Blues Matters 97

BLUES MATTERS!

Our name says it all!

JOE BONAMASSA

BACK TO THE WOOD

INSIDE THIS ISSUE

THE 38 TH BLUES MUSIC AWARDS

ALSO …

On Tour with Stevie Nimmo

I’ve Never Been To Memphis

Little Acoustic Stage at the Atkinson Theatre

Radiating the 88’s Part 6

USA Travels

Scandinavian Blues Part 3

ALBUMS, FESTIVALS AND

CONCERTS

The BIGGEST collection of blues reviews including Baton Rouge Festival, Blues on the Bay and Lincoln Blues Festival

CHART UPDATES

IBBA, RMR and Red Lick

Backbone Cast Bourbon Alley

Brigitte Rios Purdy Ruby and the Revelators

Toriah Fontaine

Velvet Two Stripes

BLUE BLOOD

WELCOME

SO A NEW SET OF ‘EDITORIAL’ NOTES TO WRITE AND WE ARE AT ISSUE 97 AND COUNTING …

You’ll be pleased to know that neither your Editor-inChief, nor any of the team, has so far assaulted any press people like a certain statesman recently. Nor have we sought to restrict anyone’s right to ‘fish’ for us in the ethernet waters around the world. We say “Please do cast your eyes and fingers over the internet until you find us” – and to land us on your doormat for your own consumption, simply subscribe and the magic that is known as the mailing system will deliver us to your door, still fresh and ready for your eyes to consume. If you can’t wait, then take out the digital subscription and we will be with you in the blink of an eye.

You know a new copy of Blues Matters is a bit like finding a new cake shop or sweet shop you’ve never been in before – where do you start and the selection is so good … So what delights do we have between these pages to satisfy your tastes? Well Mr. Bonamassa has been busy as usual and we have caught up with him for an update on his activities for you. We also have spoken with consummate Blues man Eric Bibb and the legendary Devon Allman as well as tracking down UK Bluesman now residing in USA, a certain Davy Knowles. That man Wilko Johnson continues his resurgence and we have a chat with Son Volts’ lead singer Jay Farrar. We’ve also brought you Doug McLeod, Marcus King, Lance Lopes and Thomas Wynn and his Believers – such diversity!

Features galore, loads of CD reviews plus Blue Blood and the gigs and festivals should keep you busy for a while … enjoy, see you in issue 98. Happy reading!

As notified in BM93/4 we reduced the App price to £23.49. The Digital version is also now available to all print subscribers at no extra.

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CONTRIBUTING WRITERS

Liz Aiken, Roy Bainton, Adrian Blacklee, Iain Cameron, Colin Campbell, Chris Coe, Norman Darwen, Dave Drury, Michael Ford, Stephen Harrison, Trevor Hodgett, Andy Hughes, Rowland Jones, Brian Kramer (Sw), Frank Leigh, Christine Moore, Benjamin MacNair, John Mitchell, Stevie Nimmo, Merv Osborne, David Osler, Dominic Pipkin, Clive Rawlings, Darrell Sage (USA), Paromita Saha (USA), Pete Sargeant, David Scott, Graeme Scott, Shirl, M.D. Spenser, David Stone, Andy Snipper, Suzanne Swanson (Can), Tom Walker, Steve Yourglivch.

CONTRIBUTING PHOTOGRAPHERS

Christine Moore, Arnie Goodman (USA), others credited on page.

COVER PHOTOS

Joe Bonamassa by Christie Goodwin, Devon Allman by John Bull, Davy Knowles by Arnie Goodman.

© 2017 Blues Matters!

Original material in this magazine is © the authors. Reproduction may only be made with prior Editor consent and provided that acknowledgement is given of source and copy sent to the editorial address. Care is taken to ensure contents of this magazine are accurate but the publishers do not accept any responsibility for errors that may occur or views expressed editorially. All rights reserved. No parts of this magazine 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 the editor. Submissions:

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THE GREAT BRITISH ROCK & BLUES FESTIVAL

THE BLUES MATTERS! STAGE AT JAKS

FRIDAY NIGHT: ROBIN BIBI BAND

JACK HUTCHINSON BOOM BOOM BROTHERHOOD

RAINBREAKERS

SATURDAY AFTERNOON: THE EVER POPULAR ROADHOUSE JAM SESSIONS

have become synonymous with this super weekend and always in great demand and very well supported, including short sets by Roadhouse themselves to start and close (always popular – and w ith many festivals under their belts, always crowd pleasers). The JAMs get packed out every year!

SATURDAY NIGHT:

MATT EDWARDS BAND

TROY REDFERN BAND

ASH WILSON BAND

SUNDAY AFTERNOON ACOUSTIC: AL HUGHES

BENJAMIN BASSFORD BAND

BACKWATER ROLL

SUNDAY NIGHT: ROADHOUSE

JAMES O'HARA

ELLES BAILEY

YOUR BLUES MC FOR THE WEEKEND CLIVE RAWLINGS

REGULARS

Bringing to your attention what’s new on the scene in the UK and abroad. Backbone Cast (FIN), Bourbon Alley (UK), Brigitte Rios Purdy (USA), Ruby and the Revelators (UK), Toriah Fontaine (UK) and Velvet Two Stripes (SUI).

MARCUS KING (USA) ������������������

21 year’s old and legal drinker age in the USA! Marcus has been compared to his “uncle” Warren as he refers to him. Warren produced his new album.

62

The 38th Blues Music Awards, On Tour with Stevie Nimmo, I’ve Never Been To Memphis, Little Acoustic Stage at the Atkinson Theatre, Radiating the 88’s Pt6, USA Travels and Scandinavian Blues Pt3.

INTERVIEWS

JOE

DAVY

DOUG MACLOUD (USA)

The consummate entertainer. Doug discusses his early years of abuse while choosing not to take the path of abuser. LANCE

WIKO JOHNSON (UK) �����������������

66 Hear about his brush with death and collaboration with Roger Daltry.

ERIC BIBB (USA) �������������������������

Discusses how and why he started on this life as a musician, and who his musical influences are.

70

REVIEWS

blues takes many forms, we try to cover them all within our reviews section. Which other magazine reviews over 50 every issue.

– Baton Rouge Festival, Bowness Bay Blues, Blues on the Bay and Lincoln Blues Festival. GIGS – Backwater Roll, Dan Patlanski + Ash Wilson, Eric Gales, Erja Lyytinen, Giles Robson + Gerry Jablonski, Joe Bonamassa, Laurence Jones, Logan’s Close, Mollie Marriott and The Jive Aces.

Walk With Me

“...Ruby’s voice combines smooth-but-not-too-smooth soul with lived-in world-weariness, gritty oomph and playful sass...an impressive debut!” Moray Stuart, Blues In Britain

AVAILABLE ON CD, DOWNLOAD AND RUBY RED DOUBLE A SIDE VINYL FROM www.rubyandtherevelators.co.uk rubytiger.bandcamp.com

Ruby & The Revelators @rubytigersings rubyandtherevelators

RADIATING THE 88 s

PART 6: LEARNING BLUES PIANO WITH TIM RICHARDS, PART III

Verbals and Visuals: Dom Pipkin

Welcome to my regular little corner here at Blues Matters, looking out for the guys and girls with a little less distortion and barstorming onstage volume available to them – the piano players! As you know, lately we’ve been skimming through approaches to learning and practicing blues styles, particularly with reference to Tim Richards’ excellent Morley College courses and books. http:// www.timrichards.ndo. co.uk/bluespianotuition. html. This is not to forget of course, that there are other great teachers out there.

Here’s where you can find piano teaching tips from the fantastic Paddy Milner. https://www.musicgurus. com/course?search=paddy

PLAYING WITH BOTH HANDS TOGETHER

So we were laying down boogie patterns in the left hand, and playing sections of the blues scale in the right hand (without just running up and down the scale!). Or laying down chord tone melodies, or making little repeats, or machine gun phrases with one or two notes, all the time aiming to land on good well-chosen notes, making an interesting

shape, and of course, always playing in time, and not too fast – remember? Well, go back and the issue before last again (96), or watch the videos I’m posting! (and “like” and support the page)

https://www.facebook.com/ groups/radiatingthe88s/

MORE SOLO STYLES TO LOOK AT

Well, what is a solo piano style? You can play an entirely solo piano piece without any singing, or of course it can be a way to accompany a singer. If no-one is singing, clearly it’s up to you the solo player to provide all the story, the melody, the emotion, with your two hands. That’s why we start with boogie patterns. They provide a continuous rhythmic bed to play over. Here’s another pattern (broken octaves – a little harder), and here’s the absolute simplest left hand to hold down, whilst developing right hand ideas (single “drone-like” roots and 5ths). The drone idea is cool because you can stop worrying about your left hand being in time or being complex, but, it can make you forget that rhythm and hitting that beat in the right place is important, so be careful with it! I’ve used “resonating” repeated notes over a blues scale idea – as shown last time, and some sliding note, fast tremolando, all as examples of style.

And here are two simple New Orleans type left hand patterns. One is the classic pattern that Jimmy Yancey uses on tunes like Yancey Special. This can be played “straight” – so that your right-hand plays with a sense

of 4, 8, or even 16 notes for each hit of the pattern, or with a “swing” so that the right hand plays in groups of 3 main notes for each hit of the pattern. You’ll find this pattern all over certain Fats Domino tunes. I’ve used a double slide onto an interval of a 6th – two notes together from a C major chord. I’ll mention 6ths and 3rds another time in detail. I’ve also used

a glissando as a stylistic device – running your thumb down the keys like Jerry Lee Lewis. The “straight’ rhythm example has a Right Hand line reminiscent of Professor Longhair.

And here is the lurching forward, “Spanish Tinge” style as described by Jelly Roll Morton way back in time, brought firmly into the world of rhythm and blues

by players like Professor Longhair. What’s nice about this is that it comes with gaps ready supplied to fit the right hand around, thus creating a complete two-handed style from the outset. Great to play and relax on – then I have another example of some chord tone based lines, with slides. Play these lines, and see if your imagination is fired to make more.

There are countless left-hand styles – beginner players start with a boogie or a bouncing shuffle, but when moving forward trying out different styles can help shape you into the kind of player you want to be. There are funk styles, stride (like early jazz) styles, reggae, mixed up combinations of

these, “all inclusive” left hand worlds as developed by players like James Booker. Some of the funk styles (check out players like Richard Tee and Billy Preston) can be served in a standalone solo piano style with broken octaves in the left hand (see above), but played “straight”, without a “swing”.

OTHER STYLISTIC MATTERS

“I’m lost, you haven’t told me what to play”. Yes that’s right, I’ve just given little snippets to develop out from, because here and in previous episodes of this column

I’ve been showing ways to become an actual piano blues player, and this means using

your own expression and imagination. There are many books where you can read all the notes to blues classics, and play them exactly as they were originally recorded, if that’s good for you. Go watch some videos on the Radiating Facebook page, read some earlier episodes. All the tips are there! Go to Tim’s classes, get his books. Check out Paddy’s courses!

“I’m playing notes from the blues scale, or melodies from the key I’m playing in, but it doesn’t sound bluesey.” Maybe it does, and you just need to pay a little more attention to articulation. Playing smoothly, as classical piano asks us so often to do, is the wrong thing for blues piano. You need a little jerkiness, and a little (or a lot) of funk in your playing. This means

stressing the elusive beats of syncopation. I say elusive, but you probably instinctively know where those offbeats are. Just sing a blues phrase, and exaggerate how you do it. That’s where the syncopation is! Also notice the supporting “resonating” notes I use in these examples. If you play in C, these notes will often be Cs, Gs, Ebs and Bbs. See my piece back in Issue 96. These additional notes provide a great deal of flavour in your playing. This flavor is very important. Imagine chips without salt! Slides and strokes of notes (which I’ve shown in a few of the examples) here, are also very flavoursome – on a piano this is often a black key sliding onto a white key, upwards or downwards, mimicking the bends and slides on a guitar.

This also underlines why C, F and G are more popular on the piano than the “guitar keys” of E, A, B etc. The same move in the guitar keys would require you to slide a white key onto a black one.

