on their albums as a backing vocalist.

We had already seen this talented blues singer performing with Papa George as well as with Alan Glen, John O’leary and the Allstar Blues Revue.

Micky Moody is most famous for his work with rock bands Juicy Lucy and Whitesnake. More recently he has been working with the Chris Ousey/ Laurie Wisefield project SNAKECHARMER. We sat down with both musicians to discuss their plans: Tell us about your new project “It’s called MAAS and MOODY and it features ALI MAAS on vocals and myself (MOODY) on guitars, as usual… And there’s gonna be a brand new album — all original material — which has already been mastered (last week)...”

“We haven’t got a release date as yet but it will probably be out the end of July, with a bit of luck. It will be released on Armadillo Music. That’s what we’ve been doing…”

How many shows have you done together?

“Just done a couple of local ones, really. The BULL’S HEAD in London. It’s been building up and we have been incorporating the songs gradually. It’s been more writing, really.”

“Though here at the HRH BLUES festival we are performing a MICKY MOODY show— though we will be doing some of our new stuff from the album.”

We have heard rumours that your son is involved with new project?

“Yes, my son’s on drums. My elder son, yeah. With Roy Parsons on bass [also with Tim Hain Band] Stuart Dixon on guitar.”

“Stuart hasn’t worked with us before. But we’ve had a couple of gigs, as I told you. I haven’t been on the road, really, since I did the Snakecharmer gigs, back in November… so we’re looking forwards to doing a tour — probably more towards the end of the year — once the album is out. ” So did ALI help with the writing process? “ Yes, we co-wrote everything. And it’s not like Snakecharmer! I think we have gone back to the kind of stuff I used to do in the 1970s. A lot of slide stuff.

Down-home. Swampy. Bluesy. Rocky.”

“I had been a pro for 10 years before that. Playing all kinds of stuff. And that’s what I like to do. And you’ve seen me with Papa George, the kind of roots we have, we just wanna keep it soulful and happy. And cool too…”

“Don’t get me wrong, Whitesnake material is great stuff. But I don’t want to do it any more. I just did it with Snakecharmer… It’s great stuff but I’d rather leave it to other people to do. I can’t go any further with it. I want to do something different now. ” “I really enjoy working with the people in this new band. We’re all friends and there’s no shit going on, you know what I mean? It’s good vibes with this band. ” What is the title of the new album ?

“The title is Black and Chrome” ALI MAAS: “ Yes, we feel definitely swampy! And it’s Why? quite an eclectic sound that we are developing. And there’s a rock element to it. I have got rock blood.

“It sounds good! ” And Micky has got all sorts of blood — God knows what kind of blood is in there — but there’s all sorts..”

ALI MAAS: “ There’s a lyric on the album… One of the songs is about a trip up the Mississippi on the How do you keep the energy and the vitality up? back of a Harley and motorbikes and that do figure in the subject matter of the album… ” Moody: “Well, we don’t intend to be living on the road all the time. And this project won’t interfere “Also Black and Chrome are the optimum colours for with my other gigs… I really love playing with Papa a classic looking finish. The colours go well together.

George, for example. We’ll obviously be doing live shows but I have done a lot in my time. I like work.

It’s classic rock ‘n’ roll. Stylish. Timeless. And that’s what we are gonna try and emulate. It may been That’s true, but I don’t want to spend my life on the sleek and sharply clean, but occasionally there might road. ” be a bit of mud up the side… ” “We have already started writing the next album!

And the first one isn’t even out yet! We can’t stop.

Well, good luck with your new project and the release of the album. We cannot wait to We love the creative process. And I think I just hear it! have a natural energy inside. And of course its the excitement. I think basically, its just that we both do what we wanna do! Without being too indulgent, you Micky Moody (with Ali Maas) was talking to know what I mean, it’s still lively stuff (it won’t bore neilmach © at HRH BLUES 2016 anyone) but we’re not gonna do the obvious stuff. ” All Images: @neilmach 2016 ©

My final Hoorah! With the rock stuff and the Whitesnake associated stuff was with Snakecharmer.

Yeah, that didn’t really work out for me.”

“For whatever reasons. So this new project is really what I wanna do. It’s the stuff I was actually doing before I joined Whitesnake. In 1978 I helped form Whitesnake but ”

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

Sugarman Sam “We make such a racket...”

SUGARMAN SAM INTERVIEW

Words & Images @neilmach © 2016

SAM’S RECORD EDUCATION

The Hampshire (UK) based blues-rock machine SUGARMAN SAM & THE VOODOO MEN are intent on bringing back the hard-hitting and explosive authenticity of the blues/rock sounds of the 1960s and 1970s to a venue near you.

Sugarman Sam himself gained his first break in 2007 as guitarist for an outfit called ‘Ripslide.’ The band earned plenty of localised interest and were soon frequenting the club circuit. They played a set at the ‘BASINGSTOKE LIVE’ festival.

Sam soon became the go-to session man for local acts. The VOODOO MEN were formed in 2013. The quartet includes Gareth Goodwin on bass guitar, Paul McCormick on keys, and Dave Miller on drums.

Their début album Record Store Education is out now…

We chatted with the band at this year’s HRH BLUES weekend in Sheffield.

What’s going on right now in the Sugar & Voodoo world?

“We’ve just done ten dates on our mini-tour and this is our final stop. This has been the pinnacle. It’s awesome here. On this tour we have played to full venues, we have played to empty venues … But this has just been the highlight.”

We were excited to chat to you today because there’s a buzz going around about Sugarman Sam and the Voodoo Men Sam: “Well I think that’s good. And it is probably due to our E.P. And our album. So a bit of back story for you: We wanted to get onto the blues circuit and we wanted to push into Europe. And we had just been offered a slot at the introducing stage in Skegness.

[Reviewed in our Cat Scratch Issue 2016 ] and we said “We don’t want to go to Skegness with a product that’s been out for too long” — so let’s do the album!

We didn’t know how we were gonna fund it. We didn’t know where we were gonna do it… but at least we decided it should be done.”

“And so in January of this year we went into Embassy Studios, which is near us in Hampshire and we knuckled down to do nine tracks — we’d gigged those songs for a long time — so we knew what we kinda wanted and once we got them down Gareth was the driving force behind the artwork and he chose the songs that would go onto the final product.”

Gareth: “Yes I know someone — Liz Watchurst — who is a great artist. We were gonna get her to draw something but we had nothing. Nothing at all. We had a working title “Shining Light” but that was it.”

“But when I was listening to the lyrics I noticed that one of the lines was: My education was a record store. So I thought: hang on, we could go for “Record Store Education.” Though, clearly, we are not gonna have any photos of Sam when he was like kneehigh and running around a record store. But we did have the next best thing. We got Sam’s son. And so we took him to a record store [Sound Machine in Reading] — he had never been in a Record Store before, actually — and we said “Go and play… enjoy yourself.” We gave the photos to Liz and she came up with the end result. It worked really well. And the band liked the result.”

