RAW RAMP
The Spirit of Music EXCITE Your Ears
CAT SCRATCH EDITION
SAXON
SUPERSONIC BLUES MACHINE RUNRIG THE TREATMENT LAST IN LINE MONSTER TRUCK
RED BUTLER INGLORIOUS THE ENID BEN POOLE THE GRAVELTONES
Image: @neilmach 2015 ©
RED BUTLER — Interview page 19
RAW RAMP MUSIC MAG
CAT SCRATCH EDITION Inglorious Page 9 The Enid Page 11 Ben Poole Page 15 RUNRIG Page 17 Red Butler Page 19 The Treatment Page 25 Monster Truck Page 31 Great British Rock & Blues Review Page 7 Supersonic Blues Machine Page 33 Interview with SAXON Page 35
Image: @neilmach 2015 ©
Last in Line Page 37
The Graveltones — Page 21
Echo Bloom- Page 13 Mavis Staples - Page 13 SIMO - Page 22 Zakk Wylde - Page 23 Ginger Wildheart - Page 26 Royal Republic - Page 27 Jeff Healey - Page 28 Rick Wakeman - Page 29 Broken Witt Rebels - Page 38 www.twitter.com/rawrampmag www.facebook.com/rawramp www.rawramp.com Front Cover Image: @neilmach 2015 © All material copyright. All rights are reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission of RAW RAMP. Whilst every effort has been made to ensure the accuracy of the information contained in all our web pages and on our printable magazine publication, the content is naturally subject to change and we cannot guarantee its accuracy or currency. We do not give any warranty as to the ownership of the copyright of any material forming part of this website and do not accept any liability for any direct, indirect, incidental or consequential losses arising from the infringement of any third party rights in relation to any material on our websites, or in our magazine. Our website has links to many third party information providers who are not affiliated with us. We do not endorse any of these sites, nor the information or merchandise contained or offered by these sites. We cannot make any warranties as to the accuracy, reliability or security of any information you might be requested to give any third party and, in no event shall we be liable for any damages whatsoever. The opinions of any contributors expressed herein do not necessarily state or reflect those of RAW RAMP MUSIC MAGAZINE, or its directors or employees. Prices are accurate at time of going to press. To contact the editor email: editor at rawramp dot com TO ADVERTISE CONTACT: sue at rawramp dot com Raw Ramp Logo Zoran Zivkovic
Rebecca Downes — Jazzarific ...
BELIEVE Words & photo: @neilmach ©
GIVES US THE GROOVEBUMPS Rising Wolverhampton blues star REBECCA DOWNES returns in 2016 with her highly anticipated second album titled BELIEVE. The release is celebrated with a special album launch show at London’s iconic 100 Club. Written by Rebecca with co-writer Steve Birkett and produced by Mark V Stuart (Magnum, Diamond Head and more ) BELIEVE is the follow up to Downes’ debut album ‘Back to the Start.’ We covered that back in our RAW RAMP Summer Blues Edition. We described the album as: “Authentic and potent blues …with vocals so inspiring they will open up your heart…” For Rebecca — this second album is a significant landmark. She comments: “The album title represents the belief that I have needed to get this far and the belief we now have in the quality of our music and our live performances. 2015 allowed us to measure ourselves against some of the best around and we believe we made our own mark. ”
“The mood of the album reflects the progress we have made – musically and personally – since the first album. ” “I am both more comfortable in my own life and skin and our own music, the mood of the album reflects that, showcasing different aspects of the journey and vocally how hungry I am to get that live feel onto the tracks.” We had a listen: ‘Never Gonna Learn’ is a busy and lightly bounding number with smears of creamy organ and a boogachillastic rhythm and groove. Becca’s vocals are cool-sweaty and quite funky on this opening track. ‘Night Train’ has a sophisticated black-bottomed ridge of sound that runs along the edge. This is smoky and dark, with a sticky smell that reminds us of the back room polish in some dirty jook-joint — found on the wrong side of the tracks. A horny harmonica interacts seamlessly with the electric keys… and the seduction of that fascinating voice inspires and captivates.
‘Its That Easy’ is a long-slow jive...and because of that, it’s almost jazzarific — with flaming vocals and sparkling guitars. This is vibrant and positive and reminiscent of Fleetwood Mac in terms of quality and substance. The title track and the album closer is ‘ Believe’ with squelchy guitar and a bass that sounds intriguingly spongy. The rhythms are tight ‘n’ clean and the vocals are passionately buff and tuff … packed with highemotion. Rebecca is a strong and independent lady and this new album sure gives us the groovebumps … Rebecca Downes’ Believe is released March 2016. Words: @neilmach 2016 © Link: www.facebook.com/RebeccaDownes
Babajack— Biologically essential...
GREAT BRITISH BLUES AT SKEGNESS 2016 Words & Images : @neilmach ©
PROUD TO BE BRITISH Despite more than a hint of disapproval on social media surrounding the choice of the main headline act (Hawkwind) — an odd choice for a blues-based weekend (don’t you think?) — the 20th Great British Rock & Blues Festival held at the Butlin’s resort in Skegness, (part of their super Live Music Weekend programme) went off extremely well. In fact, so well that many happy campers were seen lining up in orderly queues to secure their 2017 weekend! For many of us, this was a chance to catch up with some of the icons of British rock ‘n’ blues — for example, the great talent Mr. Colin Blunstone whose Zombie’s song (Rod Argent’s She’s Not There ) completely changed his life in 1964. His show was a joy. Smooth, rather than hurried. Elegant rather than energetic. RAW RAMP favourite Arthur Brown was also on hand with his bouncy antics (he’s 73 and Colin is 70… How do these guys keep doing this night-after-night? Most polished of all the “old boys” was Manfred Mann (aged 75, can you believe it?) — with his Earth Band. Their sensational Bad Company singer made some of the youngsters seem like lame-pussies in comparison!
On Sunday afternoon we saw the world famous contemporary jazz clarinettist Courtney Pine strolling past us in Burger King. He was completely unharassed. His show ( on the Centre Stage ) was refined and and extraordinary. The Whitley Bay heavymetal outfit Tygers Of Pan Tang entertained us with a super-sophisticated stageshow too. They were on at the ‘rock stage’ at the REDS. Robb Weir was still slicing the air with those acidic whiplash-licks and ‘Jackie’ Meille roared-out some terrific vocals. Later, the Martin Turner version of Wishbone Ash played a set that was fresh and melodic, but it was too jazzy for our taste. We could have done with less Vas Dis tosh and more Jail Bait riff-rock. Likewise, Hawkwind played a set that was filled with over-long jazzaludes and bulked-out with trademark cosmic airiness. We wanted their numbers to feel tighter and be filled with more substance. Everyone was saying how good the New Acts at the Skyline introducing stage were. And we would have to heartily agree. Those fully-energised young-bunnies (maybe some were less young!) were crazy-exciting and all-of-them incredibly talented… Stand out acts on the Skyline Stage were: The Texas Flood soon to hit the road with The Quireboys.
Also the South Wales cowboys the Luke Doherty Band who were fab, as were the Sussex based blues-machine Catfish. Not forgetting those cracking Shrewsbury talents The Rainbreakers and the Derby super-heavy blues-rockers These Wicked Rivers. Talking about exciting new talent, Leicester’s excellent band, The Della Grants [above] played a triumphant show on the Centre Stage, after being one of the winners on the Intro Stage last year. It just goes to show that there is still a lot of precocious talent around. It makes us proud to be British.. But our favourite show of the whole weekend was Babajack [photo left.]Maybe it was just the way we felt… it’s true that we were slightly dizzy/drowsy and it was whiskey-a-clock at the REDS bar… Babajack played their notoriously earthy and biologically essential rhythms desperately and earnestly on cigar box guitar and well-slapped cajon. And with Becky’s flame hair swishing through the thin air and the carefree indifference of Trevor it kinda made us feel as if the whole world was actually OK… [If only for a moment] And that we could still all have a good time… Words & All Pictures by: @neilmach 2016 © Link: www.bigweekends.com/the-weekends
Inglorious—The future of British rock?