SWING OR STRAIGHT

A final point. You can play most of these example “straight” or with a “swing”. In essence – straight is funky, rocky, swung is shuffle-y, jazzy. This means you have another area in which to expand your stylistic feels. Again, look for examples on the Radiating Facebook. More next time – in the meantime, learn and practice at the right speed, keep in time, and I’ll see you soon!

https://www.facebook.com/ groups/radiatingthe88s/ https://www.dompipkin.co.uk

SCANDINAVIAN BLUES PART 3

On May 28th, an unprecedented event occurred for the first time in Stockholm’s history; The Old Town Blues Day. This event tied together ALL the venues that have been featuring blues in the old town and on the outskirts with every available blues artist taking part for a day of unprecedented blues celebration! 29 artists and groups played blues all day and into the night at clubs Stampen, St Clara, Wirstroms, Plugged Records and Engelen and you couldn’t walk three steps along the cobblestone streets without bumping into local favorite artists or enthusiastic blues fans rushing to catch scheduled shows from one

venue to the other. I was also included on the program along with harp player Mats Qwarfordt, who started up the initial blues jam with me in 1998, where we told stories of accounts and amazing instances over the years that were born within this scene in the Old Town of Stockholm that set the foundation for this healthy, alive, fertile, blues community. A grand effort that was the mastermind of the Stockholm Blues Association, whose rich, impressive history of presenting the blues here in Sweden goes way back. Pelle Leuf, former head of the SBA has told me stories of bringing over legends like Johnny Shines, Otis Rush, Robert Jr. Lockwood, Albert

King, Houston Stackhouse, Junior Wells, Buddy Guy and countless others. These shows became the spark of inspiration for many Swedes as well as when the American Folk Blues Festival first came through Scandinavia in the 1960’s. In 1964 an announcer for the Swedish Broadcasting Company; Björn Helander travelled to Chicago to record various blues artists to present in a series of shows for Swedish Radio. He arrived in the windy city without a contact and after some inquiry was directed to a young Mike Bloomfield as the man who could connect him to meet his blues needs, and boy did he hit the jackpot! Helander wound up recording incredible, candid tracks

Verbals: Brian Kramer

Mats Qwarfordt and Brian Kramer by Anders Rydell

as well as interviews with Robert Nighthawk, Walter Horton, Otis Span, Yank Rachell, Willie Mabon, James Brewer, Paul Butterfield, Mike Bloomfield and dozens more (released on CD as Blueskvarter Chicago 1964 Vol. One & Two). When these shows aired, it captivated and became a catalyst for many Swedes to explore and learn to play the blues. One such individual was Sven Zetterberg, who immersed himself and eventually wound up playing and touring with Jimmy Rogers, Jimmy McCracklin, Louisiana Red, Luther Allison and Eddie Boyd. Zetterberg steadily rose to the title of King of Scandinavian Blues, touring constantly and headlining every major festival. Sven has also sparked a whole new generation of young blues artists who now tour and record, passing on the torch of the blues, like Emil Arvidsson and Daniel Kordelius, who I had the privilege to introduce to Sven in 2000 on my blues jam stage, which radically changed their lives. Unfortunately, Sven passed away December 2016 just days after finishing a tour. Jefferson Blues Magazine holds the title as the oldest blues publication in the world, which was started in 1968 and formed the core for the Scandinavian Blues Association. Another one of Sweden’s own early, homegrown heroes of the blues, also affected by the Blueskvarter radio shows is the nationally known Peps Persson, who in 1972 made a pilgrimage to Chicago to record an album titled

The Week Peps Came to Chicago. These sessions toted a staggering list of veteran Chicago blues artists; Carey Bell, Jimmy “Fast Fingers” Dawkins, Louis Meyers, Mighty Joe Young, Sunnyland Slim and many more, however the story goes that this esteemed crew of blues greats did not make Peps feel very welcome and looked down upon this young, white, Swedish stranger in their territory. This caused a discouraged Peps to return to Sweden and vow to only sing his blues in his own Swedish tongue and create his own voice. There isn’t a household in Scandinavia who doesn’t know of the great Peps now. So, by now our Blues Matters readers have a good picture of the blues scene in Sweden and the many great artists that have emerged from this watering hole over the past fifty years. When I relocated here from New York in 1996, I came in on an established foundation of great blues interest here and was able to contribute with eighteen solid years of running the best blues jam around and creating a stage for a wider understanding of blues as well as allowing unique, international artists to be seen. This was the only missing ingredient here that tied it all together and sparked a new renaissance for the blues in Scandinavia. It was definitely my idea of “blue-topia” and felt privileged for every waking minute of it! But as they say; all things change and after almost two decades at the legendary club Stampen in Stockholm, the owner, with whom I had a great

relationship, decided to sell the venue and over the course of the following year it did not work out favorably for me to continue with the new owners. I started over once again and took to the streets, going door to door to every venue in Stockholm that I knew would love to pick up this world renowned weekly event. I was met with more resistance than I imagined and after a disheartening meeting with one club manager, I was standing on the bridge that led toward the Old Town when my attention was drawn to the clubEngelen (translated to The Angel) and as I stood gazing, my mind went “hmm?” This was just on the other side of the Old Town where Stampen was located a few streets away on the same strip, I never even considered Engelen before because what I knew was that they had a history of hiring “cover bands” and had very little roots and blues activity. When I entered, Engelen was closed and I slipped in through an open side door. I found a manager and started to make my case when he immediately put me on the phone with a legendary Swedish Jazz singer, Claes Janson whose response when he heard my name was “Brian! I was just going to call you!” Apparently Claes started helping with the bookings and profile at Engelen and wanted me to be part of it. We immediately set up a meeting with the owner and within two weeks I had Brian Kramer’s International Blues Jam up and running every Saturday again! From the first day, we started up; February 27th 2016, almost

eighteen years to the day that I started up the first blues jam in Sweden, it was packed. Everyone in the community who knew about this came out to support and celebrate with us and now one year later it is again the most vibrant, popular blues jam in the community amongst the other half dozen active blues jams including the one at Stampen, which still continues. “Blues lightning struck twice in the same spot” I like to tell folks, now that there are two popular and active blues jams in the very same area. The blues scene is healthier than ever here and only getting stronger with blues jams and events going on around town almost every night of the week, and room for everyone toting a guitar, harp or even a cello, like Finland’s Elias Kahila. Engelen has also recently asked me to revive my Blue Monday’s events,

which have now also become a favorite night here and once again I get to feature the best of the blues every week here in Stockholm. I was just asked by Norway’s Blues Club/Association in September to travel over and conduct a two day Blues Jam Workshop to offer guidance and help strengthen their blues jam culture. This will be a hands-on Workshop explaining all the ins and outs and finer details of building a successful blues jam and how that ripples out into the community. It will culminate with an actual blues jam open to the public and feature many of the local artists, participating in the Workshop. One of my guitar students from another blues workshop was just recently featured on National Swedish Television in a profile on how she came to the blues and developed

through our weekly Jam. 2018 will mark the twentieth anniversary of when I started up this blues jam in Stockholm. I know this would not have been possible back home in a place like New York where things change at such a rapid pace. It’s still a wonder to me how this all falls together; a good blues jam, whoever walks into the room at any given moment and how to puzzle all the pieces into place. I still LOVE it!

Scandinavia and Sweden has offered me a home to share and express my blues that has gone beyond my wildest imagination. It has truly engrained in me something that my mentor, Junior Wells told me many years ago when I was just a kid getting it all together; “I’ve been all over this world… The blues is Universal; everybody has the right to the blues!”

Mercury Blues Band featuring Tomi Leino by Bengt Nyman

THE 38 TH BLUES MUSIC AWARDS

Verbals and Visuals: Suzanne Swanson

The air is heavy and humid when you arrive in Memphis, in the second week of May for the beginning of the Blues Music Awards festivities held yearly by The Blues Foundation.

The Mississippi River flows high due to snow melt running into the expansive waterway from hundreds of miles north after a stormy winter. In spite of the 80 degree F (27 C) heat, a swell of excitement exists as this is one of the busiest music weeks every year.

Events began on Monday, May 8th. If you did not have your tickets sent to you a trip to the Blues Hall of Fame on S. Main is necessary to pick up Will Call tickets and visit the museum that holds important memorabilia from all the Blues Hall Of Fame inductees. Downstairs, there are sound booths to listen to recordings of special

interest to blues buffs. In the reception area where you are able to purchase albums, CD’s, clothing, and other items. Outside is a bench, shared with a seated bronze statue of Little Milton that was unveiled April 10, 2015. A perfect sitting for any photo buff wanting to record their visit.

As the day wears on a welcome breeze drifts lazily across the river toward bustling Beale Street, the hub of all things musical in this Delta city. Neon lights glow and dance an invitation to come, meet old and new friends, share a meal, a beverage, and experience the joy that

only live music can bring.

Corky Siegel is introducing the film Born In Chicago at Malco’s Studio on the Square.

Before this, the Memphis Blues Society is hosting a performance of member musicians. Afterwards, back on Beale Street, Eric Hughes Band takes one of the many stages along the row of brightly lit venues. A leisurely walk up and down the street will whet your appetite for more of the tunes that bring memories from melodies and lyrics that make an impression. If you have any energy left from your journey, the celebrations continue into the small hours of the morning.

Terry Hanck

Joe Louis Walker and Sari Schorr

The winners of the evening for the 2017 Blues Music Awards are:

ACOUSTIC ALBUM

The Happiest Man in the World by Eric Bibb

ACOUSTIC ARTIST

Doug MacLeod

ALBUM

Porcupine Meat by Bobby Rush

B.B. KING ENTERTAINER

Joe Bonamassa

BAND

Tedeschi Trucks Band

BEST EMERGING ARTIST ALBUM

Tengo Blues by Jonn Del Toro Richardson

CONTEMPORARY BLUES ALBUM

Bloodline by Kenny Neal

CONTEMPORARY BLUES

FEMALE ARTIST

Susan Tedeschi

CONTEMPORARY BLUES MALE ARTIST

Kenny Neal

HISTORICAL ALBUM

Chicken Heads: A 50-Year History of Bobby Rush by Bobby Rush.

Omnivore Recordings

INSTRUMENTALIST – BASS

Biscuit Miller

INSTRUMENTALIST – DRUMS

Cedric Burnside

INSTRUMENTALIST – GUITAR

Joe Bonamassa

INSTRUMENTALIST – HARMONICA

Kim Wilson

INSTRUMENTALIST – HORN

Terry Hanck

KOKO TAYLOR AWARD

Diunna Greenleaf

PINETOP PERKINS

PIANO PLAYER

Victor Wainwright

ROCK BLUES ALBUM

Let Me Get By by Tedeschi Trucks Band

SONG

“Walk A Mile In My Blues”

Written by David Duncan, Curtis Salgado, & Mike Finnigan

Performed by Curtis Salgado

SOUL BLUES ALBUM

The Beautiful Lowdown by Curtis Salgado

SOUL BLUES FEMALE

Mavis Staples

SOUL BLUES MALE

Curtis Salgado

TRADITIONAL BLUES ALBUM

Can’t Shake This Feeling by Lurrie Bell

TRADITIONAL BLUES

MALE ARTIST

Bob Margolin

Eating in this Delta hub is always a pleasant adventure. There are so many fine traditions here for repeat visitors and new comers. Some of note are; Gus’s World Famous Fried Chicken, Alcenia’s Soul Food (breakfast and lunch, close to Sheraton host hotel), Rendezvous BBQ, Blues City Café (Beale St), Miss Polly’s Soul City(Beale St.), Majestic Grille, Blue Plate Café Downtown (breakfast/ brunch), and the Kooky Canuck. B.B. King’s Blues Club, Flight Restaurant and Wine Bar, Arcade (Elvis’s favorite), Pearl’s Oyster House, and Flying Saucer Emporium, these are around the downtown area. Many more restaurants and bars are available, depending on preferences.

Tuesday is a good day to investigate Sun Studio, Stax Museum, Graceland, Gibson Guitar, the National Civil Rights Museum, Peabody Hotel, and the Memphis Rock & Soul Museum. Any one of these gives you a richer portrait of this

music hub that has played a leading role in the history of the American Delta.

Jay Sieleman, former CEO of The Blues Foundation, along with Priscilla Hernandez, led an hour and a half walk along and over the Mississippi River. This is a wonderful idea in starting your Wednesday by walking the areas close to your hotel as this river made this city the cotton capital of the South.

Later in the early afternoon Mike Kappus, Music manager and record producer of the fabled Rosebud Agency, shared his experiences and music during the forty-plus years with the company. These included Los Lobos, The Robert Cray Band, Ben Harper, J. J. Cale, The Neville Brothers, George Thorogood & The Destroyers, Trombone Shorty, Allen Toussaint, and The Staple Singers, to name a few. He explained that Rosebud is sorting and documenting material to archive for the Center for Southern Folklore in Memphis, another valued visiting spot. The evening

began with the induction ceremony of the Blues Hall of Fame recipients for 2017, and this year’s honorees represented all five of the Hall of Fame’s categories: Performers, NonPerformers, Classics of Blues Literature, Classics of Blues Recording (Song) and Classics of Blues Recording (Album) were the six chosen for induction. Included were two distinctive vocalists, Mavis Staples and Latimore; a pair of legendary guitarists, Magic Slim and Johnny Copeland along with longtime Howlin’ Wolf sidemen guitarist Willie Johnson; and piano-man Henry Gray. They will join the more than 125 Hall of Fame members. The year’s non-performer selection is Living Blues magazine co-founder and radio show host Amy van Singel, who passed away in Sept. 2016. The Classic of Blues Literature pick is the recognized Father of the Blues, W.C. Handy’s 1941 memorable autobiography. John Lee Hooker was among the Hall’s first inductees

Memphis Carriage

Bobby Rush

in 1980 and now his 1966 Chess album The Real Folk Blues will enter the Hall of Fame in the Classic of Blues Recording Album category. The quintet of Classic of Blues Recording songs includes Bo Diddley’s signature tune Bo Diddley, Tommy Tucker’s much covered classic Hi-Heel Sneakers, the Albert King hit I’ll Play The Blues For You, Son House’s Preachin’ The Blues and I Ain’t Superstitious, which features 2017 inductee Henry Gray playing on Howlin’ Wolf’s well-known 1961 recording.

This year, Big Llou’s Fifth Annual Hall of Fame Tribute Jam and Fundraiser took place at The Warehouse, south of the National Civil Rights Museum. This is a time to celebrate recent inductees. Here, the blues icons of today perform the music that brought the recipients the acknowledgement and appreciation they deserve.

Thursday is the pinnacle of activity beginning with The Blues Foundation holding a Health Screening on the second floor of the Sheraton Downtown funded by The HART Fund. Doctors, nurses, and other health practitioners are on site for a variety of health screenings including, but not limited to, blood pressure, cholesterol, diabetes, custom made earplugs and a lot more. The HART Fund is for blues musicians and their families in financial need due to a broad range of health concerns. The Fund provides for acute, chronic, and preventive medical and dental care and even funeral and burial expenses.

Two overlapping events

took place as well. An important information meeting regarding the Recording Academy celebrating the Blues Music Awards, and legendary saxophonist Eddie Shaw’s Retirement Party.

The main event of the evening, the 38th Blues Music Awards happened at the Memphis Cook Convention Center. The program cover this year gave respect to blues women. Bob Gray designed it. In keeping with this theme performers Terrie Odabi, Lara Price/Fiona Boyes, Nancy Wright, Vanessa Collier, Diunna Greenleaf, Janiva Magness, Thornetta David, Bettye LaVette, and Annika Chambers, thrilled the capacity audience throughout the proceedings. Some of the other musicians who stood out were Kenny Neal, Doug MacLeod, Cedric Burnside, Nick Moss with Dennis Gruenling, Johnny Rawls, Jonn Del Toro Richardson, RW Grigsby, John Nemeth, Albert Castiglia, John Primer, Toronzo Cannon, Guy King, and several more. Hats off in praise to CEO Barbara Newman and Joe Whitmer, COO, for the musical direction, Paul Averwater, stage manager, and Greg Johnson, assistant stage manager.