“So what we do is… We say, this is who we are, this is what we do. We start drawing people in. And when a radio show plays us (the band have been aired on Blues Radio) they might announce “This band are influenced by Free and Gary Moore ” … Then if people buy our record, or just listen to us on the radio, and after that they go and buy a FREE record — that’s an education. That’s a blues education… for people aged 19 or 20…”

Paul : “We don’t want to pigeon-hole ourselves too much. We are a bit too rock for blues and a bit too blues for rock! ”

Gareth: “And sometimes the word “blues” turns people off. My local pub has live music and I saw that they have bands come in to play. So one day I went in, asking to play a gig. I said, “I am in a band.”

She said, “Great, what do you play?” I said, “Blues.”

She said, “Not interested. Don’t like blues.” I said, “OK. I’ll give you a recording.” So I played one of our songs for her, on my phone. She said, “Is that you?” I said, “Yeah.” She said, “In that case you can come in Paul : “Though, what’s nice is that by giving ourselves here and play next month!” that kinda pressure, the album is recorded largely It’s almost like you have to sell Blues the live. ” “other way around.” You have to say “This music is “The Graveltones.” Or this music is “Mind you, it’s fair to point out that the guy added the keys on later (I wasn’t around for that.) But the “Royal Blood.” Or this music is “Sugarman Sam and the Voodoo Men.” And if they like it, great thing is that it’s got that live feel.” then you can admit that it’s blues-rock…

Sam: “And we need to give a big shout-out to a company called Promo-Discs who printed it all for us. It’s “Yes, exactly. We don’t want to put our music into a single-guy operation and we gave him a pretty tight any kind of pigeon hole because of that. We play what we play. We play what we like… And we love deadline. We said, “We need this in one week.” And what we play.” he did it. “ “We wanted to go to our local blues club [The Basingstoke Blues club ] to sell our stuff but the owner Rex said “You can sell your merch here but you gotta have an album to sell, I don’t want an E.P.” So we basically had just 3 months to get organized, to get into the studio and gain some funding. All the mixing, mastering, artwork, printing etc. It was tough to do it all in three months!”

“When we have [go out and play] Well, we make such Paul: “Yes, it was squeaky-bum time for a couple of days. I’ll be honest. It was tight. But we did it. We did a racket that people can’t ignore us. And we hear them say, “Do you know what? I digged that… I really it all in three months.” digged it…” People will come over and say, “Wow! You’re good…What type of music do you call that.”

So where did your musical influences come And we say “Blues” and there it is…” from?

Sam: “Well for me, the first band I ever got into was Guns N’ Roses. And all I did was go back. Sorta thing.

So when I heard people like Eric Clapton and Free it just set something off in my head. The thing about us — the message we are trying to get across is — right from early on in our career … if we were in a pub and there were people there of our age, they would bop along. And they’d say “Yeah, this is really good.”

But if you handed them a FREE CD or a Clapton CD they’d go “Hold on, what’s this?” And maybe they wouldn’t listen to it.”

“Wham! We have converted someone. Converted them to the Blues” Sugarman Sam and the Voodoo Men were talking to Neil Mach at HRH BLUES SHEFFIELD Check their album out: Record Store Education Link: https://www.facebook.com/ssvdm Words & All Images: @neilmach 2016 ©

Words @neilmach © 2016 Images Provided by Artist or Artists’ Representative

SANDY DENNY I’VE ALWAYS KEPT A UNICORN

The incredible English folk singer SANDY DENNY was the silky voice of FAIRPORT CONVENTION during their Liege and Lief emergence in 1968-9 – this was the album that launched folk rock and re-energated the English folk movement.

Lady Alexandra Elene MacLean Lucas [Sandy Denny] was also a proficient songwriter and pianist who worked with British folk band the Strawbs before joining Fairport Convention in 1968.

She also formed the folk-rock band Fotheringay in 1970.

Hard rock fans will be aware of her existence because she shared a duet with Robert Plant on the “The Battle of Evermore” track on Led Zeppelin’s fourth 1971 album.

Born in the historic parish of Merton Park on the outskirts of South London, DENNY studied at the Kingston College of Art (after starting a career in nursing) and she spent lots of time at the folk club on campus.

Eventually Sandy abandoned her studies altogether to devote her time to performing folk music.

While she was performing at the famous Troubadour folk club in London, a member of the Strawbs heard her singing and invited her to join the band replacing departing lead vocalist Judy Dyble. [Dyble went on to join Giles, Giles and Fripp which evolved into King Crimson.]

In 1974 DENNY returned to Fairport Convention for a world tour.

Her own headline performances in 1977 — to promote the poorly recieved Rendezvous album — were some of her last ever public appearances. On April 1st 1978 — several days after a nasty fall down a staircase — DENNY performed at a charity concert in Byfield.

Two weeks later she collapsed and fell into a coma believed caused by head injuries inflicted in the accident. She died at Atkinson Morley Hospital in Wimbledon on 21 April 1978 aged 31.

All those who knew DENNY well recall how brilliant she was as a solo acoustic performer. This April a new collection of Sandy Denny songs “I’ve Always Kept A Unicorn” — The Acoustic Sandy Denny — becomes available.

This 40-Track / 2CD set captures DENNY at her most intimate as she runs through stripped down arrangements of songs with Strawbs, Fairport Convention, Fotheringay and The Bunch and also from her four solo albums.

Exclusive to this set are 3 demos from the original recording sessions for the 1972 Bunch album titled “Rock On” including a beautiful duet with Linda Thompson on Phil Everly’s “When Will I Be Loved” and Buddy Holly’s “Love Made A Fool Of You” and “Learning The Game”.

“Sandy was, as are our most brilliant performers, much better solo; I so wish she had recorded a solo album, and told her so.” (Linda Thompson) Link: http://www.sandydenny.co.uk/

DANNY BRYANT BLOOD MONEY

DANNY BRYANT is a 36 year old English blues guitarist and singer-songwriter. Born and grew up in Royston, Hertfordshire he has been playing the guitar since he was 16. He turned professional at 18. Since then he has toured all over the world, appearing alongside such legends as as Buddy Guy, Carlos Santana and Joe Cocker.

Danny Bryant’s new studio album “Blood Money” is his third to be produced by Richard Hammerton (The Libertines.)

The new album sees him collaborate with the re-energized Walter Trout — as well as work with his Whitesnake-hero Bernie Marsden (on the track “Just Won’t Burn.”) The album is, in many ways, his expression of thanks to the progenitors of the Blues…

The album opener is the title song “Blood Money” (feat Walter Trout) which is a chortling good number with snickers of guitar and hearty bursts of synth. The vocals are strained and stressed… filled with a strong desire to live. And the guitar solos cut to the bone in neatly dissecting incisions.