INGLORIOUS
LIVE AT GIBSON ROOMS Words & Images : @neilmach ©
YOUR NEXT FAVOURITE BAND There is one thing that hard rock fans can agree upon… It’s high-time that a new band came along who possess the ability to fill stadiums… This sentiment was echoed by fans, friends and assorted media-types as they waited in line at the Gibson showroom in London to see the inaugural show of INGLORIOUS. The group are already being tipped as “the future of British rock.” “What we really need is a new Led Zeppelin … Or a new Deep Purple” A fan told us. And we think he might be right. Who fills stadiums now? Ed Sheeran? We love him — but to be honest —he is a solitary guy with a guitar and a microphone. How can you say he’s a rock star? And whichever way you look at it, the ‘university bands’ like alt-J, Peace and The Maccabees are fresh and interesting. But do they really make you wanna scream your pants off? Do they really increase the pressure in your nodes so much that the top of your head explodes? All the best artists around: The Who, Motorhead, Paul Weller, etc. are nearing the end of their ‘best by dates’. Maybe that’s why Kanye West was chosen to fill the void at Glasto (who knows?)
But it’s sure that there is a shortage of really great sounding, hugely talented, totally dependable rock bands out there, right now, to fill the headline slots. But all is not yet lost.
This number fizzed like a soda bomb. With dark wallowing bassnotes that walked right up to us, before pulling our guts apart. And Nathan’s multi-octave vocal range was immediately put to the test. Ranging from parched and gravel-throated dusty husk right up to maximum songbird.
Because INGLORIOUS have already been championed by Queen’s Brian May (no less) who recently told the band — “You guys really do That was followed, at an extremely look like a potent young Deep Purple rapid pace, by ‘Breakaway’. but with a new slant — very Classic!” But we especially loved the DIOsounding ‘Holy Water’ with its The band members are all languid rhythms, deliberate yet relatively unknown — but they have refined. been assembled from the best young musicians in the World. This was filled with lucent shadow. It was thrilling and pounding . The group includes three adept gut pluckers (Wil Taylor and Andreas We also loved the show finale — Zäta Eriksson on guitars with Colin ‘Unaware’ a song that reminded us Parkinson on bass) and a larger(a lot) of “Feel Like Makin’ Love” than-life front man & singer (Nathan (Bad Company) with the same James) — who has already provided frotting urgency and groovin’ riffs. sterling service with the TransSiberian Orchestra — as well as a Yes, if you’re a fan of hard rock, then vigorous and reliable skin ‘n’ cymbal INGLORIOUS will probably be your thumper (Phil Beaver on drums.) next favourite band. Their live show at London’s Gibson Rooms also sported a ‘Ray Manzarek’ type character on the buttons & keys. The show started with the thundering clamour of ‘Until I Die’.
The New Album is Out Now – Inglorious Words & Images: @neilmach 2015 © Link: www.facebook.com/WeAreInglorious
ENID —Transcendent...
THE ENID
THE DUST LIVE Words & Images by @neilmach ©
DOUBT MIXED WITH BOLDNESS As regular readers of this magazine will know, we’re big fans of The Enid — the British progressive rock band who play smart, powerful and romantic music. They were founded in 1973 by former Barclay James Harvest collaborator Robert John Godfrey.
This is used, extremely effectively, to decorate, illuminate and dramatize the Enid sounds. A drizzle of soft keys oozes out here-and-there, with the yearning voice of Joe comfortably building up and shining through the layers. The hi-tech ‘backcloth ’ is used so convincingly that it is difficult to know where reality ends and imagination begins.
The band has now created a stunning and ambitious visual realization for their new Maybe that’s the point…This is, after all, album “Dust ” — with live performances an inquiry into existence and substance… already underway in the UK. So Joe’s shape gradually dissolves into thin air. And his physical existence is We were lucky enough to witness the no-more. grand production at the Old Market, Brighton. Sometimes there is doubt mixed with momentum and boldness. The ‘Who CreDust has been directed by TV illusionated Me?’ number (from Invicta) is ist Simon Drake [ Kate Bush’s Tour Of followed by sounds that are reminisLife]. cent of Russian folk then, skillfully and confusingly, these becomes manipulated The sounds (on the new album and also onto a flawless a cappella gem. the accompanying pieces) feel like an extension of the ideas generated in Invicta. This gleaming lips (on the screen) are perfectly synchronized with the voices of The show seems to focus on the limitaJoe and Max Read. tions of human existence. And with issues connected with creation/evoluThere are shades of musical theatre in tion. Our human body is simply a bag of some of the corners of this show, too. But oxygen, carbon, hydrogen, nitrogen… these are handled well, with dark angles and bitter curves to negotiate. Yet, even though we may be little more than a sprinkling of tiny particles… As an audience, you are never quite sure where you should be. This fantastic/curious stardust machine carries our spiritual-selves through time And, even if Joe does not play E.W.I. in and space. It is a notion so baffling that this production (and he is stripped of his most of us do not even bother to stop for donut hairbun)— magic & strength are a moment and think about it! still present. The show starts with a buzz of bees… Or is it motors? Or is it groans? Thus, the questions about existence formulate, almost at once. After some strongly felt guitar work by Jason Ducker we are introduced to some back-screen magic.
Especially when he strives to march against the sun and looks directly into the light. Then, the agony (and ecstasy) of whole life is acted out for us. We are transient creatures straining against rhythms that will — in the end — take hold of us. And, it’s no use fighting against them.
Occasionally, we noticed Robert John Godfrey conducting. But he is doing less keyboard work now. And, probably, that’s because this is a show by the ‘young ones’ of the band. (It was Dom Tofield’s last show, incidentally. Nick Willes will take over on bass and percussion for next year’s shows.) But the old masters, including the original drummer of the band — Dave Storey — are leaving behind something valuable and resilient in their collective (musical) genes… So the ‘new’ generation can strengthen resolve and, eventually, take-over. Although the second half of the show was a complete run-through of the new “Dust” album — we were left with the transcendent and thoroughly congruous ‘One And The Many’ as a finale. It’s an exceptionally emotional piece of work. And left many audience members in Brighton in a state of tears! Dust is an intelligent prog rock show. Filled with beautiful classic moments (but enough rock to delight and entertain a prog audience.) It has the lightness of the psychedelic, and is expertly played, credibly layered and very enthusiastically performed. As a piece of advanced performance art — it is certain that you will experience nothing better in the next few months… Remember, if you join Enidi you can save 10% on tickets for all Dust shows. Join at www.enidi.org. Words & Images: @neilmach 2015 © Link: www.facebook.com/TheEnid/
SOUNDCLOUD CHOICE Embracing the corrupting enchantment of Gothic imagery, the interesting harmonies of the pop world, and the overt experimentalism of the prog-rock kind (together with the narrative tradition of folk) DARLA AND THE BLONDE are a five-piece band from East London whose chief songwriter Nina Lovelace (rhythm guitar and backing vocals ) with her band craft some dramatic forms of alt.rock that are beauteous to behold. If you miss Ziggy Stardust and all those glamtastic-sounds of the 70s then you should definitely like End Of The Party… It is more than mere pose and sparkle … The voice from Jen generates conflict and intrigue … and it’s bright as a dragonfly and generous as a mother’s love … it’s also very reminiscent of Chrissie Hynde ( “Stop Your Sobbing” springs to mind.) We love the downwards spiralling step-by-step chord progression … it adds chilling drama as the whole piece gently unfolds before us. This has more shazzle ‘n’ glare than a pair of sequined platforms, it’s true … but this is also full of conniving secrecry! Drugs — by California six-piece PRIVATE ISLAND has the heaviest clapper beat that you can imagine… with a slimy, fruitoozy guitar that cockles through it like red-jam in Raspberry Ripple ice-cream. The vocals are sugary gold and the lyrics “Please don’t make me go ...” weave around the mental flow… If an 80s band like Wham! was trapped in an elevator with Carlos Santana — no doubt, these are the sounds that would emerge …This is a freshmaker, for sure! ANIMALIA’S latest single, called Paradise , has a dissonance and a heavy heart…As the downwards stepping notes drip like moist tears… The vocal has distinct beauty and ranges from earthy contralto (even baritone) to joyous mezzo-soprano in short eager steps … reminding us of Lene Lovich. The voice is relaxing and we especially love the long coo-coo dove notes on the SHERLOCKS new single Last Night. And running right through it is a spark of guitar-work moved by the joy of rhythm. It reminds us of the tinkling frankness of The Housemartins crossed with the grin and attitude of The Enemy. Waves by South London’s Country/Folk purveyors THE FRISBYS whose new EP ‘The Cause” is out... It is is a clawing, ever simpering over-compressing surge of emotion with convulsive gasps of rhythm and fluidly gentle accompaniment… The vocal is vanilla butter-cream with just a hint of marzipanned piquancy … it never becomes overemotional or overdone. This may be filled with sobconscious sadness but, somehow, the tenderness here is able to vanquish those bitter winter-day blues… Words: @neilmach © 2016