During the In Memoriam portion, photos of over fifty notable blues music luminaries showed on a huge screen and James Cotton received a standing ovation. Sadly, many important contributors to the industry have passed in the previous months. We can be grateful for their influences and salute

the gifts that they imparted.

A distinctive bronze life-size statue to Bobby ‘Blue’ Bland was dedicated Friday morning at S. Main and Martin Luther King Jr Avenue. That afternoon. Holger Petersen, of Stony Plain Records and Saturday Night Blues (CBC.ca), held a book signing of his latest release of conversations with B.B. King, Allen Toussaint, and more.

While some travelled south to Clarksdale, the sixth Annual Play-It-Forward fundraiser for The HART Fund and Generation Blues took place at the Hard Rock Café. Held before a capacity crowd, Andy T Band with Anson Funderburgh kicked off a substantial entertainment list that had Chef Jimi Patricola as presenter. At the same time, The Blues Foundation and the Beale Street Merchants Association held fort along Beale Street with a huge list of the world class Blues Music Awards nominees. This went on until two in the morning.

Saturday, the choice was even more excellent music either in Memphis or in Clarksdale at the fifth annual Pinetop Perkins Boogie and Crawfish Boogie.

There was more than enough blues music to satisfy all attendees this year in Memphis thanks to president, Barbara Newman, and chief operating officer, Joe Whitmer, who head The Blues Foundation, and their very capable staff. Consider this as one of the most intensive, fun filled weeks for any music lover to attend. Y’all come back now and enjoy it again next year!

ON TOUR WITH STEVIE NIMMO

As a touring musician, when the end of a long tour comes around a strange phenomenon occurs in your mind. You may be dead tired but you keep on going until the last show is over. Then, a day or so later when the adrenaline wears off, your body literally shuts down and you couldn't even imagine doing even one more show; which is why when fellow road warrior and long time friend, Aynsley Lister called to invite me as a guest at his show in Basel, Switzerland which would be just four days after my tour ended, I found myself facing this annoying dilemma. One of the people I admire most on the circuit as a musician and a person has done me the honour of inviting me to do a show with him. However, I'm genuinely cream crackered and honestly don't think I could muster the strength to do it. But, then his good lady and uber-manager, Steph

goes and pipes in with, ´tell him all Backline is supplied and Aynsley can loan you a guitar. You could even ride your bike out to Switzerland’. And there the damage was done! All tiredness miraculously vanished as I envisaged riding up from France through Switzerland to the lovely city of Basel.

I didn't need to be asked again!

So on the day of the show I checked out the weather whilst crossing everything that could be crossed (within reason!), drew a sigh of dread as I attempted to squeeze myself into my bike gear, cleaned the visor, had one last look at the map (old skool –ok, I just can't afford a proper bike GPS), stamped the steed in to 1st gear and off I went.

The negative side was that, unless I wanted to add a few hours on to the trip, most of the journey would be on motorways. The positive to that was, however, that

these motorways would be in France where the surface is silky smooth and the scenery is stunning. So very soon I found myself around the beautiful wine region of Beaune in the heart of Burgundy.

After a wonderful winding climb where you find yourself floating along the tree lines, the drop back down is something to behold as you become surrounded by some of France’s finest vineyards. (Something my brother has never quite forgiven me for as I lived among this for twelve years and never touched a drop!).

Châteaux are in abundance in this part of the world but even after all this time they never cease to amaze me and I'm always expecting Rapunzel to throw down her hair at any minute!

After a little bit of spaghetti junction negotiation combined with the thrilling but deadly game of ‘avoid

Verbals and Visuals: Stevie Nimmo

the French clown on his mobile trying to kill you’, it was time to start following signs for Switzerland where the landscape changes dramatically from the rolling, green hills to the more mountainous views of Helvetica.

It is difficult sometimes to stop the mind from wandering as you admire the landscape, but then you realise you're on a motorbike and it isn't the best idea to just ‘switch off’ on a motorway no matter how wonderful the view may be!

Soon enough it was time to pull in at Swiss customs and pay the ridiculous ‘vignette’ charge for using Swiss motorways and after just a little moment of getting lost, I pulled up in the underground car park of the hotel at the exact same moment as the aforementioned Mrs Lister, along with young Mr Laurence Jones who was also guesting at the festival, and his lovely girlfriend Jana.

I dread to think what Jana thought when this big and just a tad sweaty Scottish biker climbed off the bike to greet Steph with the customary hug and cry of “alright, dollface!” But I did introduce myself properly once cleaned up a bit!

So after a quick and much-needed shower and a cup of tea (if it's good enough for Guy Martin…), it was off to sound check where I would meet up with another good friend who was guesting, Mr Ben Poole!

The venue itself was fantastic. A lovely room with excellent acoustics and a great team of technicians, organisers and volunteers

– all the ingredients for a good festival!

Sound check was over in a flash as Aynsley’s boys had the songs nailed. So it was backstage for some more tea and some Swiss nibbles.

I was just relaxing when I heard the voice of yet another old friend and road warrior bellowing through the room – none other than bass man extraordinaire, Mr Roger ‘winner of three million awards’ Innes who was playing with the American act before us.

So by now the green room was like a UK musicians 18-30 holiday. (Well apart from myself and Roger!!)

It was one of those moments on the road that reminds you of why we do it. Bumping into old friends, making new friends, chewing the fat and generally just relaxing and enjoying the moment. Something way too rare in this day and age.

Show time arrived and Aynsley started doing his thing before inviting Laurence, then Ben and then of course it was my turn.

Now, I may well be the least vain person on the planet, but walking on to a stage which resembles a male catwalk with Lister, Poole and Jones and all their lean, square jaws and toned six-packs is a bit daunting when I just kind of resemble a big Irn Bru barrel with a goatee beard, but I was wearing black and had made friends with the lighting guy who assured me he would use the ‘slimming’ light if need be so I was fine!

I kicked off my short set and before long the stage had four guitarists all doing their thing.

Now normally I avoid the Jamming thing like the plague as far too often it becomes a big, stupid competition but this was something totally different. All of us on stage had a mutual respect for each other which made for one of the most enjoyable jams I've ever had. And I believe this came across to the audience who were absolutely loving it.

There was no overplaying or ‘Ralph Macchio'/Steve Vai style cutting heads, just a bunch of musicians having fun and revelling in each other's company. In short, how music should be and in all honesty, an absolute joy to be a part of.

With the night just about over, we took a bow and retired to the green room with beaming smiles galore. Even from Aynsley who we discovered had played the whole thing whilst suffering from pneumonia!

But that sums up Aynsley for me as well as UK musicians in general and explains why he has sustained a successful career for as long as he has - he's a true professional. Just like we all strive to be.

Our job is to make music and to make our audience feel good for that two-hour show, regardless of how we may be feeling. The show really must go on!

The fact that we enjoy doing what we do so much makes it all the easier.

And if you can throw a wee bit of biking in there now and again, well, that just about makes it perfect, doesn't it?

Get your motor running, move out on the highway!…

I’VE NEVER BEEN TO MEMPHIS!

In 2005, I began to write songs seriously and the first one was called ‘I’ve never been to Memphis’. In October 2016, this was about to become a lie - my long awaited 'journey to the blues' began in Clarksdale but next stop was Memphis. The journey was extraordinary - driving along miles of absolutely straight roads, way too long to even exist in the UK and on this day drowned by torrential rain, which even for somebody who has lived in Manchester for 40 odd years, was unbelievable! Having checked into our 'condo for the week', we

headed for Beale Street.

At first, I thought that Beale Street was a sort of 'bluesy Blackpool' but I soon realised that there was some seriously good music going down. We were listening to a local band, relaxing with a cold beer and during a break I asked if I could sit in with the band the following day, as I didn’t have my guitar with me. With no hesitation, the guy gave me his guitar and suddenly there I was playing on Beale Street, in Memphis. Yet again in the South, the warmth and the friendliness of the people was amazing. They say Memphis is one of

the most violent cities in the US but we saw no sign of this.

Next day was the Gibson factory which, by chance(!), was a few hundred yards from our place. We booked on the factory tour for the next day but whilst I was already there it would've been downright rude not to try out a few guitars, wouldn't it? I was very taken with an Epiphone Masterbilt acoustic round hole with a floating bridge - very tasty.

Across the road was the Rock'n'Soul Museum which was good - how could it not be? Satiated with historical artefacts of the music of

Verbals and Visuals: Rowland Jones

Beale St

Memphis, we needed some fresh air which we found on the banks of the Mississippi which is staggeringly big -like a lot of things in the US!

That evening, I'd arranged to sit in with a band at the Blind Bear Speakeasy on Main Street. There was, as always, a slight air of anticipation before I played the first few phrases, but once I'd shown that I wasn't exactly a novice things settled down to another session busking some blues with some cool guys - so thanks to Adam J. Levin, Steve and Eric.

Day three started with breakfast at Cafe Keogh an old bakery which retained its genuine old world feel and where we met a man with his dog who he described as 'having insecurities issues'! Heading for the Gibson

factory, a guy stopped me in the street saying 'I like your hat!' I thanked him and said 'I like your T-shirt!' He explained that he was a singer and had worked with Michael Jackson and proceeded to sing Michael Jackson classic. I said 'I've never worked with Jacko but I sing too!' and sang him one of my songs. We laughed and chatted for a while then we did the 'fancy handshake' thing and moved on. Thinking back at that amazing exchange, I don't think it would ever have happened in the UK - and I certainly wouldn't have the nerve to burst into song in the middle of Manchesterbut in a place like Memphis or Nashville or Clarksdale it seemed quite normal – but for me, it was fantastic!

Arriving at the Gibson factory I was greeted with “Well, look who's here? How are you doing, Rowland?' It was Matthew Berry who'd I'd chatted to the day before - 48 hours in Memphis and I have a mate at Gibson! - how good is that?!

In the Memphis factory, Gibson make hollow bodied electrics like the 175, 335 and the process was fascinating - though the sight of guys sanding and spraying without masks, and the fact that the each department's daily quota has to be met whether it takes 8, 11 or 12 hours was surprising, to say the least. Our 'heritage trail' then continued with a visit to Sun Studios. It turned out that the radio studio which had launched Presley's career had been brought there piece by piece from the building where we were staying! So

more fascinating history and picture opportunities: me playing Scotty Moore's guitar (or a least one like it!) and my wife Lesley standing next to a Leslie speaker! Well worth a visit.

Coming out of the studios we found St Blues guitars who make some beautiful Telecaster style instruments. You just can't move in Tennessee without finding something connected to music!

The evening's plan involved Wrighteous Soul at The Rumba Room- an open mic night for music, comedy and poetry. I wasn't sure how I would be received particularly as the low chair I had on stage made me in a hat, look somewhat gnome like! I had no need to fear - the audience loved the irony of me singing 'I've never been to Memphis' in Memphis.

Of course, no visit to Memphis would be complete without a visit to Graceland. The house itself is smaller than I'd imagined but the extravagance is overwhelming. Equally apparent is the difference between the traditional opulence and finery of the upper floors compared with the basement jungle roomElvis' 'very posh shed', if you like and the room equipped with three TV sets in a row as Elvis had seen that President Johnson had three like that!

Equally amazing is the display of extravagant outfits and the collection of golden discs representing over $50 million worth of sales! An historical site not to be missed!

I've been told by the Eric Martin of Martin Guitars

(another great music shop) about a venue called Lafayette's - the bass player of that night's band was actually playing in the store. The band were great - particularly drummer Steve Potts who has played with everybody Ann Peebles, Robben Ford, Booker T and the M.G.s, Kenny Wayne Shepherd, Boz Scaggs, Buddy Guy, Memphis Horns, Tony Joe White, Rufus Thomas, Otis Rush, Luther Allison and many more. I mention this to underline the fact that even a band as good as this was playing for tips. However in America, where tipping is virtually mandatory, I saw plenty of $10 and $20 bills being dropped into the open guitar case.

On our last day, the final historical port of call was Stax- where you can stand in a reconstructed replica of the theatre which was the original studio; marvel at the wall of sound with all the discs that were

released between 1957 and 1975 and gawp at Isaac Hayes Gold Cadillac!!!

Heading back to 'our condo for the week', we dropped into The Blues Foundation and much to my surprise we found pictures of some of our blues playing friends from Italy – the Earth is a big place but a small world! And our amazing week in Memphis ended that evening, with me playing at Ernestine and Hazel's – a juke joint which together with its sister 'The Paradise Club' had hosted legends such B.B. King, Tina Turner, Aretha Franklin, Motown, Ray Charles, Bo Diddley, Sam Cook, Chuck Berry, and Jackie Wilson.

So we left Memphis with some great memories but one small problem can I still sing 'I've never been to Memphis'?

https://www.memphisrock nsoul.org/

http://www.gibson.com

https://www.sunstudio.com

https://www.saintblues.com

http://blindbearmemphis.com

https://www.graceland.com

http://lafayettes.com/memphis

http://staxmuseum.com

https://blues.org

http://earnestineandhazels jukejoint.com

Rowland Jones

LOVE TO PLAY GUITAR?

LITTLE ACOUSTIC STAGE AT THE BIG BLUES FESTIVAL

THE ATKINSON THEATRE, SOUTHPORT

Saturday 7th October 2017

Last year, Blues Matters programmed the Little Acoustic Stage at this two-day festival. There were four acts – Joni Fuller, Michael Wood, Charley Hicks and Benjamin Bassford – who each performed twice during the Saturday on a free stage in the foyer. Voting took place throughout the day and evening and the winner was Benjamin Bassford, who will now play support on the Friday evening to The Revolutionaires at this year's Festival.

This proved to be a very popular event and will take place again this year, with four different acts competing. The following is a short bio with photos of each of the artists playing on the Little Acoustic Stage this October.