Until the whole pot of sound overflows with unchecked emotion.

“Master Plan” has a neat Zeppelin-style riff that’s more “Whole Lotta Love” (1969) than seems entirely necessary. But the boogie keys add some exciting rhythm and the gravel-throated vocals add passion. Yes, this is a whole lotta fun.

“Unchained” harks back to the days of Albert King and Stax records. There is a delicious twang here with a groovy, sluggish back-room piano.

It’s a sultry affair with delicious organ and sticky ‘n’ seductive noises created by the niggling guitar. Huge passionate horns add the fruity garnish to this humid tickler.

“On The Rocks” is an homage to Albert Collins, and is very, very traditional with splashes and sparkles of guitar exuberance.

“Holding All the Cards” is an ace boogie-blues number, played with feeling and written as a tribute to Jimmy Reed. The thumping bass and insidious riffs are terribly addictive and the song will get your head a-bobbing in no time.

“Just Won’t Burn” is probably the most beautiful piece on this highly successful L.P. If there was any justice in the world, this would win any “Critics’ Choice” award out there. It is an indie rock number that can be enjoyed on so many different levels. An education in song-writing and structuring, it is also full of incredibly passionate guitar-work and the kind of silent darkness that predicts the shadow of sin and earnestly hoped-for deliverance.

Bracing brightness and profound darkness … it’s all here in this significant album …

Danny Bryant —first solo release for 20 years...

Images Provided by Artist or Artists’ Representative Words: @neilmach 2016 ©

This is a thorough exploration of nostalgia & loss and, ultimately, forgiveness.

Incredible.

TAMECA JONES Pimptastic Jazz-Soul Tracks

Austin-based soul-pop songstress TAMECA JONES was one of 2015’s Top 3 Female Vocalists [Austin Music Awards] and possesses a voice that dribbles with sweetening tones — and reflects and absorbs those ever-reeling, slowly pulsating & incredibly smooth jazz-rock and soul numbers she chooses to perform.

We have been listening to “Hot and Bothered” and “Head Over Heels” both taken from Tameca’s forthcoming EP : The voice is surprising clear.

It shines like the chrome arches on a ’32 Ford Roadster found cruizin’ the streets of Dallas. The rhythms are blue and rudish.

And the wiggle-in-the-bum beat is contagious. This is a joy.

“Head Over Heels” is different. A sad lament. With heavyhearted notes and a glistened tear to be found in each edge of the rhythm.

The gloss-bright vocal yelps in pain.

But this is not hard to endure (for us) … it’s an ode to heart break with the classic pain that runs through each and every tragic step.

Words: @neilmach 2016 © Link: https://www.facebook.com/Tameca-Jones

Moulettes— bellflower prettiness

MOULETTES

Preternatural

Words: @neilmach © 2016 Main Image: Neil Mach © Other mages from artists representative

GLORIOUSLY TUSSOCKED HARMONY

THE MOULETTES produce strong images, creative compositions, compulsive dramas and a number of other memorable moments too. They are famous for their three-part harmonies, amplified cello, distorted bassoon, funny auto-harp, mysterious guitar, and experimental rhythms — and all their songs come with a thick slice of black humor.

It was in early 2015, when reading an article in the New Scientist, that singer Hannah Miller began considering the concept for a new album — “I’ve always been fascinated by the natural world” said Hannah. “The article compelled me to look deeper and start exploring all the surreal and beautiful diversity that exists. There’s so many phenomenal creatures out there we thought they deserved their own album.”

The new Moulettes record aims to investigate and honor the richness and the engaging diversity that exists in our natural world, and to analyze our relationship to it … Our similarities, our differences and our role as guardians …

We had a listen:

The album opens with some extensive power-yawns — created by hypnotic cello — these are coupled with pondering monster steps of rhythm and a strangely shaded 1960s style Public Service Announcement.

This slips into “Behemooth” as easily as a baleen whale sliding into the ridges. An anxious piano key is eagerlyfingered and these tinkles meet up with the giant synth strides that march around the barony estate of the song with noble significance. This is the most “prog-like” rock that we have ever heard from the Moulettes.

Angry sheets of guitar, plus odd yet architectural time signatures, all tend to improve the atmosphere of the number and lend it gravitas.

Of course, the sweet melodies and the heart-fluttering harmonies are still present. But here the vocals sprout like bluegrass fescues on Arctic cracks, rather than taking center stage (like they usually do) — and for this we are grateful. This is a very big number and very impressive too. And so it should be… It

is, after all, describing the leviathans of the deep.

The second track on the album is entitled “Underwaterpainter.” On very dark nights, the seas can present us with some wonderful and beautiful spectacles.

Sometimes these underwater paintings are the work of bright bioluminescent bloom or maybe cavorting jellyfish. So this song has that same firefly flicker and a watery texture.

But there is also a dark and sensual strip that runs right through it.

Like a hunchback fin busting through the water. You might adore the whale-song “wee-wees” (or maybe not, we couldn’t decide. They might well be a Marmite addition to this song’s recipe) — but you will almost certainly love the folds and neat pleats within the melody. And the dark husky voice that flirts with the others… This is heady and dramatic…

“Puffer Fish Love” is a great track. It’s about these sugar toads and sea squabs.

They are amongst some of the most poisonous things in our galaxy.

Yet, like many fish, they are magically romantic too. The male, for example, will perform a jaunty dance to entice the female into his well-crafted Nazca nest. After fertilisation, it is then the male’s role to look after the eggs.

He performs this task with almost religious diligence. The vortexes are always spinning in this decorative song and the rhythms help to illustrate the nest-making rituals and the courtship. Sometimes, this track sounds like Latin rock fused with elegant jazz riffs.

It is magical.

The album ends with the glittering glug and gulping bottledcrocking beat of “Silk.” This song attempts to unspin the mystery that is silk. Although many animals produce the fiber protein — spider silk is perhaps the most miraculous of all of these threads. Spiders produce at least six different types of wire, for things like hot air ballooning, knitting, trapping, drag-line acrobatics, nesting, and also communicating with others. They even fix “warning lines” to their nests so that they can be alerted when intruders are on the prowl. And we thought that spiders just made cobwebs!

The tendrils of ultra-thin softness and the delicate moonlight strands on this track help to amplify the incredible qualities of natural silk. So mystifying are its mechanical properties (tough as Kevlar, strong as steel) — silk seems almost miraculous.

Like most Moulettes recordings, this bristles with bellflower prettiness… it has great tufts of discordance and some glorious tussocks of harmony.

But this new album is far less nebulous and confusing than previous offerings.

And, frankly, it is much less avantgrade and hippie than we expected.

And we think that is a good thing.

Here is a suitable candidate for best art rock album of the year.