ECHO BLOOM RED New York folk-rockers ECHO BLOOM recently ended their 35-date German tour and returned to the United States to announce the release of their new album titled RED. The latest project sees the group drift away from the popular orchestral folk of their earlier work, instead fusing story-driven country and feedback-drenched shoegaze. Red, is the second album in Echo Bloom’s Colors trilogy. ECHO BLOOM, led by Kyle Evans became party hardened after the release of their last record Blue which has already been described as “a masterpiece…” After Blue the band embarked on several lengthy tours that brought them to Europe and took then across the United States, gelling the group into a tight recording unit. We have been listening to Red — “Leaving Charleston” loco-motes down grease stricken tracks. The guitars screech like iron wheels bursting out of tight rhythms. But the vocal behaves… It’s a glint in the eye and hat-cocked over a sooted lash. The duet comprises of sunny patches mixed with messy curls. What a delight! “Operator” is a reverberating hummer with rusty pieces of trash littered around an earthen landscape. The voice is earthy-crunchy and a little organic. Smooth like butter and slathered with emotion… It’s as thick as dripping. The last time we had feelings this maudlin was with “Sylvia’s Mother” and that was back in ’72. “Evangeline” bubbles like a pot left on the stove for too long. It is a long sigh. A satin shift falling slowly to the ground. Possibly too melodramatic… Nevertheless, this number clings to your heart like wet silk… It also catapults all your problems into the grid. So that can’t be bad really... can it? Wait for the guitarwork that comes almost-too-late… It will outshine any and all of your anticipations. We also have, on this album, an instrumental piece of some beauty… “Cynthia’s Song” which is finely picked and artfully accompanied by chattering keys. A violin annunciates before it expires. Wonderful! These folks are gettin’ it right … again and again…. Thank the lord! Words: @neilmach 2016 © Link: www.facebook.com/echobloomrocks
Mavis Staples Livin’ on a High Note MAVIS STAPLES has been a soul and gospel inspiration for more than 50 years. Her work fronting the fabulous STAPLES SINGERS characterised the sound of opinion-committed soul and therefore impacted on whole generations of thoughtful musicians. As a solo artist in her own right, Mavis Staples has contributed to much of what is virtuous and worthy in American Soul Music. With “Livin’ on a High Note” released this month, Staples provides the most jubilant and spiritually challenging recording of her career, with twelve original songs written exclusively for her by some of the most beautiful song-smiths in the industry, including guitarist and producer M .Ward and with folk-rocker Ben Harper, solo songwriter Valerie June, Neko Case (The New Pornographers) , the tUnE-yArDs , Nick Cave, John Baptiste and others.
Now 76, Staples shows no signs of slowing down — in fact 2016 is likely to be one of her busiest years yet! On February 20TH HBO will début MAVIS! – the feature length documentary about her life — and her Livin’ on a High Note is released the day before. We listened to High Note, taken from the forthcoming LP — The parched voice reminds us of Lou Reed (yes, we know, curious isn’t it?) and this dusty, cracked and crusty song is as creaky as your Mama’s back porch… Fabulously haggard… A lot less irritable than it should be, this song is filled with wonder and the kind of cynical optimism that is so pungently and manifestly, Valerie June. Words: @neilmach 2016 ©
Ben Poole —Dynamic riffaramas “Set you free...”
BEN POOLE
HIS TIME HAS COME
Words & Images : @neilmach © Images Provided by Artist or Artists’ Representative
RELAXED EASY GOING CHARM
BEN POOLE is currently being described as one of the most exciting young guitarists to come out of the UK … You can see him playing live this Spring [on UK Tour with Stevie Nimmo.] Ben is an impressive emerging talent with an invigorating natural ability that sets him apart from other young artists on today’s British Blues scene. The twenty-five year old has has moved on quickly from his time spent at the Brighton Institute of Modern Music. His break-through album “Let’s Go Upstairs” [2013] was well respected by fans and newcomers alike. His “Live At the Royal Albert Hall” [2014] catapulted his reputation even higher. Now Ben releases his new studio album “Time Has Come” — recorded at Nottingham’s Superfly Studios (with producer Wayne Proctor, King King.) The album is out un April 2016 — on Manhaton Records.
“Lying to Me” has some squelchy The album concludes with “The turmoil going on under the surface… Question Why” which is a and a certain buzz to it. traditional blues session, complete with schnazzy guitar, sighing vocals It rocks like a cradle bobbing on and immaculate timing. white-water and is stained by an acidic organ. But it is the amazing The dynamic riffaramas displayed dexterity of the beguiling guitar that here — on this stunning album — will most impress you the most. will set you free… The awesome fingering and the nour- But this album is more discreet than ishing vibrato have a thriving and you might expect … incandescent quality. Relaxed, easy-going and full of “I Think I Love You Too Much” charm … the under-stated burbles and spouts. Like the opening numbers are brought to life by a track, this is a muted number… modest genius who is quickly becoming a rather special young luminary A relaxed operator — it is elegant in his field … and refined. Yes, there are hidden clusters of fire sneaking between the Words: @neilmach 2016 © folds — but largely this is a sensible Link: www.facebook.com/benpooleofficial flirt coming at you directly from smooth-city. “Longing for a Woman” is a thoughtful waltz, with bright moments and pensive contemplations. “Time Might Never Come” reminds us of the dusty anguish found in early Fleetwood Mac. This song is filled with frustrated loneliness and is sure to give you some mood-swing whiplash.
RUNRIG —Their story is uplifting...
RUNRIG THE STORY
Words & Images : @neilmach ©
MYSTICAL MAGICAL MEMORABLE
The celebrated Scottish Celtic rock band RUNRIG will release The Story — their 14th and final studio album on 29 January.
If this doesn’t give you the bumps ‘n’ shivers then it is clear that you don’t have a heart!
The new eleven track album brings the curtain down on a remarkable and unique recording career.
‘Onar‘ sparkles like early morning dew on the spurry of Black Cuillin with silver braids of moonlit mandolin and a sprightly rhythm that jerks and snatches the petticoats of the melody before a buttery smooth sax comes to the fore.
The new album will be released on Deluxe CD format that comes with an exclusive 32-page booklet, a 2-disc gatefold vinyl with bonus track (The Story – radio edit), and digital download. We had a listen: The title track is accompanied by an official music video. This is a powerful uplifting short film about the relationship of a man with his culture and his past, and the hold that those memories still have over his life and the stories inside all of us. Rory’s unique voice is is uplifting and encouraging — and the song has a brilliant jewel-like bone — genuine and friendly.
The chorus will dwell-long in your heart and you will singalong to the dextrous lyrics and clap to the ribald bass and those dark-sharp dirks of percussion. ‘Rise and Fall’ is a rat-a-tat ballad that talks of fine past-glories that rise like mist from the perfectly layered bell-heather whorls of background sound… Pensive moods lurk in this weepy — it’s a song filled with eloquence and passion — but when the guitar enters through a sea gate to warm the grates, it helps keep the song from becoming too sullen.
This delicious and evocative album finishes with the romantic ‘Somewhere‘ with its hopefilled promises that light-up the rocky slopes of rhythm, as the malted caramel vocal will take your breath away. If you thought the album opener was emotional — just wait ’till you hear this! You might meditate on the lyrical odes and strong feelings of nostalgic love that wind through these wonderful songs — mystical places, magical moments and memorable events… But, above all, you will be wise to think of this album as a devotional. The aim — to drive away the evil spirits that dwell inside your mortal frame. Elegant and spiritually uplifting. Words:@neilmach 2016 © The Story is now available to order from the official online shop at: www.runrig.co.uk
RED BUTLER —Representing the UK
o
RED BUTLER INTERVIEW
Words & Images @neilmach © 2015
MUSIC COMES FIRST
RED BUTLER from Brighton (UK) play an amalgam of blues styles (think classic Etta James) and the tunes are thrillingly mixed with modern interpretations of blue-tinged rock reminiscent of Glasgow’s King King. Their songs — for example ‘Last Page Of The Blues’ — are feverish hot, and played fiercely and sensually by Alex on lead guitar, with oily-smooth bass-work from Mike Topp. Plus dynamic rhythms from the endearing Charlie Simpson on drums. Vocalist Jane Pearce never stops moving and grooving. She has more energy than a king-snake trapped in a bucket… Spiraling, arching and tantalizing her way through every beat of every song. We met up with the band at the excellent Ilfracombe Blues Festival after it was announced that Red Butler will represent the UK in the 6th European Blues Challenge (to be held in Tuscany, Italy next April, 2016.) The band won the 2nd UK Blues Challenge on Saturday 24th October 2015 at the Boom Boom Club in Sutton, Surrey. We started our conversation by discussing their relative youth. How did they fit into the relatively ‘senior’ British Blues scene? (The average age of Red Butler is just 22.) How would they get younger fans to ‘connect’ with Blues Music and how would they get the young to come and see their live shows? “We try to avoid playing old, slow blues songs. If you take the blues, like we do, and cross-it [and] spice it up a little, then you can get some younger people to come. It’s also how we market the shows. For us, it’s all about image and energy. So, for example, if we had marketed our shows as ‘Come listen to our Blues band’ then [younger audiences] wouldn’t turn up. Perhaps, if we said, ‘Come listen to our Rock Blues band…’ Then they would hear the word ‘Rock‘ first and they might be interested… ” “If we told our fans ‘We’re playing a blues festival…’ They would say ‘We don’t wanna come!” But if we say, ‘We’ve got a rock gig in Brighton, come and see us…’ They might turn up. If we spoke to fans after the show, and we asked ‘What style of music do we play?’