REECE HILLIS

Reece Hillis is a young soul blues guitarist, singer/songwriter. In his early teens he was exposed to the sound of the original pioneers through old records and self-found videos and music online. From this he soaked up the sounds from many artists including Sam Cooke, Al Green, Janis Joplin, The Doors, Creedence Clearwater Revival, Wilson Pickett, Frank Sinatra, Johnny Cash among many many more…

It wasn’t long before he picked up the

STONEY BROKE

Scottish singer-songwriter Stoney Broke creates a dynamic, eclectic musical style with inspired lyrics, layered upon driving, yet subtle, guitar to create an original and unmistakable sound.

“Stoney Broke seem to blend it all together into a finely aged, oak-casked fusion of smooth, haunting melodies” – New Hellfire Club, Glasgow.

2016's independent debut EP release, If It Ain't Broke… showcases the high quality songwriting ability, while enhancing the growing reputation.

Continued high quality performances and commanding stage presence, has seen interest in Stoney Broke rise substantially.

guitar and taught himself to play through trial and error. Since then, Reece has been performing constantly throughout the UK, developing his craft along the way.

In 2014 Reece was a nominee for British Blues Award, Young Artist of the Year. 2015 saw Reece begin and complete the recording of his debut solo, all-original album Eclectic Soul. Blending together blues, folk, soul and even some vocal jazz, branching out into other areas and expressing the many other genres that have inspired him. Eclectic Soul is due for release on March 11th 2016?? https://reecehillismusic.com/

No stranger to performing in front of large audiences, appearances include venues and festivals in the UK and Australia, with the prestigious Port Fairy Folk Festival, Silloth Music And Ale Festival, Winterstorm, and Solfest, along with high profile support slots for The Red Hot Chilli Pipers, Wille & The Bandits, and Fall Has Come.

Drawing on influences as far ranging as Ben Harper, Otis Redding and Bruce Springsteen, Stoney creates a sound oozing in style, charisma, and laden with melodic hooks.

Image: John Finlayson

Image: Kerrianne Atkinson

GEORGE SHOVLIN AND GEORGE LAMB

George Shovlin first performed publicly whilst at college in 1970 at the college folk club, and he went on to be an important member of the North East Folk Club circuit for over 15 years as performer and organizer. George established himself as one of the outstanding blues performers in the region and he supported American blues legends Doctor Ross, Dave ‘Honeyboy’ Edwards, Cousin Joe Pleasant, George GP Jackson, Eddie ‘Guitar’ Burns, as well as British legends Jo-Anne and Dave Kelly and Isaac Guillory. He replaced Ray Stubbs in Pigmeat in the late ‘70s, and played with the band for two years. In the early ‘80s George

GUS MUNRO

Gus Munro is one of the hidden gems of Scotland’s thriving music scene. The singersongwriter has been creating waves in his hometown of Glasgow for several years. Combining his love of Scottish traditional music and his passion for the blues, his sound has often been described as Scottish folkblues. His songwriting manages to retain the feel and emotional expression of the deep-rooted blues, while pushing through his Scottish roots in a modern context.

The emotional depth of his music often displays a real sense of vulnerability. He is an artist who is not afraid to show his emotions and convey them through his music. His singing and songwriting are complemented by his imaginative and melodic slide guitar work, which adds to the emotional impact of his live performance. He is gaining a reputation as a unique talent. A genuine warm and engaging performer, Gus will draw you into his world and compel you to listen.

Gus has been on a relentless touring schedule and is steadily building a loyal fan base. With over 1000 live shows under his belt, he has performed at an array of festivals such as Le Blues Du Zinc Festival in France, Colne and Maryport Blues Festivals,

teamed up with local blues harmonica hero Jim Bullock and they formed the seminal blues duo The Biscuit Kings. After playing throughout the North East for nearly ten years the duo broke up and George went on to form the George Shovlin Band.

George Lamb is another veteran of the North East blues-rock scene. George first came to prominence in the 1970s as a member of the hugely successful North East-based ‘Southbound’. He went on to play with various bands and do considerable session work. This included recording with Jimmy Nail, writing a hit for Kiki Dee, and playing in the Eurythmics' support band for their last world tour. http://www.georgeshovlinandtheradars.com/

Lancaster Music Festival and The Isle of Bute Jazz Festival. In the last few years Gus has completed three European tours, playing a variety of shows across France, Belgium and Germany, receiving fantastic reactions from audiences, venues and promoters alike.

REVIEWS

“Unique talent, sounds like his DNA has been mixed with Jeff Buckley and Jack White, will shake you to the core. Not to be missed" Michel Preumont – Rock Tagg City, Brussels. "Scotland seems to breed a lot of passionate players. Gus Munro has that same passion and energy in abundance" Alan Nimmo – King King

“The Super Slidefest Hill Country Blues Tune, "Fever" (Gus Munro), you will certainly be either glued to your chair or the dance floor, unable to really think of anything but the great tune flying out of your Stereo.” John Vermilyea – Blues Underground Network www.gusmunro.com

Image: John Finlayson

Image: Tony Dixon

This is the kind of music you have been missing during this era. Energetic live shows, catchy songs and pure passion. This band has been getting a lot of attention lately and for a good reason.

In 2015 Hata and Hannah decided to finally join forces, write songs together and start a band expressing their musical interests. The couple’s target was to compose great blues rock songs with a modern twist, and get the best players to join the band. In addition to Hannah and Hata, Backbone Cast consists of three other talented and motivated members who also contribute to the arrangements greatly: Jani Kemppinen on hammond and piano, Sami Vataja on bass guitar and Jony Oittinen on drums. All of them long term musicians with wide and

versatile playing history.

The sound of the band is based on Hannah’s raw and soulful singing and Hata’s riff-based guitar work and bluesy solos. You can also hear the distinctive sound of a hammond and piano which gives a special flavour to the band in itself. The key element in music for Hannah and Hata is to write memorable songs, and also to differ from traditional patterns in a fresh way. ”No matter how well you sing or play, everything is still based on a good song. That’s where we want to pay a special attention to” says Hannah. Hata counts on bluesy rock and mean groove, whereas Hannah’s interpretation is more piano influenced. When you combine these two elements, the result becomes versatile and interesting.

Backbone Cast released their debut EP ”Power Within

BACKBONE CAST

Finnish blues rock band Backbone Cast are here. Verbals: Supplied by band Visuals: Toni Haapala & Live Rock Finland

Ourselves” in February 2017. The EP offers their take on today’s blues rock and reflects elements of other genres too. The EP gathered good reviews and really got the band going.

Today Backbone Cast is more than ready to perform on new stages around the world and share the message of powerful blues rock. ”We want to break some barriers and throw in influences from blues, funk, soul and rock and that way keep this whole thing interesting and diverse. This really is a commitment and we are on a mission” says Hata. The success of the past shows and the talent of this group haven’t gotten unnoticed. ”We have just started, but we want people to know that we are here. Basically, we want this story to start now!”

BOURBON ALLEY BAND

Verbals: Supplied by artists Visuals: Graham Thatcher

Bourbon Alley Band are an exciting new Rock and Blues outfit from Worcestershire. Their current album “100 Times” contains 11 original well crafted songs. Opening with the title song "100 Times" a rousing rock blues stomper it then takes the listener on a journey through various blues styles. The slow blues "Somewhere out there", the jazzy "Back door step blues" and country blues style "Green eyed lady" to name a few.

The band are now embarking on a list of dates to launch the album as well as continuing to work on material for the next album.

Bourbon Alley have an unforgettable live performance and are fast becoming a very popular draw at all sorts of venues around the West Midlands.

Their live performances currently mix the original material with reworked covers, enabling the audience

to hook into their set and dance with the freedom of knowing the songs.

They've recently teamed up with GFI Promotions to assist in getting Bourbon Alley out to a wider audience across the UK & into Europe.

The Second album, yet to be named, is in the pipeline and is being produced by Michael Clarke, who also produced "100 Times" along with the band.

Michael incidentally was the Keyboard player in Ricky Gervais's band Forgone Conclusion from the recent film “On The Road.”

Michael's input to the 100 Times album was to keep the live feel to the songs with very little, if any, overproduction or studio enhancements. What you hear is the band as they sound live. A somewhat refreshing change in my opinion.

So, its real music played by real experienced

musicians consisting of Mark Archer on Guitars and lead Vocals, Graham Thatcher on Bass, upright Bass and backing vocals, Ian Richards on keyboards and Charlie Lyons on Drums and backing vocals.

The main writer of the songs is Mark Archer whose inspiration is drawn from all aspects of life, but steering away from the traditional blues format. The songs are refreshingly honest and I recommend giving it a good listen and try to catch them live, you won't be disappointed.

The band are constantly working on new songs and presentation. The new music has worked so far together with the unpretentious attitude of the Band.

Music comes first with Bourbon Alley.

100 times is available on iTunes, Spotify and all digital platforms. And of course at their live gigs.

BRIGITTE RIOS PURDY

The ability to sing well is a talent that some fortunate souls are naturally gifted with from a very early age. Very few individuals though, can connect such ability to their own emotions and translate them into both singing and songwriting.

Verbals: Gio Pilato Visuals: Stan Fry

Brigitte Rios Purdy has felt the need to sing about her own inner feelings and emotions since she was a child. Born and raised in Los Angeles and coming from a very musical family, Brigitte Rios Purdy soon expressed her great desire to become a singer, with a particular inclination to soul, blues and R&B. Thanks to her pure and silky singing voice, it didn't take too long for Brigitte's talent to be noticed and she was invited to perform on the same stage as artists like Paul Rodgers, Walter Trout, Sugaray Rayford, Dionne Warwick, Kenny Rogers and Dolly Parton. Once the ice of the music business was broken, her next big step was to start to write her own songs. Her profound love and admiration for the late great B.B. King was the driving force for her first composition. Titled Lucille, Don't You Weep, it was a blues ballad with clear references to King's favourite guitar and the intensity of the sound coming from one of the most famous blues guitars of all time. The song became the perfect platform for Brigitte to combine her wonderful, unique voice with her new-found talent as a lyricist, and inspired her to write more songs to showcase her phenomenal vocal skills. Encouraged by the positive comments from the music press worldwide since that debut single, Brigitte has continued writing and recording new material. Another original song from her growing repertoire, currently on constant heavy rotation on some of the biggest blues/rock radio stations in America, is her brand-new single, Blues Angel. The tune is a superb blues ballad with tinges of jazz, and features a flawless vocal performance from Rios Purdy. This Californian artist is, though, not just a great blues interpreter but she has also written and recorded songs with a more blues/rock approach, such as Rise Like The Water, and Shot Heard Around The World.

Brigitte Rios Purdy is unquestionably a rising star in the music business and a name to remember.

RUBY AND THE REVELATORS

The band have just released their debut album Walk With Me, co written for the most part by Ruby and Louise Maggs, long time collaborator with Ruby and lead guitarist in the band. The line up is completed by Frazer Wigg keys, Paco Munoz drums and John Whale bass. The album was around two years in the making and comprises ten tracks and since its release on April 23rd (exactly 7 years since Ruby’s first ever live gig) has been receiving incredibly favourable reviews, and lots of airplay on the internet stations and independent blues shows. They have honed their sound which takes in the soul groves of the 70’s chess records era, the rootsy and gritty blues of Memphis (as can be heard in the track Coal Into Gold) as well as bringing a very contemporary flavour to what

they do by fusing traditional blues instruments such as harmonica into a very modern sounding sonic landscape, as is the case with By My Side. The band operates for the most part as an independent outfit, self producing, recording, writing and releasing their own music though they have recently secured representation from an agent which will surely see them reach an even wider audience in 2017 and beyond. Walk With Me follows on from the success of their 2014 debut EP Vistas (Clapton Waller Records) and whilst their debut album is still very much rooted in blues, it clearly shows a highly evolved breadth and depth to the song writing and musicality of the band. For epic scale and a towering crescendo of sound Pity City shows them at full throttle with guests Rhys ‘Grizzly’ Morgan on

lap steel and hot shot young harp player Rob Mccann adding to the melting pot of Hookeresque grooves and overdriven Hammond, whilst Walk With Me (the title song written by close friend and one time co-collaborator King Rollo) shows Ruby in full flow as a force of expressive power. They’re looking forward to performing all over the UK and seeing lots of you out there on the road at their live shows, where (standing only 5 feet tall!) the aptly named ‘pocket dynamite’ Ruby and her talented band will be whipping up a storm of funky grooves, ballsy blues and hot hot soul wherever they go.

Their album Walk With Me and even more recently released ruby red vinyl double A side When I See You and By My Side; are available at their live shows or at their website www.rubyandtherevelators. co.uk.

Verbals: Supplied by band Visuals: Alexis Maryon

TORIAH FONTAINE

Verbals: Toriah Fontaine Visuals: Andrew Ryan Photographic

Ispent a lot of time alone as a child, music was a constant companion, I listened to everything and anything I remember finding a Muddy Waters album attached to a magazine in the back of a cupboard in the lounge and then playing it through my Walkman the first time I ran away from home. I remember being fascinated by the Flying Pickets song ‘only you’, I still have trouble listening to it now, it can make me feel like I’m 8 years old again within the first 2 bars. My childhood wasn’t the happiest but has proved to be an irrepressible source of writing material.

I remember bricking it before singing Sunday Best on stage for the first time, it was the first original piece I had decided to showcase, I was performing at Brecon fringe accompanied by a pianist and as the opening bars of the song started I realised I was about to tell the audience a very big secret, and if they rejected it, well then they were rejecting me. At the end of the song the room was silent, I felt panicked and then, they all started to clap. I had just told a room full of strangers about one of the darkest corners of my life and they all clapped, it was cathartic, it was weird, I was hooked. I find that writing is a very instinctive need for me, often songs start themselves and I just have to finish them, the main problem is that normally another one will start itself before I’ve finished the last but that’s how it flows for me. Recording Black Water was harrowing we recorded the whole album live in one 8 hour stint, by the end I was exhausted and elated, and then I sat on the album for 6 months because I was terrified of what people would think, a live audience is one thing but someone sat at home listening to a CD by themselves is another, I felt exposed, I can only write from personal experience, I think if I just sat down and told all the stories behind the songs people would probably walk out the room, but weave them into the fabric of a song and people connect, it still blows my mind, when someone tells me that “this song made them cry” or when someone in Alabama buys my Album, how on earth have they heard of me in Alabama? However, I have found that on stage I am free to be honest, I feel more real on stage than I do off, it’s sad and beautiful, but isn’t everything?