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

ANDERSON and STOLT Team Up for New Album

ANDERSON/STOLT is a new duo consisting of legendary Yes vocalist & singer/songwriter Jon Anderson with and prog-rock superstar Roine Stolt (The Flower Kings, Transatlantic.)

The pair have announced the release of a collaborative album ‘Invention Of Knowledge’ which is due out 24th June 2016 via InsideOut Music.

Jon Anderson told us “Music is always the driving force in my life…working with such a wonderful musician as Roine Stolt made the creation of this album very unique,we are very excited with the release of ‘Invention of Knowledge’ ”

Roine Stolt added “It is not aiming at being new Yes music — just new music — modern and classical, rock and ethno, tribal and orchestrated, grooving and floating. Hopefully in the true spirit of “progressive”— leaning forward, surprising and also comforting with familiar run-arounds. ”

“We’ve been “inventing” as we go along – Jon is an endless source of new ideas. We’ve been bouncing ideas back and forth for months and as a result there are probably dozens of versions of these songs.

It’s been a very interesting and rewarding time and the result is just insanely detailed.”

The idea came to life swiftly off the back of a performance from Roine’s band Transatlantic, and Jon Anderson on the Progressive Nation At Sea Cruise in 2014, and was initially instigated by the InsideOut Music label boss Thomas Waber.

Waber said, ““I have been talking to Jon for ages about making an album of ‘Yes music’ – as Jon calls it – and Roine seemed like the perfect guy for him to work with. I am really happy that it has finally happened and I am also thrilled with the material they have come up with. I think it will please a lot of fans!”

Written & recorded over 18 months, Roine and Jon swapped & refined ideas by sending tracks to each other via the internet.

In March 2015 a group was assembled by Roine to recreate a live sound in a studio environment.

Joining him was Tom Brislin (who played on the Yes Symphonic tour) & Lalle Larsson on keys, Jonas Reingold & Michael Stolt on bass and Felix Lehrmann on drums.

The sessions were also bolstered by appearances from Daniel Gildenlöw, Nad Sylvan, Anja Obermayer, Maria Rerych and Kristina Westas who all provided backing vocals.

Check www.insideoutmusic.com for more info near the time.

THE RIDES NEWS OF PIERCED ARROW

THE RIDES — featuring Stephen Stills, Kenny Wayne Shepherd and Barry Goldberg — are about to release new album Pierced Arrow this May 6th.

With more pioneering blues-rock attitude than you could shake a diddley bow at… and proudly presenting their disorderly house-party of a record (though it is speckled with soulful introspection) — THE RIDES present PIERCED ARROW and are letting their growing legion of fans know they’re in this for the long haul.

Their ongoing and fully unrestrained freewheelin’ journey is all there in their name THE RIDES...

When they came up with the moniker for what Stills calls “the blues band of my dreams” the two-time Rock and Roll Hall of Famer and five time Grammy nominated guitar great Kenny Wayne Shepherd and renowned Chicago rock/blues keyboardist Barry Goldberg knew it was more than just a one time, multi-generational fusion of legendary musical souls.

The partners envisioned – and have since set out upon – a dynamic, wide open road ahead. The trio laid out their simmered down pot roast of sounds on the debut album Can’t Get Enough– and once they had started writing, recording and jamming together, they just couldn’t. Before its release, Stills said, “As good as I think The Rides are now, we can’t wait to get some live gigs under our belt.”

Goldberg echoed, “As proud as we are of the album, fans are going to see something even more exciting from us when we start playing these songs live.” And they did.

Those few frenzied months of touring the U.S. – combined with hitting the Top 40 on the Billboard 200, and a nomination for Best Rock Blues Album at the 2014 Blues Music Awards – sealed the deal. THE RIDES were in for the long haul.

We have been listening to the new song Virtual World.

This is spiny yet reliably melodic. It’s as mellow as a sipping beer shared in the harvest moonlight with Neil Young …

The guitar sparkles, the rhythms rustle and the vocals will charm your socks off.

The Rides — mellow as a sipping beer ...

Words @neilmach © 2016 Images Provided by Artist or Artists’ Representative

Words: @neilmach 2016 ©

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

SUZERAIN New Album — IDENTITY

Words @neilmach © 2016 Image Provided by Artist or Artists’ Representative

West London’s massive and celebrated electro rock outfit SUZERAIN will release their new album “Identity” on May 27th.

The album was produced by Grammy winner Steve Lyon — Steve has previously worked with the likes of Depeche Mode, The Cure and Siouxsie Sioux.

Suzerain reason that this record has extended their artistic vision to the limit, accomplishing a fulfilling and reflective journey of self-discovery in the process. The resulting piece unifies the elements of indie, alt-rock, industrial into a complex wall of sound.

“We made this album across two years,” reveals singer Thomas Pether. “So it took a while to break into something we wanted it to be. Identity is something that is difficult to grasp on a day-to-day basis, it can change but isn’t always obvious. For us, this album feels like our identity at the moment.”

The album begins with the bubbling dark anxiety of “Identity” filled with string rubs, tape effects, dropped semitones and cymbal flares.

“Dark Dark” (it has already been released as a single in 2014) possesses scratched and driving rhythms. The bass-baritone voice calmly pronunces the learned words. This is almost a liturgical piece as it increasingly reflects upon the gloomy state of life in the suburbs. It is a provocative and intelligent piece of artwork.

“I Know You So Well” is like a Rorschachean blot… graphically illuminated.

From time to time white pointed flares of guitar burst through the shadowy mental imagery. This song is heavily weighted too, and brings with it some linear luminance. Nevertheless, this is as black as an ink pot.

The album closer “Manhattan” (also released first in 2014) is another of those antiphon-like tunes. With voices & sounds rising like gas vortices through whispered openings. The nucleus is dark, with homogeneous chromatins and tinkled piano play that seems disoriented against the smooth contours of the riff. Shapes, colors and movements are all carefully dissected and re-arranged here. This is a productive and imaginative album. Beware, it may not grab you on first listen, but the ideas run-deep.

NO SINNER — Images: http://nosinner.com

NO SINNER Old Habits Die Hard

NO SINNER will be releasing their highly anticipated new album “Old Habits Die Hard” on 20th May through Provogue& Mascot Label Group. “Boo Hoo Hoo” [2014] was a classic debut album from the Vancouver powerhouse frontwoman COLLEEN RENNISON.

It was the young singer’s first endeavor into a rock n roll world. The result of years spent fronting cover bands with players 10 years her senior, writing with more experienced musicians who were always eager to give direction.

Boo Hoo Hoo was messy yet full of spirit and risk. It was the sound of staggering youth — a life of adventure — of opportunities and hairy risks.