They probably would answer ‘We don’t know!’ If we asked them, ‘Is it blues?’ They probably would say, ‘No.’ And that’s because young people see the ‘Blues’ as basically 12-bars. Or they think it’s gonna be a guy on stage with an acoustic guitar. And there’s nothing wrong with that, of course — young people need to know that it happened — (Blues happened) and we want to help them appreciate and understand that. ” “And, with our songwriting, we think that it’s important to write about something that’s happened to us, something we understand, rather than inventing a tale. That’s why it’s hard for us to play covers. Because we are then trying to convey what someone else was thinking. Though it’s nice to have a few covers. But we do our own versions… ” Are all the band members involved in the songwriting process?
We have found that the closer we are off stage, the more it shows on stage. Often, after a theatre show, we go back to the hotel and we have a great laugh. Quite often we end up fitting four people into a [Travelodge Hotels] room! Which is just hilarious. We have fun, we have a lot of laughs. We share the god times and the bad times, too. We know that every member of the band is pulling their weight… and that’s what matters. And that ‘togetherness’ impacts on our stage performance. ”“We all view being ‘a band’ so important. It sounds clichéd but, if one of us couldn’t do a gig, we probably wouldn’t do the show. It might sound naive and dreamy… but that’s what we thrive on, on stage. ” Describe what the Red Butler show is like…
“We each have our own personality on stage which we think we can look forward to devel“Yes very much. We are always jamming in oping more. We are gonna eventually be like rehearsals. And writing down new ideas. Quite Kiss… We are all gonna have our own ‘face’ ! ” often we can write a song, have an idea for [All laugh.] it, either Jane writes the lyrics or we all write something together and then piece it together. So, along with prepping for the Normally, the music comes first. Always toEuropean Blues Challenge, what else is gether. And then comes a lot of rehearsing. ” happening? What’s it like having the responsibility to represent the UK at the European Blues Challenge?
“We are recording in January. It’s very exciting. We are dying to play our new material… We want to try it out. Once the album is out (probably March) we will be able to play “We have got a lot of preparation to do. In fact the material. We might do a few pre-release we have just had a big meeting. We are talking shows. Just to build up hype. ” about not only playing (and the importance of playing and how we do it) but also the logistics Anything else to tell us? of actually getting there [Tuscany.] And it’s such a big thing! So many people wanna come! “Yes, we have a tour supporting Danny Bryant So we are now talking about flying out and in February, 2016. He’s a really great bloke then sending a bus full of people from England and we are really looking forward to that tour. So many people are wishing us well with it. It’s It’s about a 12 date tour… ” amazing the support we have had. ” We can’t wait to hear the new album What is the secret of the band’s sucand we look forwards to seeing you on cess? the Danny Bryant tour. Good luck in Tuscany! “We are a band. We spend time hanging All images & words: @neilmach 2015 © around together. We spend a lot of time as ‘a Link: www.facebook.com/redbutlermusic band.’ We talk about a lot of stuff. We have a lot of laughs.
THE GRAVELTONES
LIVE AT GREAT YARMOUTH Words & Umages @neilmach © 2015
SLUDGY ENGAGING STRIKING If you like the idea of Royal Blood or Drenge i.e. twopiece alternative rock, then you should immediately buy into The Graveltones. Naturally, for this 2-man concept to work, the guitarist has to be more than just merely competent. He needs to be spectacular. Think of the White Stripes scenario with Jack White playing all the rhythm notes as well as the solo-slices to get an idea of the techniques that need to be applied. Long chords, licks and acid-dark bass notes must all be produced (preferably simultaneously) using only eight fingers. Then of course there are the drums. The rollers need to grow into the spaces left behind after the licking. Rhythms must have texture and tone. It is not a case of just pounding and crashing. It must be a wild fizz. The difference between The Graveltones — consisting of Australians Jimmy O on guitar/vocals and Mikey Sorbello on drums —and the other duos you might have heard, is that these two take their influences from way-back. We are talking here about the Vee-Jay Records days. Their’s is the earliest kind of rhythm and blues. Graveltones produce powerful, pounding rhythms, string-bending moments and rockabilly voices that remind us of Gene Vincent and His Blue Caps. It’s bopping. It’s fluid too. And it’s high-pressure fun. Played with gravitas and expertise. The band’s second studio album ‘Love Lies Dying’ was released 2015 and we saw the band play at KrushFest in Great Yarmouth in the fall. Their numbers were sludgy and engaging. With striking pauses, stop-time hooks and electrifying moments a-plenty. It was a mature show. The crowd at Yarmouth liked the uptempo rock ‘n’ rollers the best. With hidden boppiness in amongst all those strewn chords. Link: https://www.facebook.com/thegraveltones
Words @neilmach © 2015 Images Provided by Artist or Artists’ Representative
SIMO
Let Love Show The Way — for Fans of CREAM RAW RAMP were recently lucky enough to see the quality vintage blues three-piece SIMO in concert (comprising of virtuoso guitarist JD Simo, bassist Frank Swart, and drummer Adam Abrashoff.) Their realistically authentic riffs reminded us of the early days of Derek and the Dominos… with gritted, soulful vocals — plus jazzy and bold guitar-work that consistently shone — and with nimble drummery (with expert bass) that added shade and depth to psychedelic compositions that were often extraordinarily energetic. Joe Bonamassa is already a big fan of SIMO and is massively behind them while putting them on the radar, and saying that “JD Simo [guitar] is one of the best out there…”
We have been listening to the new album Let Love Show The Way released this January — The album starts with Stranger Blues that has a peculiar judder and struts without compromise… It’s an echo into the golden rock ‘n’ roll era of Chuck Berry, Bo Diddley… the woogie and the frenzy … it’s all here. And that frost-acid guitar will pierce your heart-strings. Two Timin’ Woman has a sludgy riff that will funk the gelatin-strings in your gut. This gives gave us the wobbles and the smiles. It is an addictive head-rush of dark blistering bluesiness.
Can’t Say Her Name has a heavy stomp that reminded us of Steppenwolf but with the added bonus of thick slices of Clapton / Beck guitar heaviness. I’ll Always Be Around is smoky and intelligent. With hidden twang and mysterious wooziness. The way it accumulates, clanging and mouldering, is really exciting. If you hanker for the 1960s hard psychedelic rock world of Led Zeppelin, The Jeff Beck Group and, of course, CREAM — then your dreams have all come true! Grab yourself this album and you will not be disappointed. Words & Photos: @neilmach 2016 © Link: www.facebook.com/simotheband
ZAKK WYLDE BOOK OF SHADOWS II Guitar icon Zakk Wylde will release Book Of Shadows II on April 8th 2016 via Spinefarm Records, his first solo release in 20 years. This release is the highly anticipated follow up to 1996’s Book of Shadows— a classic album Wylde released between his work with Ozzy Osbourne that has since become a fan favourite. Zakk Wylde —first solo release for 20 years...
Book Of Shadows II was recently named as one of the “Most Anticipated Metal Releases of 2016” via Rollingstone.com. Wylde has been feverishly working on new material since he wrapped up Black Label Society’s “Unblackened ” spring tour last year. All songs on Book of Shadows II were recorded and produced at Wylde’s legendary home studio, The Black Vatican, which produced several of Wylde’s recent releases. The new effort will be followed by a wave of tour dates in support to be announced soon. Zakk Wylde is no stranger to showing the lighter, introspective side of his music, having previously released two Black Label Society albums of stripped down material. The Song Remains Not the Same was released in 2011 which included acoustic versions of songs originally released on Order of the Black and 2013’s Unblackened, a live acoustic album that was recorded live at Club Nokia in Los Angeles.