VELVET TWO STRIPES

St. Gallen, Switzerland of all places! This is the place where Velvet Two Stripes were formed; combining riot girl punk, blues and garage rock.

Verbals: Guy Duffy Visuals: Christoph Voy

The half-Swedish sisters Sophie and Sara Diggelmann, with bassist Franca Mock, grew up in St. Gallen and have been making music together since their early teens. The girls' parents taught them everything there is to know about music by introducing them to the likes of Eric Clapton and Crosby, Stills, Nash & Young and, of course, to the good ol' blues. The remainder of their influences came from the garage rock scene of the noughties, specifically with bands as The White Stripes and The Strokes. The time eventually came for their own band. And what a band this is!

Finally, a European band ready to rival with the big fish in the scene, challenging the boys for the garage rock mantel while proving that young women can very much have a sense for real blues. Now living in Zürich,

the trio's debut album 'VTS' was mature, bluesy and as soon as the drum machine kicks in, rocks as hard as The Kills! On their new EP 'Got Me Good', the band have grown even tighter and their drum machine is replaced by jazz trained drummer Carlo Caduff on the record as well as live on stage. Produced by Tim Tautorat (Turbostaat, The Kooks, Annen May Kantereit), recorded at the infamous Hansa Studios in Berlin and mastered by Pete Lyman (Black Rebel Motorcycle Club, No Age, Male Bonding) in L.A., these five songs provide a broad, noisey and diverse sound. "It's about the longing for more. More substance, more independence and more freedom', Velvet Two Stripes say about their intention of making music. With their exciting new EP, they have achieved exactly this. Velvet Two Stripes previously played

shows at a bunch of important showcase festivals like The Great Escape, Transmusicales and Reeperbahn Festival, supporting The Kooks and Brody Dalle. The latter wanted to take the band on tour through Europe instantly. From now on, Velvet Two Stripes will bring their EP onto the world's stages, they’ll tour, play festivals and will be recording their second album by the end of 2017. For fans of: The Kills, Deap Vally, The Dead Weather, Royal Blood, The White Stripes, Kaleo, Sunflower Bean, Bass Drum Of Death, The Picturebooks, Yeah Yeah Yeahs.

Already well known in their homeland, and having been dubbed “the coolest Swiss band ever”, Velvet Two Stripes are now gaining some much-deserved international attention.

https://www.velvettwostripes. com

JOE BONAMASSA BACK TO THE WOOD

It’s acoustic album time once more for the American guitar man, as his Live At Carnegie Hall – An Acoustic Evening set is released. Pete and Joe discuss the material, personnel and everything else. But how long this time before the conversation descends into pure guitar nerdery? Read on to find out…

Verbals: Pete Sargeant Visuals: Christie Goodwin

How you doing, Joe?

Fine, Pete – it’s been a good tour, y’know, some great audiences, too. The bands on fire, just doin’ it every night.

I’ve got to rethink my life, Joe – Donald Trump has just said that there’s nothing lower than being a critic. Oh well.

But didn’t he spend a lot of time dissing Hillary, Congress, Washington, the media? Contradictory, maybe? Well, people – not you! – do criticise me and it’s very easy to do so but then just try getting out there and creating a band and

playing two and a half hours of that range of music and selling the seats and if it is that easy, by all means get out there and just do it yourself.

How true, you create anything, a band, a record, a song, a website – you stick your neck out and if people carp, I say “I await your attempt.”

Hey I can believe that there maybe are people who can do it better than your or me, or anyone else but that’s not the point! The point is that if you do something others enjoying, you’re doing great and then as long as you are happy and you always give it your best, it is working. So yes, you know what – you

put this thing together, you sell two nights at the Royal Albert Hall (laughs).

This new acoustic record of yours, I have been listening closely to it and it is a different thing to your famous Vienna adventure, I would say? Well we wanted it to be another type of evening of music. Not repeat Vienna. And with different people with me on the stage, to let that itself create what you end up hearing on these recordings. The songs are not the same, or not played the same way. The singers here – Juanita, Mahalia and Gary Pinto, they bring their own touch to the songs.

“YOU WANT TO KEEP IT CLEAN AND CLEAR TO MAKE THE BEST OF EVERY PLAYER’S CONTRIBUTION AND OF COURSE THE SINGING”

With the other shows, we do you are often bringing in big guitar solo’s but in this line-up, it’s not so easy to keep doing the big solo’s, it’s just not in the nature of the instruments often. The music still sounds full and rich when you need that but in a different combination or blend. The challenge is to attain that, by whatever means or approach you adopt.

Reese (Wynans, keyboards, ex SRV & Double Trouble –PS) seem to be in his element, playing very freshly.

Yes. And Anton’s (Fig –drummer – PS) really at the heart of a lot of the arrangements and generally what’s going on in the songs. He has the responsibility in the show of making the time signatures work and that the group holds together.

Eric Bazilian seems a useful member as he can play so many instruments. And this guy wrote One Of Us for Joan Osborne! Absolutely! He wrote that and The Hooters material and he is a really great soloist. Eric to me is very much the all-round musician, producer, writer. He walks the walk and talks the talk, y’know? He’s the real deal.

In some ways he’s like an American Steve Winwood. You know

Prince did One Of Us? Yeah that’s right, he did.

The other noticeable elements are the cello and the Eastern percussion. Which is Tina Guo and Hossam Ramzy – he’s from

Egypt and has worked with everybody, including Page and Plant for No Quarter 3.

There have been some great recordings done at Carnegie – Stevie Ray Vaughan, Bill Withers. You know the whole thing with me and why we did these acoustic shows is to do with the nature of the building itself. Carnegie is less suited to all-powerful kind of blasting shows than it is to the intricacies and interplay that maybe a different show would bring into play. In this venue, if you dropped guitar pick the back row would hear it! It’s that alive, as a room, you get to hear everything. You need the minimum PA.

Some acts just don’t allow on gear for venue differences. I was talking to Billy Gibbons about this. You have to play the room. Well yeah, that’s the whole thing – you can often overplay the music in this kind of environment and you want to keep it clean and clear to make the best of every player’s contribution and of course the singing. There are songs on this release that we wouldn’t do in the electric setup.

The one I keep playing is Dust Bowl, the vibe always slays me.

I wrote that song many years ago. It’s been in our sets for many years. In fact, we did it one time at the Albert Hall and it does work there, with that instrumentation and arrangement, it works as hard rock or stripped down to this Carnegie version.

I was at the Albert Hall. And the singing is magnificent on that. Thanks, Pete – I’ll pass that on.

I was pleased to hear you include How Can A Poor Man, the Alfred Reed number. I often do that but with an ascending chord insert or two before each verse. Well I wanted to have a shot. Ah, there’s so many versions of that song but I really do like the words so I wanted to.

One of my favourite major key numbers. It does lend itself to a bit of customisation. Woke Up Dreaming is a bit wild. The way I describe it is a carnival band decides to do a bunch of cocaine and that is the result!

It’s like an old black-andwhite cartoon, being chased by wolves and monsters. Will you be promoting this record with any shows do you think? Nooo… we did this record about a year and a half go and I don’t foresee any shows based on this acoustic record right now. Right now, were doing the electric shows and we are so thrilled having this band together to play them and we are about to hit the road this summer with an all originals show in America. We may do some more shows between that and the end of the year. Europe again next year, we hope.

When I reviewed the Albert Hall show that I saw, I commented that after a lot of tribute-based shows

– all worthwhile – this one seemed to answer the question “Yes but what does Joe Bonamassa sound like?” It does, yeah! I have so many albums out now that choosing sets is hard, so we tried to touch on Muddy Wolf, The British blues thing we did that you saw and write about and mix it into the own songs to cover all bases.

Little Girl sounded good, that insistent riff and the step upwards in the solo. That IS cool, isn’t it? Makes the song. And How Many More Times.

That got the audience up and rocking. So a little bit of everything in two hours or so, but yeah I have some eighteen albums out and if you did four hours, people would get tired.

We met people at the Albert Hall who were seeing you for the very first time. I was writing out some setlists for my own shows in the café and I was asked if I was working on your tour! Some people wanted Sloe Gin but we have been playing

that for some thirteen years! so that’s maybe thirteen hundred times. Love Ain’t A Love Song has changed so many times, in the past couple of weeks, Lee Thornburg and myself have started doing a kind of trad-off of licks in that, so it’s refreshed for performance.

Glenn and I wrote separate RAH show reviews however we both thought a Lee and Reese moody passage evoked Bitches Brew, by Miles Davis, when we compared pieces a few days later, it sounded ace. When you have players that good, you want to give them some room, let them play out. This band has so much horse power and for me it’s great to showcase the players and the show benefits. Then I can assert myself where needed and it’s right.

I always ask my band members to play whatever they want, whisper to a scream. Nobody’s going to glare at them. So they make it all breathe. Precisely! this line-up I have might be maybe blues-centric

in a way but additionally there’s jazz influences in there, Latin, Fusion, Americana, you can switch gears and explore a bit when you want to, knowing it will sound really good and interesting for the audience.

You’re not keen on wireless for the guitars, are you?

(Sighs) It’s another thing that can go wrong, is how I see it. So I can live with the cords.

How many guitars have you got now with your name on the neck? When we hung out down in Brighton you had the Les Paul on the sofa but what about that Firebird, the baby blue one? new? Er, nine I believe, yes that’s recent.

What’s the quality in that one that makes you select it?

The thing about a Firebird is that it has a sound between a Fender and a Gibson. It’s darker than a Fender but not a standard Gibson tone. For chiming chords it would sound too dark. You can get a kind of hollow sound for a solo, which is cool. It’s a very unique guitar but has its place.

Do you think hanging out with Glenn Hughes has been good for you, overall? Hands up, Glenn and I love the guy. Yeah it has also it has really made me understand and appreciate the roots of British rock music. I like his positivity and collaborating with him is always a gas. The new Black Country Communion release is coming.

Devon Allman RIDING HARD

The US musician is on a series of UK dates promoting his Ride Or Die album and after a classy and soul-soaked set at the Boom Boom Club in Sutton, Pete and Devon speak about all manner of things, after he has met the attending fans and checked in with home. His guitar playing is fluid and spiky, but you’d hire him as a singer any day…

Verbals: Pete Sargeant Visuals: John Bull

DA: (laughs) I know your voice, Pete – we spoke about the previous album? in some detail, I recall!

BM: Correct, we had a phoner. Which is why I came down to meet you tonight, it’s about time! and we could talk about this current record Ride Or Die? Oh, a pleasure…it’s cool you could come to the show and hang out

I was kinda hoping tonight you’d do Pleasure & Pain, from the record. (Sighs) Maaaan! Y’know, that’s one of my favourites. But having a brand new band and also a discography now that’s long in the tooth, up to eleven records if you include Royal Southern Brotherhood and Honeytribe.

Ah, I saw Honeytribe here! Great set. Right! so of course you know the history, it’s kinda tough to achieve, you sorta want to play a little something off every record for people. Naturally people have their favourite records, whatever and would be happy to hear all of that one live, but you want to feature new material - of course – so on current sets we have maybe half the new album and the rest represents other key songs, I guess. And maybe a cover or two. But I am glad you like that song, it really is one I like a lot.

As a bandleader I first find out what the guys fancy including then create a setlist to balance up different keys, tempos…really what I would enjoy as an audience member. You seem to give your boys a lot of freedom.

(Warmly) Yes!! to a degree. End of the day, Pete the songs are The Boss. You don’t want to overplay the songs. But yes I definitely give them freedom to express themselves, crack that song open and jam it out and stretch out a little bit. I think it is important and adds that dynamic to the show.

Two things on that –you never get bored, doing that. A jazz slant keeps that freshness. Exactly! you’re going off script a bit and playing in the moment.

And like Miles Davis, you and I will find our way back to the theme. Yeah! I think that’s the thing – there’s probably seventeen songs in the set, say and there’s probably four where I like to split things open and explore. It might be a minute’s worth or five minutes the next night, so that kinda depends upon what vibe is in the air and what kinda thing you’re chasing at that point. It’s important.

The audience – especially here. It’s a connoisseurs’ gig, this – will get caught up in those passages and know what’s happening. So it must be the right thing to do. Taking the ride with you.

I’d rather have a few excursions – as I call them – in a show than two extra songs, if you sense the audience will enjoy it. Me too. Breaking something down and exploring it, now it can be a very vulnerable thing, but it’s a good thing. They are wondering where

it’s going to go from here and you have their attention, for the ride. And how IS it going to get back? (Laughs) hey that’s an exciting thing for all in the room.

If you talk to Robben Ford or Steve Lukather about playing with Miles, well, he was never snobby about playing popular tunes of the day, knowing he could take them somewhere. Like Human Nature, Time After Time. We had eleven shows in a row and you are working the same basic set – now there’s a definitive magic about getting something to a consistent point, to where its musclememory is automated, y’know automatic – not in a bad way, but then you can turn your mind off that and, create.

First time you drive a car anywhere you are a bit tentative, second time more confident, third time it’s easy. That’s how you get inside a song/ Exactly! you’re not thinking, it’s embedded there.

Say Your Prayers –there’s a touch of Bob Seger in that for me. Actually, I was about a week away from the studio booking time and I only had about half a record. And I was really freaked out. Writer’s block. Everything was booked and paid for. So, I called Jackson (guitar player in the touring band – PS) Jackson Stokes, that is. Suggested he come over to see if we could write a tune, together. He did that and we really hit a stride. In about a day and a half we write that, Find Ourselves,

Watch What You Say, Lost and Galaxies. So that was really fruitful as a session. It’s a little hard to discern exactly how each one came up, as he would sit there and play. Whenever something cool would appear organically then we would just hunt it down and refine it. That one did come pretty quick. The riff was pretty undeniable.