New album “Old Habits Die Hard” was executive Produced by Ben Kaplan who has worked with artists as diverse as Biffy Clyro, Shakira, Gallows, Rise Against and Atreyu

The new release sees the band locomote full-pelt into the limelight… screaming and snarling their way to victory…

Harmonicas yell above churning rhythm sections and set the pace on the track “Leadfoot” as Colleen growls “You are mine. For the taking.”

Janis Joplin and Etta James are easy comparisons.

But, as Colleen explained, “I’m doing Robert Plant up there too. It’s a bit of an androgynous album—a rock ‘n’ roll odyssey through heartbreak and debauchery, good times and bad...”

It’s a theme that runs through the album.

Blurring the lines between good and evil, man or woman, saint or sinner.

NO SINNER use rock n roll to biff their way through the walls of social convention.

As Colleen told us, “I live and breathe rock ‘n’ roll. It’s a disease to want to push the envelope...”

“I never really felt like I belonged anywhere, and then I found the people that felt like me, that woke up every morning with a hole in their heart that can only be filled by music.”

Old Habits Die Hard is a more accurate portrayal of where her head is right now.

Comparing the new album with Boo Hoo Hoo she explained, “It’s like the difference between your high school grad photo and your first mug shot.”

She brings it all home on the track “Saturday Night.”

“Tell you once babe, I’ll tell you twice, I’ve got more to give than sugar and spice.”

Link: https://www.facebook.com/NoSinner Old Habits Die Hard by No Sinner is released May 20

LOST AND PROFOUND Goodbye Mine

LOST AND PROFOUND are a dark and sophisticated indie rock team from Toronto, Canada featuring Lisa Boudreau & Terry Tompkins — whose album titled Goodbye Mine is a treasure-box of poignant melancholy.

The album begins with “Superhuman” which has brushstrokes of sound that cradle those sweet and beautiful butter lips.

This song feels like it barely runs along the edge of giddy excitement. Sad enough to cry, though not bravehearted enough to be triumphant.

And maybe that’s what living each day is like … never quite knowing if we have to shout out that we are here … or we should hide away? Never knowing if we should exclaim a burning love… Or shy our love away?

“Until It Broke” is beautifully braided. The voice here is intertwined with cello sounds and these coil around the darkening root.The pace is low spiralling too, so it begins to pull down the listener— until it becomes almost slumbrous to bear... it collapses into the ashes.

“Goodbye Mine” might slip from under you, like a velvet carpet on a polished floor. Instrumentally, the song is a series of sighing leaps and the guitar has a characteristic 70s golden yawn to it.

Ultimately, this is a smooth and sweet-easy listenin’ number.

The album concludes with “Spectre” which has emotional vocals that are perfectly balanced between dark chocolate and dramatic cream-soprano.

Low notes play an important part here too … They create a dark voltage that constantly tease the high-pitched perfection of that angelic voice.

Here is exquisitely beautiful musicality with a voice that is especially delicious…

This album is full of extraordinary feeling and is supple enough to keep your heart beating and your mind wanting more.

Lost & Profound — exquisitely beautiful

Words @neilmach © 2016 Images from artist or artist representative

Words: @neilmach 2016 © Link: https://www.facebook.com/www.lostandprofound.ca

AYREON

Albums Now Available Digitally

AYREON is the flagship musical project of the Dutch composer and multi-instrumentalist Arjen Anthony Lucassen.

Ten years with hardrock band Vengeance brought Lucassen approval in Europe, Japan and the US. When he started writing and recording on his own in the early 1990s, it was with funding from a Japanese record label that got the ball rolling.

The Final Experiment was Ayreon’s first album, released in the Netherlands in 1995 by the start-up label Transmission Records.

This record set the tone for his project — intricate sci-fi/fantasy storytelling and timeless progressive rock featuring an extraoridinary line-up of the world’s best vocalists and musicians.

The follow-up to the first album was Actual Fantasy (1996) — this turned out to be a relatively modest production, but the fantastic reception of these first Ayreon albums lured prog and rock superstars into the AYREON universe.

Famous singers and instrumentalists soon lined up up to participate.

When RAW RAMP reviewed the 2013 concept album “The Theory of Everything” with characters played by John Wetton, Marco Hietala, Cristina Scabbia and Tommy Karevik.

And with guest musicians such as Rick Wakeman, Steve Hackett, Keith Emerson and Jordan Rudess, we said the album possessed “Skirls and whipped beats but amid these there is a sense of completeness, cohesion and unity…”

Mascot Label Group has now announced the signing of Ayreon.

“At first I didn’t feel the urge to change labels.” Said Lucassen “But in the back of my mind was the feeling that I really liked the atmosphere and the people at Mascot. This Dutch company, close by, just felt good…”

Ayreon told us.

The Ayreon catalog, comprising seven studio albums, has been released on various digital platforms and is available now.

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

Big Boy Bloater — A stunning doozy...

BIG BOY BLOATER LUXURY HOBO

TENSELY CHARGED SLUDGE

BIG BOY BLOATER AND THE LIMITS have released their stunning new album “LUXURY HOBO.” It is out now on Provogue/ Mascot Label Group.

With a fascination for textures and subtle narratives LUXURY HOBO sees BLOATER in a tougher, deeper and more meaningful territory following a bout of depression in 2013 which led him to take a much darker tone.

The album starts with “Devils Not Angels” which has a regular boogie ‘n’ roll swing to it,with acid-key notes and crumbling drums. The voice is raspy ‘n’ guttural and filled with passion

“It Came Out Of The Swamp” is filled with bruising low notes. These wallow and reverberate like stomping monsters. The guitars sting like mosquitoes and you will love the synthesized riff.

And the vocal is bold and gabby…

It’s difficult to imagine that the chants, hollers and twangs that came out of the Deep South were once considered revolutionary and threatening … the devil’s music that had to be kept hidden in juke joints located outside county lines.

But the backwater uprising caught the imagination of the kids and the sounds transformed into rhythm and blues, and finally, into rock and roll.

So, yes, this came out of the swamp.

And it was almost killed at birth … but the monster lives on.

There is a lot of undeniable common sense here.

For example “I Love You (But I Can’t Stand Your Friends)” which has a Rolling Stones vibe and parched vocals.

This number is smoked and moanin’ and is filled with the kind of tensely charged sludge that you cannot wipe off ‘till the illuminating guitar break sparkles free.

Big Boy Bloater once “knew a man” who had a “Robot Girlfriend.” She was pretty and cute but was largely ignored by the man she was expected to slave for.

This is a cautionary tale — advising against ignoring the plight and wishes of your girl (be she animatronic or real-human) … lest she goes haywire and her head explodes (or something like that, anyway.) This has fast guitars and a pleasantly motivating rhythm and is filled with naughty frolic.

When we saw Big Boy playing this album live, he burst straight into the invigorating numbers like “Devils not Angels” with relish.