Images Provided by Artist or Artists’ Representative
Link: www.facebook.com/zakkwylde
NAKED SIX Studying for Revolution NAKED SIX recently performed their debut London show at Proud in Camden with the Dead Pretties and Lighthouse... The band, combine the talents of three music students from York in England. The band are: Seb Byford (vocals), Caleb Quaye (bass) and Tom Witts (drums). When we listened to their recent track titled Revolution we thought it growled and gouged like a tiger kept in a laundry basket…
Scooped out vocals were covered in loose coils of furious elongated guitars — it was fuming and seething... Clearly the Naked Six have completed their Clapton Studies at the Hendrix College of acid ‘n’ purple haze…and no doubt they passed out with high honours ... Report: @neilmach 2016 © Link: www.facebook.com/NAKED-SIX
Treatment— pizzazzy excitement
THE TREATMENT GENERATION ME
Words: @neilmach © 2016 Images from artists representative
KAPOWZA AND DAZZLE GENERATION ME is the third full length album from the British hard rockers THE TREATMENT. It demonstrates the growing power as well as the stimulating energy of this young band …
Then we get ‘The Devil‘ which is a series of bangs and twangs… it’s like using your girlfriend’s recently discarded bra and panties to become a makeshift bow before arrowing her with your crudely constructed weapon.
Generation Me is an album filled with class riffs and memorable choruses. It was produced by UK rock maestro Laurie Mansworth, mixed by Tony Newton (Iron Maiden) and mastered by Ade Emsley.
Guitars stain the landscape, exuding into the ground like dragon blood. This is smoky and mysterious.
The album also launches the band’s new partnership with their label Frontiers Music Srl.
The vocal is a bunch of strained and lucid strangulations … although eloquent and articulate in their brightness. The riffs are tightly controlled and a solo bursts out like an electric shock … all sparks and crackling
The voice here is at its most accomplished and it steams along with ease. ‘Better Think Again’ showcases some superb drummery from Dhani. This prowls like a low panther… Sneaking through the dark background.
This is the first of their albums to feature Mitchel Emms on vocals and Tao Grey on guitar…
‘Let it Begin’ starts things off splendidly with the kind of inflamed agitation that will invade your fibres to provide you with nervous excitement from your head to tippy-toe.
This song takes The Treatment into a completely streamlined commercial direction. With evergrowing ambitions and some empty moments that leave dark shadows.
As with other tracks on this album — this has an incisive rhythm and reminds us of the sweet charm that we once enjoyed from the earliest songs by Def Leppard. Title track Generation Me has a certain scurrying darkness that reminds us of Ritchie Blackmore’s Rainbow –
The album finishes with a rock ‘n’ roll finale: ‘Light the Sun’ — it has all the vitality and sparkling pizzazzy excitement you might ever wish for. There is nothing here that is really unique or truly original … so do not expect free invention, nor maverick spirit or jazz wanderlust… But if you are looking for kapowza and dazzle … This is where to find it! Words: @neilmach 2016 © Link: www.facebook.com/TheTreatmentOfficial
Words @neilmach © 2015 Images Provided by Artist or Artists’ Representative
GINGER WILDHEART Year of the Fanclub
The South Shields, North East England born rock guitarist, singer and composer GINGER WILDHEART (best known for his band The Wildhearts but also involved in many other high-profile projects, including the Michael Monroe Band, Brides of Destruction and Camp Freddy in Las Vegas) is releasing his Year of the Fanclub album this month.
During this process of song-writing (and song collecting) Ginger toured with the Courtney Love band — Love appears on track two — on the song titled Honour and continued to work with Hey Hello. The disc launches with “Down The Dip” — it’s a glitter rock track with all the pomp and top-heavy, well-stacked gorgeousness one would expect.
Wildheart broke away from the successful PledgeMusic model that he had been previously been using for his Hey! Hello! power pop band (the group that consists of Wildheart with Hollis Mahady, The Rev, Toshi and Ai Sugiyama) and, stepping away from that formula & notion, he has instead created his own modern day online take on an old style ‘write-in’ fan club.
The voice reminds us of Eric Nally (Foxy Shazam) and the composition is full of bloussant theatricality without becoming too bloviating and blustered. The popinjay act continues, of course, on “Honour.”
A subscription paid to the Ginger Associated Secret Society came with a guarantee of three new songs each month. From this collection, Wildheart was able to select the most suitable tracks for Year of the Fanclub.
This one has a nice fresh swing to it. It’s a sturdy boogie number too… with much clap and lots of flap-jaw happiness to be found in each velvet wrinkle… Oh Yeah! This one’s certain to make you smile! These days Black Flags have scary assocciations, but that doesn’t stop Ginger screaming “Only Henry Rollins Can Save
Us Now…” This is loquacious, fast ‘n’ scratchy and played with an itchy-assed finish that makes you ask… Wha? “If You Find Yourself In London Town” make sure you fill your pockets full of pennies… This is a soft, warm and generous number and is loaded with beneficial advice for would-be travellers… it’s also stuffed with sarcastic acid. The album concludes with ‘Don’t Lose Your Tail, Girl‘ which is more Smokie (“Living Next Door to Alice”) than it is Def Leppard. This is a structured collection of (mostly) humdingers… And all the songs have that brilliant arrogance we expect from Wildheart… Yep! This is part cabaret, part silver pajamas … part flaming shock-rock. Words: @neilmach 2016 ©
THE RADIO SUN HEAVEN & HEARTBREAK The super Melbourne (Australian) melodic rockers THE RADIO SUN released their excellent new Heaven Or Heartbreak album last September. The band formed in 2012 and features lead vocalist Jason Old, guitarist Steve Janevski, drummer Ben Wignall and Robbie Erdmanis on bass. The Radio Sun — intensifies the emotions ...
“Caught Between Heaven & A Heartbreak” — the first single to be taken from the new album — is a supreme piece of hard-cut harmony engineering and flustererd simpering. Some terrific guitar-work helps beautifully illuminate the verse and the chorus intensifies the emotions, while neatly fastidious percussion helps motivate the pace. This is sexy, outgoing and ambitious work ... but with bite and strength running through each seam... For lovers of Def Leppard or Bon Jovi. Link: www.facebook.com/TheRadioSun Words @neilmach © 2016 Images Provided by Artist or Artists’ Representative
ROYAL REPUBLIC UK TOUR NEWS + Weekend Man Out Soon The Swedish garage rock band ROYAL REPUBLIC formed in Malmö in 2007 have announced that they will be touring the UK early in 2016…
Their past two albums — ‘We Are the Royal’ and ‘Save the Nation’— positioned the band high in the charts in many European territories.
“We’re absolutely stoked to announce our return to the UK! Very much looking forward to supporting Theory Of A Deadman on these dates, and very much looking forward to playing some new stuff! It’ll be brutal! Can’t wait!” The band told us.
Now, the four rock heroes are taking the next step by releasing a third album, ‘Weekend Man’— [out February 26, 2016 ] and the band have said that they wanted to create “something which feels like a dynamic overall journey” — not only songwise, but also in terms of developing new sounds.
With concentrated passion, brilliant hooks, sweeping drums and an exceptional overall drive — Royal Republic have worked their way to the top level of European rock acts.
‘Weekend Man’ by Royal Republic will be released on 26 February 2016 via Spinefarm Records. All album configurations for pre-order are available.
Jeff Healey — Images: www.jeffhealey.com/photo-galleries/
JEFF HEALEY
Celebrate his 50TH Birthday — Heal My Soul
JEFF HEALEY was a blind Canadian jazz and blues-rock singer and guitarist who attained musical and personal popularity, particularly in the 1980s-90s. Healey began playing guitar when he was only three years old, developing his unique style by playing his instrument on his lap. Following the signing by Arista Records in 1988, his band released the album See the Light featuring a hit single “Angel Eyes” and also the song “Hideaway” — which was nominated for a Grammy Award for Best Rock Instrumental Performance. Over the years, Healey toured and sat in with many legendary artists including The Allman Brothers , Bonnie Raitt, Stevie Ray Vaughan, Buddy Guy, BB King, ZZ Top, Steve Lukather and Eric Clapton.
At the time of his death in 2008 aged 41, Healey was about to perform a series of concerts in the UK, Germany and the Netherlands with his Blues Band the ‘Healey’s House Band’ as it was known.