Galaxies…my notes say a Hendrixy, snakey feel, all it needs is a complementary vocal from Samantha Fish! Shattered Times, love the wah wah in that BUT there’s a kind of airiness in that which puts me in mind of Curtis Mayfield. Love Curtis Mayfield! (Rolls back sleeve) There’s the tattoo of him right there! That’s how much I love Curtis…I have a real legitimate for soul music and equally for hard rock music.

I played Pusher Man about twenty times when I bought the SuperFly soundtrack. Oh man, I so LOVE that record!

And what I like is what is NOT there, the eerie back-alley space. That indeed is totally painting the picture, in sound. I love the first album Curtis, Move On Up.

With the trousers? It’s Brave New World for me, made a phrase at a time after his accident crippled him. There’s a cut on there that haunts me – I’m Here, But I’m Gone. Vancouver – I love the low sax on that one. Is that the closest you get to Neil Young?

(Ponders) Well I am a huge fan of Neil Young, I’ve never thought about that song in that light…. it is one of the spookier tracks that I have done. Yes the violin and the sax, that musical passage is really one of my own favourite pieces. One of my proudest moments of producing that moment.

Hold Me is a complete contrast, has a New Orleans feel to it. Do you remember how that came about? Yeah – it’s one those dumb things, y’know – it just wrote itself. I had been listening to a lot of R&B as we knew it. I thought the riff was almost countryish, it had a swing to it.

Not many people can get that swing. Boz Scaggs can.

(Enthusiastically) Now Boz Scaggs! He’s just great! I can see how that would fall in that realm. Hold Me is different from what else I have ever done. But at the same time it might just be the purest reflection of me and what I am about. I think as artists we are always searching for that. That most obvious point of purity.

Tell me about this Cure song you do here A Night Like This…if you had said to me what Cure song might Devon do I would have said A Forest.

(Exclaims) That’s the first Cure song I ever covered!! way before I was ever known nationally let alone internationally! I played that song live from ’92 to ’98.

That was just a guess! In every show! As a

statement. So that was a good call! I thought about it for this record but the atmosphere of Night Like This seemed to fit, all round.

A lot of the recorded sounds are over-modulated for my ears – and I am an FX man, rarely play straight even acoustic, thanks, Michael Hedges. Yeah, many are..but I discovered The Cure for myself when I was about 12 and so to be able to do that was really meaningful for me. A lot of Americans write The Cure off as being a 1980’s flash-in-the-pan whatever and they don’t really see the depth of the music. They view Robert Smith’s voice as being whiney – so how cool to have one of his compositions done in a soul voice! THAT makes it a completely different thing.

Have you heard The Mechanics? West Country band, here? No! please send me something on email.

DISCOGRAPHY

RIDE OR DIE – 2016

RAGGED & DIRTY – 2014

TORQUOISE – 2013

SPACE AGE BLUES – 2010

TORCH – 2006

Davy Knowles NAMING THE DATE

The young Isle of Man guitar slinger is currently based in Chicago. With a new album called 1932 around the corner and live dates planned, our man Pete and Davy talk music, events, Back Door Slam and the future.

Verbals: Pete Sargeant Visuals: Arnie Goodman

You’re on the West Coast right now, Davy?

That’s right, I’m in San Francisco, to do some gigs.

How is it you know our friend Arnie Goodman?

(Laughs) Ah! I have known Arnie for years, from when I came over to the States for the first time and the New York City show that we were doing. He quickly became a familiar face and then a good friend.

Now I do remember Back Door Slam of course and I always thought there was quite a measure of Johnny Winter in there – were you a fan?

(Warmly) Of course I’m a fan of Johnny Winter, absolutely! in fact, Pete all of Back Door Slam loved Johnny and I would also suggest a big dash of Rory Gallagher in there as a strong influence.

You *******! that was the other name I was going to offer! but each given a pile of food ingredients we would all make our own individual dishes out of it, wouldn’t we? That’s exactly it! We create from what we have learned, and add our own creativity.

So how are you enjoying playing around America?

Oh I love it, I really do. All a bit arseabout-face at the moment, logistically. But it’s a great place to work, the gigs are pretty much inexhaustible as far as touring goes. But there again I am looking forward to spending some time back in my own neck of the woods, so to speak and getting back over to Europe in a while is definitely something we are concentrating on.

Back Door Slam had its share of tragedy. You lost a member in a car crash That’s right, yeah. That was a little

while before we properly emerged, we were still in school then Brian, along with a very close school friend of ours.

Richie?

Yes, it was just devastating, for everybody, the families. A very tough time for all.

So how would you like Back Door Slam to be remembered?

(Pause) That’s a lovely question. It would be nice to be remembered at all! We had an enormous amount of fun, we all had enthusiasm. It was a short spell, really. But for three kids from the Isle Of Man to just go out and do something, you know? To try something. To answer the question then, as encouragement to anyone else where I grew up to give it a go, whatever the context or the endeavour. You can do it!

That’s right, I was in a big line-up outfit late 80s and onwards and the comradeship of the band, it was always like taking your act behind enemy lines, to a new audience and to somehow win them over. Yes that absolutely sums up the beauty of touring. You want to make sure you have some impact, give the crowd something fresh that they will remember. That constant kind of pushing forward, striving to be better and consistent.

You had some contemporaries when you started, but they differed. I saw the 22-20s live BUT they didn’t look at each other, they just played their individual parts. Whereas the people we are talking about – Winter, Taste and say Little Feat, they play off each other. Yes and that makes the music more lively, organic. That’s a true group sound. If you are just there projecting yourself, well you’re missing the point here, mate!

“GETTING BACK OVER TO EUROPE IN A WHILE IS DEFINITELY SOMETHING WE ARE CONCENTRATING ON.”

Your voice is your own by now, you have been doing this long enough, but there’s maybe 5% Rory and 5% Coverdale in there, I venture? Maybe there are more of us influenced by David than we care to admit!

Unconfuse me, Davy – are you a Fender man or a PRS man?

I am Fender presently, overall. I found an old 60s Telecaster in a shop in Chicago. And it sounded absolutely brilliant, I could just express myself through it so well.

Your recordings – you have Peter Frampton aboard on one AND the God Of The Keyboards

Benmont Tench (Tom Petty – PS). That was down in Nashville a few years ago. Peter called me and we just get along really well. We’re all jamming together and it was sounding really great. So we are in the same place, same time and we started writing together. We had a great time creating the Coming Up For Air record. He put together this band, it was nothing to do with me.

Benmont is a real gentleman, works very fast, understands what’s needed.

Just on Peter, have you heard the new Cliff Richard rock’n’roll album? He’s doing Boom Boom on there, with Cliff. Wow!! I must catch up with that.

Live dates for you?

I have some fine players aboard on bass drums and keys for touring the songs, I am very lucky to have such good musicians to work with. They are wonderful human beings, too. They really push me, make me work.

I like the occasional George Benson touch you use. Well thank you very much for that! As you I know are well aware, the more and varied material you can listen to, the more you can draw upon. Early George Benson in particular is absolutely mind-blowing.

Yes! White Rabbit. Out of this world.

Jazz is just part of the musical fabric, that spirit of free-wheeling. I always gravitate towards the human element of music rather than the machinedriven stuff. If you record soon after a set of live dates then you can capture the band sound and that makes the songs sound their best. If you spend a long time layering up songs in the studio you can be really sick of the songs by the time you’re finished. Recording live the old-fashioned way does work best for me.

DISCOGRAPHY:

1932 – 2017

THREE MILES FROM AVALON – 2016

THE OUTSIDER – 2014

COMING UP FOR AIR – 2009

TRIBUTE TO THE MUSIC OF ELVIS, JOHN LEE HOOKER, MUDDY WATERS, LEADBELLY AND MORE...

John Francis Carroll Andrew Hehir (Drums)

Doug MacLeod

I’M

AN ENTERTAINER NOT AN ARTIST

Verbals: Michael Ford Visuals: Jeff Fasano

Ihadn’t seen acousticbluesman Doug MacLeod play for a while when I caught up with him on the Legendary Rhythm and Blues Cruise of the Caribbean earlier this year; then I was able to hear him three times in four days!

Californian-resident Doug is no stranger to the UK, nor to mainland Europe. A singer-songwriter, whose compositions have been recorded by the likes of Albert King, Albert Collins, Joe Louis Walker and Eva Cassidy, Doug refuses to play the role of moody, enigmatic poet. He is only too pleased to set his songs in context and often the introductions are longer than the songs – and twice as funny! His audience will inevitably spend as much time holding their sides as they do tapping their feet. He is very clear – he’s an entertainer not an artist.

“I got a lesson the first time I went over to Sweden in 1980. I used to open for George ‘Harmonica’ Smith –and the audiences didn’t like me. It was really rough, the first three or four shows so I went up to George and said, ‘George, maybe I shouldn’t open the shows for you.’ He said to me, ‘Dubb (that’s what he called me ‘Dubb') who’s the leader of the band?’ I said, ‘You’re the leader of the band, George’ He said ‘You do what the leader of the band says, right?’ ‘I said yeah’ so he said, ‘You’re opening the show!’ So, I thought I’d offended him somehow. Anyway, we got to Stockholm and somehow it worked – they liked my singing, they liked my playing; well, I had an Afro back in those days and my

head was even bigger than that, I was so stricken with myself; I was celebrating and George came up to me and he said, ‘You know Dubb, you sure sounded good tonight’ I said, ‘Thank you George’. He said, ‘Yeah, they loved you tonight, Dubb’ I said, ‘Thank you George.’ ‘I loved your singing and your playing – you sure sounded good’ I said, ‘Thank you George’ He said, ‘Tell me something, if something goes wrong with your car are you the man who’ll fix it?’ I said ‘No, I’ll get a mechanic.’ He said, ‘If something goes wrong with your under-thefloor-plumbing at home are you the one to fix it?’ I said, ‘No George I’d go phone a plumber.’ He said, ‘If your wife wants an extension on the house are you the man to build it?’ I said, ‘No George, why are you asking me all these questions?’ ‘I’m just checking if your head is back to the right size yet, Dubb!’ What I learned from that and from ‘Pee Wee’ Crayton and Albert Collins when I knew him was that they didn’t see themselves as any more special than anybody else – their gift was music like a mechanic's was fixing a car. They were practical entertainers not artists.”

I was aware that Doug had played with some great black blues originals in the seventies and eighties. I wondered how they had viewed that particular ‘blues revival’.

“During the blues revival of the eighties you were working with musicians older than you with skins darker than yours. Was there any resentment about these

‘white boys’ coming and performing blues?” I asked.

“Some. That’s a very good question, there was some. I saw it. I prefer not to say who I saw it with but I did see it. I never saw it towards me, I was really fortunate that they accepted me and they liked me but I remember one time with ‘Pee Wee’ we went to see this special guitar player everybody was talking about – we went to the show. After two songs Pee Wee says to me ‘I gotta get out of here’ I said ‘Why, what’s going on?’ He said ‘This ‘Mother’ ain’t doing nothing but playing diarrhoea guitar.’”

It was just shredding with no room to breathe and I think some of the older blues musicians were angry at that – these guys were getting all the recognition and the money and all the stuff but the guys who were really playing it were second.”

I saw that the National guitar Doug was playing was unusually lightweight.

“In my local pub, the Turkey Inn, there’s still a poster of you from when you played over in the UK in 2009. You’re playing a metal National tricone in the days when they had a big external pick-up”

“Oh, that box, boy that’s going back – that was a Highlander pick-up; that’s going back a little bit, in fact that’s going back a lot! The National I have now is a wooden M1 – for years it would have been sacrilegious for someone to build a tricone that was not of German silver or brass. The young guys who are now there, that make ‘em at National said ‘Let’s give it a try, we’ll make

it out of mahogany and see what happens’ So they tried it and took it down to the NAMM show – that’s where I first heard it – I played it and they came up to me and said, ‘You really like that don’t you?’ I said I did, so they said they’d make one and give it to me. I said I’d love that so that’s how I got it. And it’s a lot lighter to carry!

I’ve always imagined that being on the road as Doug often is would be a fruitful time for song-writing.

“You never know, just never know. Sometimes, I could be in a sauna and the idea

comes for a song. Let’s say you’re really tired and you think it’s time to sleep and a song idea comes and you think ‘That’s a great line, I’ll write it down in the morning, I’ll never forget it – yes you will! You’ve got to get up and do it because if you don’t the song is going to say to itself ‘Well, MacLeod doesn’t want it I’ll go over to Chris Smither tonight and he’ll take it!’

Doug had enthused, onstage, about his latest project.

“I’ve a new album coming out in 2017 that’s very special. It’s called Break the Chain

and my son joins me on this – he’s a singer-songwriter, too. There are two things about it – Break The Chain is about abuse. I was abused when I was younger and when I went to therapy about it I found that abused people can become abusers. So, I remember when my boy was so little he could sit in my forearm, I’d hold him and I’d say, ‘No way, no way!’ so you break the chain. I don’t know how far back that chain goes with my family but I know where it finishes. So, the song, he and I wrote it and he joins me on it. Ironically, he

was diagnosed with Spindle Cell Melanoma just before we were going to do the record. For three months, they couldn’t pinpoint what kind of cancer it was but the good news is that he’s cancer-free but he’s still having preventative radiation treatment. The record company and my manager said, ‘If you don’t want to do the album everybody would understand’ but we decided as a family that cancer is not going to dictate our life. So that album happened and the love that we felt, all of us, when we were doing that record was really special. Like every other album we do, it’s done in two days, it’s all-live with no over-dubs. It was very special. We’re going to play together live. So far, it’s just been for my wife Patti’s folk church services. But I think when I do shows in Los Angeles he’ll open and, at the end (maybe the only bit I’ll ever plan) I’ll have him join me for that song.”

Although he’s releasing the album soon, his current album is still a hot item.