Big Boy produced belter-afterbelter at the super-sophisticated live London music lounge of Zigfrid von Underbelly in Hoxton Square.

His voice was as gravelly as a Mississippi stream ‘n’ more guttural than a dusky gopher frog calling out for a mate across dark swamps.

Big Boy seemed eager as a beaver, filled with passionate energy, as his dark eyes pierced and scanned the room… whilst his hands moved fast over slim frets.

One of our favourites at the live show was “It Came Out of the Swamp” — this had much the same rhythm and texture as Norman Greenbaum’s “Spirit in the Sky” (probably most affectionately remembered as a Doctor and the Medics song. )

This was a marching success, with fizzy synths (unusual for a blues song?) and a chorus that got stuck inside our heads, clinging on for dear mercy, like a squirrel raccoon.

“I Love You (But I Can’t Stand Your Friends)” had an old-skool RnB vibe and sunbaked vocals … with Big Boy cooing along. We also loved the precipitating rhythm and the mischievous cavort of “Robot Girlfriend.”

The show was completed with his old(er) classic “Leonard Cohen” which was filled with electricity, energy and plenty of double-whammy.

It was a stunning, melting, doozy of a show from the big man of British blues.

If you like your blues gumbo to be richly intense and full of silt and mud splashes … then you better grab Luxury Hobo by Big Boy Bloater & The Limits right now!

Words & Main Picture: @neilmach 2016 © Link: https://www.facebook.com/thebigboybloaterpage

Foxes - melancholia for the masses...

FOXES

All I Need Words: @neilmach © 2016 Images provided by the artist or their representative

chromium plated effulgence

English singer-songwriter FOXES (Louisa Rose Allen) is from Southampton in Hampshire UK. She released her new album “All I Need” this Spring.

FOXES originally attended ICMP (Paloma Faith and Loick Essien, were students at the institute, among others) before dropping out to concentrate full-time on her writing and performance.

Her mother suggested that her singing voice reminded her of “Foxes in the night” (not particularly supportive, you might think) so Louisa chose this stage name to stand out from others in her field.

In 2014 FOXES appeared as the opening act for R&B musician Pharrell’s Dear Girl Tour, playing packed arenas throughout Europe.

During this period she began working on and writing her new album, the follow-up to “Glorious.”

While, for the most part, the album consists of pleasant Radio 2 friendly easy-listening (perfect for cuddling on the couch,) the listener can also expect some clever sound experiments.

FOXES cites Björk, Kate Bush and Patti Smith as her major influences. Most of the songs on this disc, however, are equipped with upbeat rhythms and a cute heart.

We listened to the album: “Cruel” was written with the folkmusician Kid Harpoon and reminds us of “Chandelier” — the song

by Sia.

Perhaps it is not so glitteringly magnificent as that number.

But this still has the same kind of soothing and reassuring nature. A chip-beat beat runs along like an obedient puppy.

The voice sways as it pitches.

And the lyric is all about trying to sever an unhealthy link between two baffled hearts.

Take care not to be woken by the alarm bell when it rings ... this is so meditative that you are lulled into warm-hearted sleepiness.

“Better Love” is chromium plated effulgence. The voice here is like ice-cool raindrops sliding down cheeks. Or the bright sun on a sad day. In other words, there is bittersweet joy to be found lurking in the most pensive of moods .

This track is helped along by the swooshy Dan Smith [Bastille] and all the better for it. Love that!

The chorus has that thud we might expect from Florence + The Machine and that’s what this is, really more like art-rock than pure pop. This is large and beautiful and mixed with tablespoons of honey and emotion.

“Devil Side” is the most popular track of the album, according to Spotify. This is co-written with Grammy Award-winning singer Dan Wilson [Semisonic]. No wonder this sounds like an Adele number because Dan has co-written some of the most beloved Adkins numbers.

This track has a finger-click rhythm and lots of mournful cellos.

It is tear-drop melancholia for the masses.

The album’s first single “Body Talk” was released as a single in the Summer of 2015 and reached number 25 on the UK chart.

It was co-written with Jim Eliot (he plays keys too) and is a pop ballad that sounds like it was found in a dumpster outside Château d’Hérouville circa 1977.

It has the emotional delivery and a bubbly foamy beat you can picture Legs & co dancing along with. Just before the Wombles.

“Amazing” was co-written with Kane Gang’s Martin Brammer and Jonny Lattimer (writer for Ellie Goulding.) This has a deep dark mire, and a clap-along pace. The voice is fragile, breaking under the strain. But the chipper and lightly spray-hammered synth (with glockenspiel notes) helps to ease the discomfort that (we dare to suggest) lingers beneath the surface.

FOXES is a performer who rarely steps away from her security-blanket to try any trendsetting ideas or shock tactics.

Perhaps that’s why she doesn’t get the attention she deserves.

But if you like dance music with strong bubblegum influences, that are not ultra-light then this cleverly executed power-pop might just appeal to you. Yes, she is an unsullied artist who has yet to discover her dark side … But when she does finally pop a button, the world had better look out... Because there will be some nasty aftershocks!

Words: @neilmach 2016 ©

xpertise &

lls — E Dirty Thri

..

histrionics.

Bernie Marsden— “Golden hearted”

HRH BLUES REPORT SHEFFIELD 2016 Words & Images : @neilmach ©

NOBLE PURE BLUES

A nice burst of Alpine quality snow dotted the streets as we huddled into the hot cavernous space of the main hall at the O2 Academy Sheffield to see the young and gifted SUGARMAN SAM & THE VOODOO MEN (interviewed in this issue) who were opening the first day of the fantastic HRH Blues weekend 2016.

Their thrilling show was a breathtaking spectacle and established a level of expectation that would be difficult to follow. Guitarist and vocalist Sam seemed to forcefully rip each note from his guitar, his face taut with the physical trauma.

The sounds were vintage blues, played with a rocky edge. Very noble and very pure. This is a band with prospects … their good musicianship, hard work and steely determination will no doubt pay.

These lads will go far.

Next up were the Welsh-wizards HENRY’S FUNERAL SHOE.

Aled Clifford [guitar and lead vocals] let loose with a tempestuous fusillade of blues-soaked and yet slightly punkish rock ‘n’ roll numbers while his younger brother Brennig created powerfully hypnotic rhythms on drums.

Local lads the MUDCAT BLUES TRIO came next. With topnotch vocals from the drummer Matt Doxey breaking over the excitingly twangy and deeply earthy guitar-play from Chris Wragg.

Whilst up in the acoustic room, the oxidised and blurred, sweaty blues-rock outift PIG IRÖN began the first of two performances (the second would be full electric on the main stage.) Also in the acoustic room was SUGARMAN SAM.

We were looking forwards to London’s finest glam-blues exponents DIRTY THRILLS [pictured left.] And they didn’t let us down. Their glowing set was filled with high strength histrionics, but more than enough taste and expertise to make up for their pure cheekiness and brash zestiness.