Under the direct supervision of the Jeff Healey Estate these songs have been carefully restored and brought to life by focusing on the unique and special gifts that Jeff had as an artist.
2016 marks the release of Heal My Soul – the extraordinary lost album by Jeff Healey that has never been heard before by the public.
The music on Heal My Soul captures Healey in full flight, showing the virtuosity that made the Toronto native one of the most revered musicians in the world during his all too brief life.
March 25th this year would have seen Jeff aged 50 years – and so this album begins the celebration of a milestone year for a true musical icon. Heal My Soul is the first album of new songs recorded by Jeff in over 15 years. It represents some of the most powerful and passionate performances ever committed to record.
Key tracks include “Daze Of The Night,” the soaring acoustic ballad “Baby Blue” and Healey’s own soulful take on Richard Thompson’s “I Misunderstood.” Release Date: March 25, 2016 Link: www.facebook.com/jeffhealeyofficial
LOVEBITE LOCKED ‘n’ LOADED LOVEBITE is a Birmingham (UK) based rock ‘n’ sleaze outfit with an unprecedented sound that combines metal and glam with classic rock. Having established themselves in record time as one of the UKs number one up-and-coming sleaze bands, Lovebite continue to present a fusion of razor-sharp musicianship and grand-glam stage-craft to adoring audiences. Their sounds combine perfect hooks with the inherent ability to punitively slam those same hooks down your throat in a bitch-slapping yet exciting manner.
Lovebite — inhuman riffitude
Their overtly-sexual performances are not only filled with tense muscle but also become powerfully addictive. Their Lock ‘n’ Load was a high-point. The cosmically scintillating guitars on the title track created a shimmershammer of sparks and glitter... quivering and vibrating like stripper boots on a podium — while the emotional yawp was as tender as it was fierce. Impulsive and squeezed oh-so tight — the inhuman riffitude of these guys is almost overwhelming. It has to be seen to be believed... Link: hwww.facebook.com/lovebiteofficial Words @neilmach © 2016 Images from artist or artist representative
RICK WAKEMAN Legends Of King Arthur RICK WAKEMAN is currently working on the recording of the new and extended version of The Myths and Legends of King Arthur and the Knights of the Round Table which he is Iooking forward to performing at the O2 in London on June 19th as part of the Stone Free Festival. A PledgeMusic campaign, in support of this recording, was launched by Grumpy Old Rick on the 9th of February. “I have always had in mind re-recording and performing an extended version of King Arthur as it has only ever been performed three times in the UK….” Rick told us.
“ I am delighted to now have the opportunity to do this and especially so with the help of the fans and my campaign on PledgeMusic……and if all goes well, maybe one day put it back on ice…” “ In the meantime, I’m Iooking forward to the première performance at the O2 in London on June 19th as part of the Stone Free Festival.” By ordering your copy of this new recording of The Myths & Legends Of King Arthur from PledgeMusic, you will able to gain access to recording updates, plus bonus content, video clips and much more.
Monster Truck— We bonded over Grand Funk...
MONSTER TRUCK The Canadian Rock n’ Rollers
GRAND FUNK MEETS DEEP PURPLE
Monster Truck are a Canadian Rock n’ Roll band from Hamilton, Ontario. For an idea of their sounds think: Grand Funk Railroad meets Deep Purple At the Drive-In. Their first album “Furiosity” was released in 2013. The band have announced that their second studio album entitled “Sittin’ Heavy” is to be released via Mascot Records in February, 2016. We chatted to guitarist Jeremy Widerman in London about trucks, Sittin’ Heavy and how this whole damned thing started… Jer had spent the previous day thundering around the Metropolis in a monster truck (albeit a roadworthy & smallish one.) But do Brits get Monster Trucks? If you asked an average englishlander what a ‘Truck’ was he would probably say it was a lorry… “Yeah! It was a lotta fun running around London in a truck. When our fans in Canada woke up and found out what we were doing, they were, like “Hey! Oh! Why weren’t you doing that in Canada?” And we were, like “I dunno. Maybe the people who had the balls to pull it off are over here!” So it created a bit of a scene…” Of course, many associate power and energy with Monster Trucks... “I think that it works better over here in the UK. In the USA and Canada they still have Monster Truck shows all the time. So people [back home] think that our name sucks. They make fun out of of it. ” “It’s fair to say that it certainly started as a bit of a ‘joke’ name for us. There were a few times when we thought about, possibly, changing it. But I never wanted to…because I loved the simplicity of it. And I do think it conveys the idea of what we are trying to do musically, really well. And we were very happy to see that when we got over to Europe and the UK everyone who came to see us was saying ‘That’s a great band name…’ And we were ‘Yes!’ [He throws his fist in the air in an excited and victorious gesture.]
Because we were taking shit for the name in Canada. I think it still conveys the same thing back home but it’s so cliched. It’s a bit corny. Because people think the ‘Monster Trucks’ themselves and the ‘Monster Truck shows‘ are a bit corny. (Though half the people still love it…) But there’s a certain beauty to the band name… because it is so simple.” “When you hear the band name you get this kinda mental picture of what you think the band is gonna sound like and we fulfill that for people. That’s a real comfort-level thing. When someone hears the band name… they have a vision of what they think they’re gonna hear… And then they hear it! It’s very comforting (for people.) It’s quite the opposite of what could happen… You could name your band Monster Truck and then sound like Oasis! That would confuse the shit out of people!” So what’s Jer’s background in music? “I started out listening to a whole lot of classic rock as a kid. My father was a huge classic rock fan. He had lots of great vinyl. He got me started on Led Zeppelin, Pink Floyd, Black Sabbath… Then I forged my own path in the punk rock realm, as a teenager — at that age you are gonna naturally rebel against anything your parents are into —— then once I got tired of that, I ended up finding myself where I first started. With those same great bands. By then I was in my mid-to-late twenties. And that was about the time that this band started. That was the Spring of 2009. ” “I was friends with everybody who is in the group now. Ahead of time. I had been friends with John [Jon Harvey ] our singer for many years. We had been good friends and had a lot of the same favorites from the Classic Rock era. We bonded over a mutual love for Grand Funk Railroad [1970s American blues rock.] And we would sit there and romanticize Zeppelin, Sabbath, Floyd and all those bands that made a difference. Though we noticed that Grand Funk got lost by the wayside a little bit. Mostly, perhaps, because they changed their ‘sound’ over the course of the mid to late 1970s. ”
So what does “Sittin’ Heavy” actually mean? [The name of the new album.] “It doesn’t mean nothing! ” “We came up with it when we were sitting in a catering tent at Bonnaroo (Music and Arts Festival in Tennessee, USA) and we had just played our set. And we were eating the extra-big portions you always get in the States. And our drummer, Steve (Kiely) had just eaten two big plates of food. And he was saying, like “Oh! My God!” And groaning. And I was like “Are you OK there Stevie?” And Stevie says: “Oh! I am Sittin’ Heavy…” “So I said, “Well, that’s an album title. Right there.” And everyone agreed. Yes, it would make a great album title. And I thought ‘Holy shit! Did we all just agree on something? Did it come just right outta the gate?’ And that was it. It was done. That was the new album title. ” What are the main differences between Furiosity and Sittin’ Heavy? “Well, the main thing was that we felt we had a lot of success with Furiosity. And we did a lot of things right on that record. We didn’t want to deviate from that too much. We really wanted to stick to that idea… But at the same time, kinda, push forwards. So it was ‘walking that line’. We don’t wanna disappoint the fan-base who love the band. You know what it’s like to love a band and love their first record then their second record is “What is this all about? We didn’t want to make that mistake. But at the same time, we didn’t want to be too safe. We didn’t want to write the same record again. So we kinda did a little of both. So we stuck with the fundamental ideas that worked on the first album. We pushed things a little further on a couple of the other songs. And I feel like we found a nice balance. We are really excited to get it into people’s hands… Our gut instinct is that we did a great job. And that it sounds really good to us! ” Jeremy Widerman was talking to @neilmach 2015 © You can order the album now from the band’s site at www.ilovemonstertruck.com Images from artists representative
Supersonic Blues Machine Filthy hot...