'Live in Europe, my previous album, was nominated for two 2017 Blues Awards*. They made a mistake - it was up for ‘Acoustic Album’ then they realised it was recorded in 2006 so it became an ‘Historical Album’ which really makes it an hysterical album because I’m still ‘on this side of the grass’.

“You’ve done a couple in Europe; there’s the Utrecht Sessions too” I said, “Is there anything particular about recording in Europe – is it cheaper, for example?”

“I don’t know about

cheaper but what I will say is that European and United Kingdom audiences, they know the history of this music. I truly believe that. We were flying over to Sweden way back and Lloyd Glenn told me ‘You know Doug when we get off this plane those people who meet us are going to know more about me than I do’”

One of the reasons he has such a loyal following is the emphasis he places on bringing audience and performer together at his live shows, as UK audiences can see in November this year.

“You go out of your way to develop rapport with your audience – to make it ‘a family gathering’ – has it ever backfired on you?”

“I don’t think so. Again, it’s entertainment. George ‘Harmonica’ Smith was one of the best entertainers I ever saw in my life because he loved people. What I learned from George was that our job is to give to the people first, not to expect the people to give to us first. If we give first they come back to us. I was playing behind George in some ‘bucket-of-blood joint’ in California somewhere and I felt goose-bumps and thought there’s more going on in this music than three chords but being young I didn’t get a handle on it. It wasn’t until later when I’d finished a show in Holland and I was having a beer that it dawned on me – ‘this is the music of overcoming adversity not subjecting to it’ and I started thinking about who created this music and the conditions under which it was created. And, the old guys I played with, one of the ways they

overcame that adversity they just loved to laugh. So, I say at every concert ‘Tomorrow morning before you leave your bed pack your sense-ofhumour’, go into this world being able to laugh at the world but more importantly being able to laugh at yourself – you’re going to live longer, you’re going to look better and you’re going to love better living longer looking better. When I get to a gig I feel I’m really blessed to be there because I could be painting houses!

www.doug_macleod.com

Congratulations to Doug who won 2017 Acoustic Artist Blues Music Award for his album Break The Chain. It was released on July 7th 2017.

DISCOGRAPHY

BREAK THE CHAIN – 2017

LIVE IN EUROPE – 2016

EXACTLY LIKE THIS – 2015

THERE'S A TIME – 2013

DOUG MACLEOD DIRECTTO-DISC – 2012

BRAND NEW EYES – 2011

THE UTRECHT SESSIONS – 2008

LIVE AT XM RADIO VOL. 2 – 2007

LIVE AT XM SATELLITE – 2007

WHERE I BEEN – 2006

DUBB – 2005

A LITTLE SIN – 2002

WHOSE TRUTH, WHOSE LIES – 2000

LIVE AS IT GETS ( WITH JOHN "JUKE" LOGAN) – 1999

UNMARKED ROAD – 1997

YOU CAN'T TAKE MY BLUES – 1996

COME TO FIND – 1994

LIVE IN 1991 VOL. 1 – 1991

DOUG MCLEOD

TOP TEN ALBUMS

As you can well imagine, it’s real hard at my age to just pick 10. Maybe 50 would be easier!

Well here we go in no particular order, just what’s coming off the top of my head:

01ALBERT KING BORN UNDER A BAD SIGN

Love the songs, love his guitar playing, and for me one of the best voices in blues. A go to album for me.

02

JIMMY REED THE BEST OF JIMMY REED

In my opinion- the very best in this swamp style of blues. Never get tired of hearing it.

03 BB KING LIVE AT THE REGAL

BB live to his audience! Wow! Nothing more be said.

04 BIG BILL BROONZY THE YOUNG BIG BILL BROONZY

Incredible guitar playing and feels. His voice brings you into the stories of the songs and makes you feel welcome. One of my main influences.

05TAMPA RED IT HURTS ME TOO

So many great records from this man. Great song writer, guitar player, and a killer slide guitar player. I’m happy that there are compilation records out now, because for many of these artists I’m mentioning just one album is not enough.

06

HOWLIN’ WOLF THE ROCKING CHAIR ALBUM

Willie Dixon songs, great band, and Wolf’s presence. Hard to beat.

07

SONNY BOY WILLIAMSON

THE REAL FOLK BLUES

His voice, the songs, his style of harp playing. Love listening to it.

Now for some surprises. Not blues artists but my favourites none the less.

08

JERRY BUTLER THE ESSENTIAL JERRY BUTLER

One of my all-time favourite voices. I could listen to this man sing a menu in a Chinese takeout and love it.

09

JIMMY MCGRIFF THE WORM

So much blues and soul feeling and no one singing. Funky with great musicianship

10

KENNY BURRELL HAVE YOURSELF A SOULFUL LITTLE CHRISTMAS

I’ve played this album every year since 1967 around Christmas time. Great arrangements and so soulful. Kenny Burrell is known as a great jazz guitarist, but you hear blues all through his music. One of my all-time favourites.

SOUTHERN PAVILION

HAMILTON LOOMIS

THURS 27TH JULY • Doors - 7pm

LACHY DOLEY BAND

WEDS 23RD AUGUST • Doors - 7pm

KIRK FLETCHER

WEDS 20TH SEPTEMBER • Doors - 7pm

KARA GRAINGER

THURS 5TH OCTOBER • Doors - 7pm

WALTER TROUT

FRIDAY 6TH OCTOBER • Doors - 6.45pm

Worthing Pier

SOUTHERN PAVILION, Worthing BN11 3PX (at the end of the Pier)

Tickets available from www.worthingpier.co.uk facebook.com/worthingpiersouthernpavilion twitter - @WorthingPierPav

LISA MANN

WEDS 11TH OCTOBER • Doors - 7pm

RUDY WARMAN

FRIDAY 20TH OCTOBER • Doors - 7pm

CARVIN JONES

TUESDAY 24TH OCTOBER • Doors - 7pm

HARRY MANX

FRIDAY 27TH OCTOBER • Doors - 7pm

J W JONES

THURS 23RD NOVEMBER • Doors - 7pm

Lance Lopez A TEXAS BLUES LEGEND OUT OF SHREVEPORT LOUISIANA!

Verbals: Clive Rawlings Visuals: Mark Bickham and Chuck Flores

Texan guitarist-singer-songwriter Lance Lopez, producer, mixer and bass player Fabrizio Grossi and drummer Kenny Aronoff are the family that is Supersonic Blues Machine. Their debut West Of Flushing, South Of Frisco is host to an incredible list of collaborators such as Billy F Gibbons, Walter Trout, Warren Haynes, Robben Ford Music, Eric Gales and Chris Duarte. However, Lance has been around for a good few years, as the following in-depth interview reveals.

Lance, thanks so much for taking time out of your busy schedule to talk with us. Although you're billed as a Texas Blues Legend, you weren't born there, were you? Actually No. But I got there as fast as I could! Gatemouth Brown had a song that pretty much sums up my life called Born In Louisiana, raised on the Texas side. I was born on the Texas border in Northwestern Louisiana in a town called Shreveport which is 3 hours east of Dallas, Kenny Wayne Shepherd is also from Shreveport as is Elvis Presley lead guitarist James Burton. There is a rich culture of music there. I move back and forth between Texas and Louisiana a lot; however, I have lived in Dallas longer than anywhere I have lived, which is why Texas claims me! I cut my teeth in both the French Quarter of New Orleans and the streets of Deep Ellum in Dallas much like Robert Johnson, Blind Lemon Jefferson and other legends, though I was playing thru Marshall amps. Louisiana and Texas are very linked together especially musically and especially in the blues. I'm what you would call a Cajun Texican.

Who were your first influences?

Well, there's a whole load of guitarist and musicians

I could list. I don't think we have enough time to talk about them all. Elvis Presley was the first person I saw when I was 3 years old that influenced me to be a musician. Chuck Berry and Jimi Hendrix then influenced me as a guitarist. Then when I saw Stevie Ray Vaughan and B.B. King jam together at a Blues Festival in Dallas when I was 12 years old it inspired me to play the blues.

Did you ever meet/play with Stevie Ray Vaughan? No! I wish I had. I was only 12 years old when he was tragically killed in that helicopter crash in Wisconsin. I met his mother a few years later when we began having the Annual Stevie Ray Vaughan Remembrance Ride and Concert, which is a charity biker event that donates money to the late Mrs. Vaughan's Scholarship for less fortunate kids to attend music school. She saw me play when I was 17 years old and came up to me after and she was crying and telling me how much I reminded her of Stevie. I didn’t know what to say, we just kinda stood there and cried together. She wrote me several letters and thanked me for helping the SRV Foundation and constantly encouraged me! I have played shows many times with Jimmie Vaughan and he was

also a huge influence on me! In 2005 Double Trouble bassist Tommy Shannon and I formed a trio with Jimi Hendrix Band Of Gypsys drummer Buddy Miles. I was really in Stevie's circle of friends in Dallas and Austin and our style and approach were very similar due in part to the same influences and both environment. SRV is and always will be a huge influence and it's hard to come from Texas or the surrounding areas and not have that imprint on your guitar style.

I read that you were mentored by Buddy Miles in your youth, but there were others then, could you amplify?

Oh yeah! Buddy and I had some great times and wild parties and major ups and downs, due in part to the wild parties. But in the end the music was always amazing! I began playing guitar behind a lot of r&b and soul-blues artist like Johnnie Taylor and others when I was 17 years old on what they call the Chitlin-Circuit which is made up of African-American clubs throughout the Southern United States. During that time, I met and played behind many of the giants of the blues and spent a lot of time learning and soaking up everything I could from them. That is what garnered so much respect from Buddy Miles as he himself as well as Jimi Hendrix had both played that same circuit and he could hear it in my playing. Then later I worked for Lucky Peterson and began travelling all over the world. During that same time, Billy Gibbons

was living in Dallas and that's when our friendship began. I have been very fortunate to be around and learn from some of my biggest heroes. The one I would say I'm most grateful to have learned from would be B.B. King, he taught me so much and was so firm with me and also encouraged me at the same time. I'm so grateful to have been around both B.B. King and Bobby Blue Bland.

From 2003 - 2007 you released albums through Grooveyard Records, why was that considered 'a hindrance'?

Those were tough years for me. My first marriage was failing miserably and I was really struggling badly with alcoholism and drug addiction. Those records were done with very little money. I am proud to say that I accomplished what I did in the condition I was in and the circumstances I had to work under. Those albums just weren't promoted at all. There was no promotion, no tour support, nothing. The tours that happened in support of those albums I booked completely on my own. It was a very difficult time. However, those records were very influential to a whole load of young guitarist. Tyler Bryant always talks about Simplify Your Vision and how influential that album was on him. So at the end of the day that's all that really matters, someone was inspired by it. Wall Of Soul really sticks out as kind of the trademark album of that body of work. Loads of young guitarist reach out to me every day and tell me how influenced by Wall Of Soul they were.

It also was a great album because it finally allowed me to collaborate with Eric Gales on an album and have our good friend Dug Pinnick from King's X on there as well.

You took a break, then teamed up with the legendary producer Jim Gaines, good move? Yeah, I had to back up at one point and try to sober up a bit and get it together. I switched labels. We signed with MIG/String Commander which were the guys from the old classic Heavy Metal label SPV. I needed a fresh start and a new direction.

Sundown. It was great to be in Ardent Studios in Memphis with Jim where so many great albums were made. We had great tour support for that album in Europe and it did well. A couple of years later in between tours we went back to Ardent and recorded Handmade Music. I really began focusing on songwriting and arrangements even more. I love Jim Gaines, he's like family. I actually call him Uncle Jim. We had a blast making those records together and I learned so much from him.

I wanted to get back to my Texas blues roots, which I did on my last Grooveyard album with El Paso Sugar. That's who I am. All the heavy Hendrix-inspired jamming was cool but that's where Grooveyard insisted on keeping me. My early albums had a lot of open-ended, free form psychedelic jamming, sounded like a buncha guys that were high. With Jim Gaines, I knew we could get back to the blues and get some great songs together as well. I initially wanted to work with Jim because of all of those great albums he did with Steve Miller, like Fly Like An Eagle and Book Of Dreams, however, he started really implementing what he had done with Stevie Ray Vaughan on our first album together Salvation From

You worked with Eric Gales on Wall Of Soul, how did that come about and would you like to repeat that partnership in the future? Eric Gales and I are like brothers! He's been one of my best friends for over 20 years! We've known each other since we were kids. Wall Of Soul came about from what was going to be The Band Of Gypsys Returns. Buddy Miles and Billy Cox were putting together a new album and that’s what they were going to call it. They were going to have guest guitarists like Slash, Steve Vai, Eric Johnson, Joe Satriani. They didn't want to do the usual songs like Purple Haze and Foxy Lady. Eric Gales and Buddy Miles had the same manager at the time and they reached out to Eric and I to write all new material for the Band Of Gypsys Returns. I went up to Memphis several times between 2001 and 2002 and Eric and I wrote loads of songs. Finally, the whole project was scrapped...or at least Eric and my involvement!

“I WOULD LOVE TO JAM WITH THE ROLLING STONES ONSTAGE!”

So, I said 'man we have all these great songs we need to record them'. A year later Grooveyard Records approached me and Eric came down to Dallas and we recorded the album with my band. We had a blast doing it!

What album you've recorded has given you the most satisfaction? Handmade Music would

probably be the critics’ choice We worked very hard on it and it was the second of two albums I did with legendary producer, Jim Gaines. I was finally able to really start focusing on my songwriting and not just writing songs for an excuse to solo over. I learned so much from Jim Gaines and we had a great time recording those albums in Memphis.

Then we get to the Supersonic Blues Machine project?

Absolutely! That's what led me to Fabrizio! I mean Leslie West has always been one of my biggest heroes since I was 12 years old! And when I heard what Fabrizio had done with him I knew we had to work together! Then once we began working together I found out about

his connection to Steve Vai, Steve Lukather, Glenn Hughes and all of the other legends he has worked with. Fabrizio is the greatest songwriter, engineer and producer I have ever worked with period. Not to mention his bass playing is beyond belief and when he really cuts loose on bass it's ridiculous.