Almost everyone we spoke to had wanted to see TEN YEARS AFTER for ages. Many had made the trip to Sheffield specially… some travelling from continental Europe to see this legendary act

The line-up now includes the hugely talented Marcus Bonfanti and with Colin Hodgkinson on bass, Chick Churchill (keyboards) and original drummer Ric Lee.

Their fantastic set at HRH BLUES was a joy. We spoke to a guy who had not seen TYE since the Reading Festival [1983] but he said they are as good now as they have ever been.

The final act of the first day — THE YARDBIRDS — though highly anticipated, were not so successful. There were finer bands on stage before this “heritage act”.

Co-founder Jim McCarty is the only remaining ‘original member’ in a band that once boasted Eric Clapton, Jeff Beck and Jimmy Page, Keith Relf, ​​Chris Dreja, Paul Samwell-Smith and Top Topham. In fact the line-up over the years has included at least a dozen other name.

On stage in Sheffield the Yardbirds seemed confused by technical difficulties and one complaint was that their singer could not be heard over the rhythms.

As a warm-up act, The Yardbirds would have been acceptable… but as a headline act they could not stir up emotions the same way that TEN YEARS AFTER had managed earlier.

Day two in South Yorkshire and the weather greatly improved. Some thin sun was glinting across the Dales and the bleary-eyed Blues fans made their way from posh hotels — past the Crucible Theatre, the World Snooker Championships had started the same weekend — to see the Hendrixy Tasmanian devil ROB TOGNONI who was on stage first.

Hobart Ron was full of bluster and energy. His fancy silk shirt clashed violently with the backcloth and his ego was the size of a concert hall.

However, we assume that he must adopt this brash confidence if he is gonna pull off what is, essentially, just a one-man show.

PONTUS SNIBB is one hairy Swede who exceeds our expectations. His juicy American Blues were blistered with casted steel sharpness and melting guitar luminosity.

Songs like “I’m Walking” sounded truly authentic with fine finger-picking and a rusty voice.

It was a family affair, with Mr. Elder Snibb on drums (son Pontus is also a strong and talented drummer) — this was a fine display of versatile musicianship from a Bonafide rock hero.

After Pontus, things became very exciting indeed as we headed toward the celestial culmination of a very fine weekend.

First was the West Yorkshireman JOHN VERITY (picture above) who has worked with all the greats: Jimi Hendrix, Mountain, Canned Heat and Janis Joplin. He has played with Russ Ballard, Colin Blunstone, Keith Emerson, Ringo Starr and Mike Rutherford. He is best known for being in the rock group Argent in the mid 1970s.

Verity had earlier played an unruffled and enjoyable unplugged session in the acoustic room. And when he burst onto the main stage, the excitement was palpable. Verity brought with him ingots of strength and power. Verity admitted that he “Doesn’t mind covering other peoples work…” but he put his own finely crafted edge on all the numbers. It was a tight and exciting show.

After Verity we enjoyed the set from the legendary Irish guitarist PAT MCMANUS. Nothing can compensate for the void left by Larry Miller (Larry suffered a stroke last year, he is doing OK. We wish him well — Pat stood in for him.)

But behind every sorrow is a sky full of stars … and McManus, who has played stints with Thin Lizzy, Deep Purple and Gary Moore — gave us the kind of show that we were waiting for. Lots of ribboning guitars and face-melting moments. His twinkling Celtic tribute to Moore was one of the best moments of the weekend.

Next up was guitarist MICKY MOODY [he joined forces with Coverdale and Bernie Marsden to form Whitesnake back in the late 1970s. ] More recently this superbly accomplished finger-picker and composer has been working with Snakecharmer (although his vacated position in that band has now been filled by blues guitarist Simon McBride.)

Moody was appearing alongside the sensational vocalist ALI MAAS with whom he is now working. They plan a new album to be released later this summer. Their set ranged from high drama to wistful soulfulness. The MOODY band promised to play at least one Whitesnake number (which the audience adored) and Micky promised the audience “Much more later …”

Micky was, of course, referring to the gentleman BERNIE MARSDEN, who took to the stage shortly after Moody left it.

This generous golden-hearted man played us a selection of songs from his huge songbook. The vocal delivery and guitar-work from this humble performer was of the very highest quality.

Bernie made every person in the room feel special.

This was rattling good weekend, with outstanding fellowship, amazing musicians, corking-good vibes and the kind of atmosphere that would certainly persuade us to return again for another weekend session like this!

Tickets can be booked online at www.hrhblues.com

Photo Credit: Andy Hibbs ©

Stevie Nimmo — Intense, flaring guitar...

STEVIE NIMMO

The Sky Won’t Fall Words: @neilmach © 2016 Images credit: Andy Hibbs ©

BEESWAX AND MUTTON

Blues rock and heroic recording artist STEVIE NIMMO (half of the fabulous Nimmo Brothers) has recorded and toured with success over the last two decades.

Born and raised in Glasgow, Scotland — there was always music around him, as he grew up.

After being diagnosed with cancer in 2009 he underwent surgery that led to the loss of his voice for over two months.

Now living in France, Stevie was forced to ease back into his touring schedule with The Nimmo Brothers — spending months in recovery after his major operation.

In January 2010 Stevie recorded his first solo album, a country blues offering titled The Wynds of Life — recorded at The Zone Studios outside Austin, Texas with an A-list of the best musicians from the lone star state.

Stevie released his new album “Sky Won’t Fall” this March and celebrated the release with a co-headline tour alongside The Ben Poole Band [Ben’s album was reviewed in our printed Cat Scratch Edition, 2016.]

Their tour runs into May 2016.

We had a listen to the new album —

The disc begins with “Chains Of Hope” — and if you are expecting the kind of riff that sings loudly into your soul — whilst making your gypsy-feet jump for joy — then you have come to the right place!

The voice is dusty, tattered and weathered — but Stevie is no Whispering Knight — there is drama and tension in every articulation.

And, in the superlative guitar-work, you will feel the mood and temperament of this everstrengthening and fully enduring blues-hymn.

This is where you will find the “Sky Won’t Fall” lyric… and after listening to this, you will know that what he says is true.

The percussive influence of the many combined rhythms on “Roll The Dice Again” improve the hardness and durability of this cleverly insistent number.

Long tallow-yellow guitar notes ooze out like pasta. Yes, this is a mixture of beeswax and mutton.

Oily, flammable and convincing.

“Change” is smooth-running and soulfully special and “Running On Back To You” is a lattice-work of intense yearning blues, dwelling on the tragedy of emotional withdrawal.

The guitar on this is sharp and bitterly revealed, wrapped in agony. This only goes to increase the sadness of it all.

But it’s not all sadness on this collection, “Lovin’ Might Do Us Good” chuckles along fine ‘n’ dandy.