SUPERSONIC BLUES MACHINE
West of Flushing, South of Frisco Words: @neilmach © 2016 Image provided by the artist or their representative
SLOPPY ROAD-ANGEL BOOTY
The collaborative extravaganza known as SUPERSONIC BLUES MACHINE release their début album ‘West of Flushing, South of Frisco’ on the Provogue/ Mascot Label Group this Spring. At the heart of this much-talked-about project is the legendary Starbreaker bassist and producer Fabrizio Grossi who, together with the guitarist & singer Lance Lopez and the drummer Kenny Aronoff — as well as any number of tempting guest bluesicians such as Billy F. Gibbons, Warren Haynes, Chris Duarte, Eric Gales, Walter Trout and Robben Ford — have created a truly sumptuous blues feast… Before the Supersonic Blues Machine even existed as a concept, the pieces began to be stitched together hook-andeye when a meeting between Grossi and Billy F. Gibbons went well: “I was telling Billy about my work with Lance…” explained Grossi, before excitedly adding that the ZZ Top legend’s response was “Oh, you know Lance? He’s fantastic, I’ve known him since he was a little kid, you two should seriously consider working on something together...” The third part of the core was Indiana native drummer Kenny Aronoff who joined the family. The pair came together thanks to Toto’s Steve Lukather. Aronoff brought with him the experience of working with a huge collection of artists such as John Mellencamp, Smashing Pumpkins, Meat Loaf, Brandon Flowers, John Fogerty, Red Hot Chili Peppers and Joe Cocker amongst a host of others.
Supersonic Blues Machine is not just a band — it’s a state of mind, a camaraderie — a melting pot of ideas with like-minded people bringing their own unique talents to create something with a feeling that is very organic:
Running Whiskey (feat. Billy Gibbons) has a big slick bass that muddies over the lower end. The catchy chorus drills early into your inner ear and it is not long before the guitar bear claws its way deep into your heart.
“I was thinking of all the people we know and thought, how about putting together something like The Who or The Rolling Stones used to do in the early 70s” Grossi addsed “they would put together a record and bring all of their friends on board, I thought that would be cool. Bring back the spirit of camaraderie between musicians…” Grossi told us.
We love the swaying and sexy The Remedy (feat. Warren Haynes) which has that fresh yum and colorful swagger we associate with Hendrix (“Bold as Love.”)
The début Supersonic Blues Machine album is a sprawling and emotional journey that puts an emphasis on peace, hope, forgiveness and empowerment. Grossi’s long-time friend and coproducer Serge Simic of hard-rockers The Slam also put his stamp on the record as a co-writer with a seamless ability to flit through styles & with a keen ear for melody and musical elegance. The album opens with Miracle Man which is an oily swamp-assed mover. The beat builds up torridly until the heated harp is as filthy-hot as that vocal that sweats so hard! Then all hell breaks out… with dazzling guitar rhythms and more sloppy-bitch road-angel booty than you could bare to shake a stick at. I Ain’t Falling Again is a generous portion of legit skadoo blues, with lurking southern riffs, terribly exciting spurts of guitar and the kind of funky hardrockin dirty sing-song that you could only find on a windy slab near the Great Bear Mounds. Yes, you will get hot as hell… just by humming this number…
This track is an ever-flowering overdeveloped yeast-work of answers and insights… It will gradually bring out the pain … sucking clean the venom that resides inside your heart. Only the blues can do this … Imagine being invited to the hottest and trashiest nightclub in the Mississippi Delta for an unruly evening of truly epic chants, strongly felt vocals, unlimited emotions and beautiful instrumental performances. That’s what this album is like … It’s really a master-class in the way that the blues should be done … Words: @neilmach 2016 © Link: www.facebook.com/SupersonicBluesMachine
Biff — “It wasn’t a great time for British Rock...”
SAXON INTERVIEW
“We Never Surrendered” Words: @neilmach © 2016 Image provided by the artist or their representative
SUCCESS TOOK US BY SURPRISE
A new SAXON package titled “Eagles and Dragons” is soon to be available: It features nine classic studio albums released between 1991 and 2009 which — before now — were only released on vinyl in some regions (in Germany, Italy and the UK) and, even then, only in very limited quantities. The new luxury 180 gram vinyl versions in this special collection, including inner sleeves with all the lyrics, are a must-have for all fans of Saxon and record collectors. The hand-numbered outer slipcase box features a specially commissioned brand new cover painting by Saxon’s artist-in-residence, the legendary Paul Gregory. 500 copies will also have a framable print of the cover, personally signed by Biff. We chatted to Saxon’s front-man Biff Byford about this historic release: “I think this collection will attract younger fans who are getting into vinyl. This is not just for collectors… There are some great albums in there and they’re on heavyweight vinyl too, so it they will sound great…” “Some of the discs were picture discs, originally, some were on vinyl… they were very limited releases, quite rare … sometimes the releases were small… only 400 or 500 were put out. So this new set will be quite a big release and the ‘special editions’ with the posters will have a limited run.” Why release these albums now? “The licence became free on these albums [from SPV GmbH] though Demon already had “Solid Ball of Rock” and, of course, they wanted whole full-set. So we came up with the idea of releasing the whole collection… as a special boxed-vinyl set. ” “Which is something that has been successful for others, for example Rammstein released one [they issued their XXI box set last year.] I came up with the idea of trying to get Paul to do exclusive artwork for the box-top. And so it makes it a nice package. And we won’t be doing it again… I cannot really see this box-set being around too long to buy!”
What do you remember of those years, 1991 to 2009? “When I look back at those years, I remember it was the the start of Grunge. It wasn’t really a great time for British rock bands. Bruce had left Maiden [1993 ] and Rob had left Judas Priest [1991 ] and we [Saxon] were in a bit of a turmoil as well… Nigel [Glockler, drummer] had gone off to do something else and there was a bit of something going on with Graham [Oliver, guitar.] Yet “Solid Ball of Rock” [the tenth studio album ] was a huge hit… And the single “Requiem” too — very big actually. In fact the success took us by surprise. Very big across Europe and in America as well. The title track “Solid Ball of Rock” was written by a pal of mine Bram Tchaikovsky — he was with The Motors —and he wrote a rockabilly version of that. Me and Paul transposed it to become a more mainstream heavy rock umber. That really was a come-back album for us. And it was a great tour too.” “The next album “Forever Free” was problematic… the producer was a nutcase and there were definitely problems in the band. “Dogs of War” really was Graham’s last album… he didn’t tour on that album… left the band New Year’s Eve 1994. So Doug [Scarratt, guitar] came in. And Doug did the “Dogs of War” tour. His first gig was in Texas in front of 25,000 people! It was a bit of a “Baptism of Fire” for him! Doug is a loveable guy he’s nice to tour with… there’s no friction there… so he’s been in the band ever since.” “The nine albums definitely see the morphing of the late 1980s Saxon into something else… Something that people actually liked again. That’s a simple way of putting it, really. I don’t think that people liked the “Destiny” Saxon too much (the ninth studio album released 1988. ) ” “Because it was too far from where we had come from. I wanted to go back to album covers being connected to our band name and the song titles. I particularly wanted the title of the album, to be connected to Saxon. So I went back to that sort of idea. Swords and dragons. We started all that! Crusaders etc. We made a conscious decision to go back and get that kind of imagery.”
“I am an amateur historian, you know. History is in all our songs. It’s a great thread. To go back to. There’s only a few who do it… You know, story-tellers. It’s quite big in prog rock. Not so big in Heavy Metal. Me, Bruce, Lemmy maybe… Rob a little bit too… we like to tell stories. And those stories are sometimes quite historic. Or mythical.” “The last three albums in the set: Lionheart [2004], Inner Sanctum [2007] and Into the Labyrinth [2009] are great albums. Maybe UK fans will prefer Lionheart the most. It’s a very big album, especially here in the UK. It’s a very British album… I came up with the heraldic idea for the artwork — I took my ideas to Paul — and it is probably one of the album titles that connect best of all with the cover image. You know, all that St.George’s Cross and dragon stuff. And we are proud to be English… we don’t care about putting up the George Cross… we’re not bothered about any ‘connotations.’ You know, Maiden use the Union Jack, so we use the George Cross.” “I like all the albums in the collection. I have a fondness for “Forever Free” [1992] and I just wish that the guy who was producing it could have got it together. It suffered a little bit from production and timing problems…. There is “The Court of the Crimson King” on Killing Ground [2001 ]… I love prog-rock and we even invented a bit of jazz-rock for the middle that has the flavour of ‘Schizoid Man’ [King Crimson. ] I don’t know if anybody else twigged that… but that’s what we did. Our younger fans thought it was our song!” “ I think newcomers should seek out “Lionheart” definitely. “Sold Ball of Rock” too. There’s gems on them all… there really are, all the albums in this collection are great… but younger fans might like “Metalhead” [1999 ] it’s a very dark album. There’s stuff going on about aliens and a bit of spiritualism in there too. And on that album, it’s really the first time that Doug got into the songwriting role in a big way… So it’s very dark… There’s a lot of suspended fourth notes in on that album… I love that album. But I would definitely say the stand-out albums from that period are: “Solid Ball of Rock”, “Metalhead” and “Lionheart.” Those three…
Last in Line — Smokalicious and warm...