This is a soul and pop song — something you might have found on a Miracle label pressing back in ’61.

For darkness, attitude and raw power, you will probably not be able to beat “Gambler’s Roll.”

This is as dark as mudrock with coal tar in its veins.

Bright moments illuminate the lower areas, but mostly this is a vehicle for the intense and flaring guitar solo that dominates the central portion.

This album raises our expectations of British blues to a splendid new standard.

It is filled with darkness, superb tone textures and — often — intense luminosity.

The “Sky Won’t Fall” is a magnificent achievement.

Words: @neilmach 2016 ©

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

Nashville Pussy — Quick witted, acidic ...

NASHVILLE PUSSY

ON THE HIGHWAY — LIVE IN LONDON

They came onto the London stage like ghost-riders in the night…

But it didn’t take long for them to light up their firebrands and make the Underworld shine and sizzle…

The Camden palace to rock ‘n’ roll was soon frying — like Cajun chicken ablaze on the griddle.

The sleaze rockers Nashville Pussy are now in their 15th Anniversary Year. And they have been playing some ecstatic Euro-dates before heading back home for a long season of partying…

We saw the band on stage last month at London’s favourite retrosteel venue, The Camden Underworld.

The durable fizz of songs like “Come On Come On” with sneering lead Alice Cooperish vocals and lighting sharp licks rolled forward with the speed of an M1 Abrams battle-charge and the kinetic energy of armour piercing rounds…

Guitarist Ruyter Suys — Blaine Cartwright’s missus — vigorously wasted her youth in British Columbia listening to bands like Motörhead, KISS and Metallica — she was on fire.

Suys is often cited as one of the world’s most exciting live guitarists, and at Camden we could see why.

Her flame-haired approach to performance was bold, majestic and wonderfully uncontrolled. The gorgeous Bonnie Buitrago was on bass, she was galvanizing and sensational.

And the songs kept rollin’ in…

Newer stuff like the clobbering “Rub It To Death” growling with a sense of disillusionment.

Or the far punkier “Why Why Why” which tells of the break-up and tension after a failing relationship.

It was quick witted, acidic and cutthrough with incisive guitar. And the giggling chorus was a delight.

Yes, these are bad-arsed rolling stones. For sure.

And the night was feverish, sweaty, sleazy and savagely boolacoola awesome.

Boy-oh-boy … it is good to be back in pussy-land …

Words & Pictures: @neilmach 2016 © Link: https://www.facebook.com/NSPSY

STEVE HACKETT Total Experience Live In Liverpool Groundbreaking prog guitarist STEVE HACKETT has announced the release of his acclaimed “Acolyte To Wolflight With Genesis” Revisited Tour as 2CD/2DVD deluxe package (with a stand-a-lone Blu-Ray) and, after three London concert videos, he chose the Liverpool date for the recording.

The Total Experience Live In Liverpool will be released on 24th June.

“When Inside Out told me that I could film a gig on the British leg of the 2015 tour for release, I thought that we should do it away from London (and) I felt doing it in Liverpool had a certain ring to it” Explained Hackett, enthusiastically

“This is an extraordinary city and the Philharmonic Hall is an extraordinary venue. Besides, it’s not as if Liverpool is known for having any good music – there’s never been a good band from there. Ha!” Hackett’s love for Liverpool goes back to his time with Genesis:

“We played there a few times in the ‘70s, and the fans have always been very good to me there. And as a huge Beatles fan, I also know the landmarks there, such as Penny Lane and Strawberry Fields. I have been on the Magical Mystery Tour. So, the city means a lot to me from that point of view as well. The Beatles set the benchmark for all of us who have followed; we take our imagination from them.”

Celebrating the 40th anniversary of his first solo album “Voyage Of The Acolyte” and following his latest “Wolflight” the ‘Acolyte to Wolflight with Genesis Revisited’ tour was Steve’s effort to represent the many chapters of his career. Featuring two sets — one highlighting his solo work, the second paying tribute to Genesis — the two hour performance was greeted with enthusiasm by both fans and critics.

A multi-camera shoot, the recording was done with no prior rehearsals, but Hackett had every confidence in the people he was working with. Paul Green, who did the filming and editing, and Ben Fenner, who mixed the audio work checked-in with Steve regularly and knew exactly what he was looking for.

“The acoustics in the Philharmonic Hall were very impressive on the night, albeit rather challenging; Ben, who does the live sound for the band, took that challenge with superb results.” Said Hackett, “What you hear in the mix, though, is exactly what the band sounded like on the night with no extensive ‘fixing’ in the studio, as live should be...”

The Total Experience Live In Liverpool will be available as double CD plus double DVD digipak, separate Blu-Ray edition as well as digital album including the two audio CDs.

Steve Hackett — From acolyte to wolflight ...

Link: http://www.hackettsongs.com/

KING KING RUSH HOUR

KING KING — Guitars unfurl and blaze...

“We’re really proud of this album,” says front man of KING KING Alan Nimmo, talking about “Reaching For The Light” the anticipated third studio album from the Glasgow band. “It’s faster, louder, more energetic and more exciting.

It’s got the potential to blow the roof off.”

KING KING have established themselves as one of the most reputable modern blues bands in Britain. Their new single taken from the upcoming album is potent, evocative and essential.

It also comes out just in time for their tour with DAN PATLANSKY in May

We listened to “Rush Hour” —

“Youv’ve gotta know what you’re living for…” sings Nimmo.

His loose gravel voice seems strained & pained against the rushed torment of metallic guitars. These unfurl and blaze, whilst the pace lumbers like a bear with a sore-head.

And the lead break, when it comes, turns on the air with zigzags of bluish white light.

Incredible! We can’t wait for the L.P. Words: @neilmach 2016 © Link: www.facebook.com/OfficialSkunkAnansie Photo : Adam Kennedy ©

JACKIE VENSON JACKIE VENSON is an Austin-Texas based indie/blues guitarist, singer and multiinstrumentalist.

Her jaw-dropping new song — “Next Life” — is taken from her upcoming release Jackie Venson Live — due out later this year.

We had a listen: A convulsive, downwardsfalling tempo chills the heart of this number as a rippled guitar gradually comes together with mellifluous keys to create a rich tapestry of decorated sounds.

That voice is as clear as diamond and as dangerous as broken glass.

The strain runs deep — this is nervy and agitated.

This would not be out-of-place on Tumbleweed Connection [1970 ] with its clear vocal and flamenco-style guitar . It seems as fluid as a ruffled shawl passionately swirled in the hot polka dot sun. Descending cadence and bewitching tension can be found in this truly sadeyed blue-gypsy rumba…

Words: @neilmach 2016 © Link: https://www.facebook.com/jackievenson

Photo Credit: Cathy Potwin Jones ©

Songstress and Blues Guitarist