LAST IN LINE
Original DIO Members Words: @neilmach © 2016 Image provided by the artist or their representative
OGRE ON THE WARPATH
What started out as little more than a jam session in Los Angeles during 2011 has now become a full-fledged recording project between Ronnie James Dio co-writing band mates (Holy Diver, Last in Line and Sacred Heart) culminating in the release of HEAVY CROWN this year. This February LAST IN LINE released their highly anticipated début hard rock album ‘Heavy Crown.’ The new album is to be supported by a concert tour of the United States and Europe, with a set-list that will include songs carefully chosen from the classic songbook as well as the new numbers. LAST IN LINE was formed by three original members of DIO including Def Leppard’s Vivian Campbell (guitar) and Vinny Apice (drums) with Jimmy Bain (bass) and named after DIO’s 1984 studio album — The Last In Line. The band vocalist is Mister Andrew Freeman (The Offspring, Hurricane and Raiding the Rock Vault Las Vegas show.) We have been listening to ‘Heavy Crown’ — The album starts with ‘Devil in Me’ and some familar arrangements and a ‘rockin groove reminiscent of ‘Shame On the Night’ (Holy Diver) — this has a classic rock tempo.
It is smooth and elegant and even has the whiff of hair band 1980’s eloquence. Whether it has the bite and snarl of early DIO works is debatable. But, without a doubt, this is gratifying and slick.
This is not immediately compelling — but you will find that it improves your spirit long after the other songs have done their job. It’s gonna be an everlasting classic!
Then we get ‘Martyr’ which grizzles as it worms. Sparkling guitars flicker and agitate under the strong pace that strikes through the melody.
The album ends with ‘The Sickness’ with it’s impressive ambition and range.
The vocal is a narrow mass of fibers — stretched and strained until manly release. It is then that the thoroughly voltaic guitar flies in like a seething dragon cresting the edge of a storm. Yup! This is one helluva track … full of chemical action and dynamic tension. ‘Starmaker‘ hobbles like an ogre on the warpath. The bass buzzes like a watchful killer bee and the guitars build a layer-cake of rich sounds. This is a contemplative and emotional. And, although it does not have the heat and excited energy of other tracks, it will still burn within you. The title track comes towards the end of the album. It has a lazy jazzy vibe. And a zeppelinesque atmosphere. The vocal is gruff and hirsute, the bass is yielding and amenable and the riff is smokalicious and warm.
Fizzing guitars spiral out of the steaming, froth-pot of textures that make up the landscape. It’s not long before the super-sized lead solo (Campbell) starts to make intrusions. This is nostalgic and starry. Effective and edifying. After listening, again and again — we are still not quite sure if Andrew is tough enough to pull off the tension that’s required … But no matter — this is still the closest you will ever get to another album by Dio — and with the original band. The legacy lives on … Words: @neilmach 2016 © Link: www.facebook.com/lastinlinerocks
Broken Witt Rebels — Roots, blues ‘n’ ashes...
BROKEN WITT REBELS Georgia Pine
BROKEN WITT REBELS are a Birmingham (UK) based indie-blues and soulful-rock 4-piece with Danny Core on vocals and rhythm guitar, Luke Davis on muddy bass, James Tranter on lead guitar and James Dudley on thunderous drums. Georgia Pine is their new 5-track EP that everyone is talking about… Georgia Pine is a trusty-rusty roots ‘n’ ashes blues ‘n’ soul album … it has serious hit potential. The songs on the EP contain the distinctive, soulful sounds of bands like Alabama Shakes…
And the young Brit band pay respectful homage to the enduring sounds of the Stax guitarists. Their crisp and dynamic approach to song-writing & recording gives this EP an energizing and modern authenticity that is entirely unique. The EP was engineered and produced by Tom Gittins who produces Robert Plant. Gittins cites the Rebels’ lead singer — Danny Core — as an amazing vocal talent in the tradition of Steve Marriot and Joe Cocker. The first single “LOW” will be released as a music video late February 2016.
When we listened to the single, we thought it had the glamour and dazzle of a tinsel curtain… all shimmer eyed sadness and lost soul. The guitars rise like lava from a basin — bubbling and stewing — and the vocal creates a heartsqueeze of nostalgia that runs right through the veins of the song… to ooze into your glands… The 5-track EP will be released this April, and is currently available for pre-order from the band’s official page. Words & Picture: @neilmach 2015 © Link: www.facebook.com/BrokenWittRebelsUK
HRH BLUES TOP PICKS — THE GREATEST BLUES AROUND words @neilmach
Those wonderful people at HRH have introduced us to many of the greatest blues acts over the years. And, in some ways, the 2016 HRH BLUES FESTIVAL [this year to be held at 02 Academy Sheffield April 16 to 17] is a celebration of the best that there is. OUR TOP PICKS: The Malmo, Sweden born #bonafide singer/guitarist Pontus Snibb is justly celebrated for his hard-edged blues shows. He has been playing devilish music all around the globe for many years. His everchoking voice seems stretched beyond comprehension (it is more or less “Chappo” Chapmanesque in exercised bluesiness ) and his blues guitar-work is frequently a torrid stretch of hooks and charismatically stretched woundings. He is simply sensational. Micky Moody — Precisely controlled...
Micky Moody is famous worldwide for his guitar-work with rock bands Juicy Lucy and Whitesnake (and until recently with Snakecharmer) – his multi-layered and extraordinarily poignant articulations are always wonderful interactions between guitar and voice… And those fingertip rhythms are always expertly & precisely controlled. We also have to admit, freely, we love Pig Irön. They kinda summarize all we like about sweaty blues rock. They sound fuzzy – like vintage Sabbath. But they also sound clawingly metallic – like early Zeppelin. The most important thing is… they really know how to build a good song. They have gradually matured – like a fine bourbon – and continue to deliver the goods. HRH BLUES O2 Academy Sheffield 6th-17th APR 2016 Pass Hotline: 0203 287 6684
Pig Irön — Like early Zeppelin…
SKUNK ANANSIE Death To The Lovers The well-beloved British Rockers SKUNK ANANSIE (reformed in 2009 ) have released a second track from their sixth studio album titled ‘Anarchytecture ’ (out now via Spinefarm Records.) The single ‘Death To The Lovers’ — is a revealing and deeply emotional track — Skin’s genuine delivery will pierce your heart… “Death To The Lovers is about the loss of intimacy in a relationship...” Skin told us, “that grey area between love and hate you fall into just before it’s truly over…”
Skunk Anansie— Effervescent joy...
“There is desperation, there is the realisation that it can’t last, but there’s still hope. Musically, it’s another electronic experiment from us — something fresh and contemporary, but very Skunk…” A music video for ‘Death to the Lovers’ has also been revealed.
We have been listening to the song — The pulsing beat shakes the whole architecture to the bone… Skin’s passionate voice treads onwards slowly and deliberately. She is determined to carry on… This is emotional, celestial and possibly even a little schmaltzy… But you can forgive the melodrama… because this song is about affecting emotions… Consequently, it’s nothing less than an effervescent joy… and will stir feeling from your heart too… Words: @neilmach 2016 © Link: www.facebook.com/OfficialSkunkAnansie
KAT & CO SLINKY BLUES GROOVE
Imagine Macy Grey was accompanied by the most intelligent, slinkiest and grooviest band on the planet ... and you arrive somewhere near the complex and purring sound of KAT and the sophisticated elegance of her company.
Production and guitars is performed by a student of the Musician’s Institute of Technology in Hollywood, writer and arranger Francesco Accurso.
Kat — Kathleen Pearson — brings with her the courage and the essence of a musical style that originated in America ... Coming from a long line of Gospel shouters, Blues hummers and Soul singers — Kat sings through her marrow and with the common sense and understanding of her true spirit.
Staines, Surrey session musician Nick Owsianka is on drums and the swinging and ultra-classy bass is from Marco Marzola who has shared stages and studios with many great jazz musicians in Europe and the United States, including Betty Carter, Jimmy Cobb etc.
She brings the true tradition of Blues as found in urban roots.
Hammond organ is by BAFTA award winning animator and designer and Jazz Piano graduate (Centro Jazz Torino ) Federico Parodi.
There’s a new album out soon — but while you wait you can pick up a classic from their shop at: hwww.katandco.co.uk