Did it take much armtwisting to get the other guitarists onboard? There are many 'super groups' around, what, if anything, makes SBM stand out, are there plans to release a follow up album, or do you not want to put all your eggs in one basket and do another solo album next? We reached out to all of the guitarist who are on West Of Flushing, South Of Frisco and had to work around their schedules. So, a lot of it was scheduling and getting our friends that were available. But everybody that's on the first album came running when called them, I am very honoured that they all were so enthusiastic to do it! We have already begun working on the follow up album in Los Angeles! We

have already recorded tracks with Steve Lukather, Robben Ford, Walter Trout and Eric Gales! It's going to definitely be so much better than the first album and the first album was amazing. So stay tuned for more on the new album we have some more epic guests who are going appear on it and should begin touring much more!

Supersonic Blues Machine, played Mumbai in February, how did that go? Mumbai was fantastic! We really had a great time there! We especially loved all of the curries. None of us had ever been there and Billy Gibbons really went exploring all over the city. We spent a lot of time rehearsing in the hotel room waiting on Eric Gales to arrive. He was on Joe Bonamassa's blues cruise and actually missed his first flight out of Florida. It was very stressful for all of us! However, he caught a last minute flight and literally arrived in India went straight from the airport onto the stage! Eric Gales is my brother and I love him so much we had a great time in India?

What would be your dream band to play with, dead or alive? Aww Man wow! Hmm that's a good one! I would love to jam with The Rolling Stones onstage!

Do you have any thoughts on current blues/rock bands/artists?

There's talk about another British Blues Invasion, do you agree? Who are you listening to at the moment?

The early British Blues really shaped my guitar playing! I mean that's why I have such an affinity for the Les Paul and Marshall amp sound. I have such dear friends like Davy Knowles, Jon Amor, Aaron Keylock, Matt Schofield and Joanne Shaw Taylor really carrying the torch for British Blues and a I'm big fan of them all.

What does the future hold for Lance Lopez, are we going to see you in the UK at all?

Supersonic Blues Machine will be making its U.K. debut at the Ramblin Man Fair in Maidstone, Kent on July 30th with ZZ Top and many other great bands! We are extremely excited about it!

Final question (my signature question)

What's your favourite biscuit (cookie!)

That's a tough one. I think with Darjeeling I like ginger biscuits and with Yorkshire Gold, I like classic butter shortbread...so it depends on which tea I'm having.

DISCOGRAPHY

LIVE IN NYC – 2016

SUPERSONIC BLUES MACHINE – WEST OF FLUSHING, SOUTH OF FRISCO – 2016

HANDMADE MUSIC – 2012

LIVE – 2007

FIRST THINGS FIRST – 2007

HIGHER GROUND – 2007

SIMPLIFY YOUR VISION – 2006

WALL OF SOUL – 2004

Marcus King Band THE PRODUCTION LINE THAT KEEPS GIVING

Verbals: Clive Rawlings Visuals: Jacob Blickenstaff

The Marcus King Band is led by singer, songwriter, and guitarist Marcus King. Raised in Greenville, South Carolina, King was brought up on the blues, playing shows as a pre-teen sideman with his father, the fellow bluesman Marvin King. The band's second full-length LP was released October 7, 2016. The album was produced by musician Warren Haynes and written entirely on the road and recorded during a series of sessions at Carriage House Studios in Stamford, Connecticut. The album also includes a number of the band’s mentors and collaborators, including Derek Trucks and Haynes himself. I met up with Marcus straight after his soundcheck at the 100 Club.

Thanks for taking timeout to speak with me, I realise you're busy, just arrived from a show in Paris, I believe? Yes, we had a great gig there last night. The place was packed. We love the French!

I was thinking, until I was corrected by your PR lady, that this is your first trip to the UK, but you were here last year? Yes, we did the London Blues Fest.

So you'd have been about twenty then, makes you twenty one now, old enough to drink now in the States? I drink a lot less now I'm twenty one!

I see you played in Florida on Friday night with Widespread Panic, how did that come about?

Yeah, that was a wild gig! About a week before we were in Mobile, Alabama and Jo Jo Hermann, their keyboard player, sat in with us for a festival we were doing there and he said “tell you what, why don't you sit in with my band?” Well, I know Jimmy Herring and Duane Trucks, their drummer, very well. It was a multiple layered thing - Duane's

a good friend, but I also respect him as a musician, along with his uncle Butch Trucks, who played a big part in me becoming a musician in the early days. Just playing with them was a mind blowing experience.

Which leads me on nicely to my next question, your influences would have been Southern Rock/ Jam Bands, would you consider yourselves to be a Jam Band?

I guess in the sense that we like to stretch it out live, but not necessarily the satirical Jam Band.

I suppose being tagged as 'Warren Haynes's protégé' might lead people to pigeonhole you. Do you like being referred to in that way, or would you rather be known as Marcus King?

I think every musician wants their own identity, but it's very flattering to be compared to Warren, because I love him, I grew up with him as my hero, now he's a dear friend and I refer to him as Uncle Warren, so yes, it's flattering for sure. We had similar upbringings.

Have to say, he's a particular favourite of mine, what a career he's

had. Shame the Allman Brothers split, but must ask you, if suddenly the Allmans re-formed and you got offered the gig, would you do it? Oh, yeah! (laughs)

Bet you'd be up there like a shot, with Derek? That'd be cool, man.

But it isn't going to happen, or is it?

(Laughter) I don't know, man, I really don't, I don't see how they could do it without Butch, honestly, because the last fifteen years with Derek and Warren, and others before them, who have unfortunately gone, but seeing Butch gone, well that's a tragedy.

We've probably covered most of your influences, any more?

Yeah, certainly the older stuff I was put onto by my father, but it was really old stuff by the likes of Charley Patton, Son House, but Stevie Ray Vaughan I listened to a lot.

You mentioned your father a fair bit, what was his history?

He was based in Ramsteinn, Germany, was in a band, moved back to Carolina and was into John Mayall, Hendrix, he had long hair, so everyone hated him!

How long has this band been together now?

I'd say coming up three years with the current lineup. For the first album we were a four piece, but we were left with just myself and Jack the drummer. We went out poaching bass players and organ players.

You write a lot of your own songs, don't you? There is a feeling amongst older bluesmen that to write about the blues, you have to have lived the blues, before you can sing the blues. As a twenty one year old, how do you feel about that? That's a heavy one man! There's a lot of cats out there that don't play with any sincerity behind it and you can kind of feel that, even as a layman you can feel the lack of sincerity in what they're playing and doing and it's pretty obvious that they've gotten this idea from someone else. Blues has been watered down to an easy form of music, but that's not the idea behind it. People like Son House or Howlin' Wolf, hear them playing, it's not the best dexterity, but there's so much soul and energy behind it, they lived that shit and I'd be lying if

I didn't say I went through a fair bit of shit as a kid.

Looking at the resume of your new album, you've written great songs, normal run of the mill stuff and that you were an introvert as a kid. Is that why you wear the hat? Yeah, I look on the hat as a comfort blanket.

So the new album, produced by Warren, did you enjoy doing it? You have Warren on one track, Virginia and Derek Trucks on another, Self Hatred - there's a great title for a song, where did that come from?

Another breakup. I had a lot of insecurities, when they're turned around on you in an argument, they really stick it to you. That really hurts, so it came from that. This particular girl said she hated herself for saying those things, I said I've hated

DISCOGRAPHY

myself for years (laughs), I suppose we both had that in common. Spending a lot of time on the road, gives me time to think, that's where the ideas for songs come from.

At the end of the day, all the travelling, is it worth it?

Absof******lutely!

Where do you see yourself in five-ten years time, will you go into producing?

I can see it, but that's a big jump. The live thing is an expression sort of off the cuff, but in the studio you can say a lot of things, I can see myself doing that. As long as I'm playing I'm happy.

That looks like a great time to finish, thanks very much, have a chill before tonight. Thanks, man, my pleasure.

THE MARCUS KING BAND – 2017

SOUL INSIGHT – 2015

"Born into a family of musicians, as children he and his older brother Freddie King learned to play the guitar from their mother and uncles. This book is a rare treasure that blues lovers will cherish."

- William Ferris, Author, Give My Poor Heart Ease: Voices of the Mississippi Blues

"From Gospel to Blues, from R&B to Soul, from Texas to Chicago, from the Apollo to the Chitlin Circuit, Benny has been there through all of it and the real treat is that he now shares it with us. What a very good read."

- Bill Wax, Former Program Director, SiriusXM Radio

Pre-order and purchase at bennyturner.com

Wilko Johnson AS THE YEARS GO PASSING BY

Verbals: Pete Sargeant Visuals: Leif Laaksonen

It’s an anniversary year for our guitar-toting livewire, still firing after a close brush with death. When Pete and the then seriously ailing Wilko last met to talk life and music at his, our man said he thought Johnson would somehow pull through and the twopart interview that we ran ended with Pete the more optimistic of the two. Operations proved successful, Johnson survived and here we are, catching up now for a celebratory Part Three…

Ok buddy – how are you feeling?

Very well indeed, Pete – and thank you for asking!

I am not right about that much in life – a blues songwriting inspiration? – but I am eternally glad that you did recover as I predicted! Well thank you very much, that’s where events have brought me and there is much to do.

And the pending solo career anniversary.

Ah! well it is actually more than thirty years but thirty sounds better for the attention it’s getting! It’s snappier! Thirty three is too long to understand, anyway.

We covered an awful lot last time – The Coasters, Mick Green, Wayne Kramer. I saw this great video of The More I Give, I think it’s live in Barcelona. Now and again it is a number we do, yes. It crops up every few gigs and gets a good response.

The song I really love to hear you do is Leadbelly’s Out

On The Western Plain. His songs are kind of haunted aren’t they? I do Leavin’ Blues for that reason. Now Leadbelly is what you would term an unusual artist, he stands alone in what he did, doesn’t he really? His soul feel, the power of his music, his guitar playing is so distinctive and of course he has got this enormous repertoire of great, great old songs. When I do that thing, that thing has been filtered down to me. (Ponders) Now why do I do that? because of Van Morrison, that’s why. Other people too, but mainly because of Van. We heard Van doing it and so we played it one time for fun. And yes, like you, what an unusual one to do! And it’s such a strong song it does work really well in a performance. So, we ended up with our kind of take on it. Which is I suppose quite a long way from Leadbelly’s recording. The lyrics to me are very philosophical.

He was sophisticated, Leadbelly. Played all styles of songs to all sorts of people. That one I know

from Rory Gallagher. Yeah!! There you go, he had his own approach to it. And of all things singing about when I was a cowboy!

It’s like a mantra, I can get lost inside it. That’s it, he’s singing about riding around on a horse, but it doesn’t mean that. How many people have been a cowboy? He wasn’t, so it’s all imagination, projection of the spirit to a silver screen hero. The cowboy figure. The man to look up to, indeed.

Can I ask you about the album you did with The Who’s Roger Daltrey? Going Back Home. I keep playing Ice On The Motorway! And do you have a favourite Who song? Of sorts. I would say…my favourite Who songs would include I Can’t Explain and Pictures Of Lily. That run of early singles – all great.

Yes, I love Anyway Anyhow Anywhere. Sonic impact!

You could just on those grounds suggest any one of them – My Generation, The Kids Are Alright – but I Can’t Explain was the first one and still, it’s so dynamic. And I like Pictures Of Lily because it’s fairly complex, it’s not a three-chord-job and the lyric is full of stuff to think about. You think, yeah, pictures of Lily. It’s about pornography

and it’s a kind of joke about that, with someone finding solace in that but then it turns out she has been dead for years, with her images outliving her. It’s about mortality as well! It’s poignant, this beautiful woman is now no more, and all in a powerful rock song!

The economy of it! If now you saw monochrome images of someone striking from the past say Rita Hayworth. That photo taken at that time crystallises absolutely her beauty and poise. Exactly! that’s why that final phrase of the song ‘dead since 1929’ – beauty, the passing of time. Wow, what a song, wish I’d written it.

AND there’s a father and son relationship element too, the understanding. Yes, the whole song is such a powerful piece of rock music. What’s happened in my case, I was one of many young squirts in the 60s fascinated by blues men and thought ‘I want to do that’. (Laughs) When Dr Feelgood began that’s where we were going with it all. Pretty much straight American music.

And then of course I started to write my own material. In the case of The Who, I guess we were just looking up to the best.

How did you get on with Roger?

Well I didn’t really know him, just through mutual friends. We hadn’t properly met more than a couple of times. Then Roger found out I was ill and came across and said ‘let’s do that album we have talked about’. So it happened, very quickly. We had eight days only to do it, he wasn’t fully familiar with most of the material. Cos I was going to die I included all my compositions. So he had to learn those songs and get his own kind of take and phrasing on them and then perform them with no rehearsal or anything. He was a bit freaked out originally as he really did want to attain his own take on these songs and get behind them. We forced him to keep at it and after just a couple of days recording then everyone was getting fantastically keen on the way it was coming out. Roger is what he is, he is a geezer! A very nice guy and man, he worked so hard! Put

everything into it. Plus the amount of effort he puts in to the Teenage Cancer Trust.

I think it maybe helped that he wasn’t over-familiar with all the songs, because he had some room then to shape his contributions. Well exactly! we didn’t want a straight cover of what had been done before, we wanted an own flavour to the project. That is the main thing that he wanted, to come up with something fresh for the numbers.

The Beautiful Madrilena and Come Back And Love

Me in my perception have an almost elusive autobiographical tinge. With songs you might have an idea about something that prompts the notion of a lyric. But you have hit on a couple of songs there inspired by or about specific individuals. So there it’s a more personal lyric in each case as yes, they’re about real people.

Can I ask you about one song which to me sounds like it was left off Highway 61 Revisited by Dylan?

It’s Underneath Orion. Is this the closest Wilko gets to Bob Dylan?

I think I was driving along in the car this rhythm came to me, then some of the lyric popped into my head, about the constellations and all that.

With a song like From A Buick 6, you’re kind of sitting next to him aren’t you?

(Warmly) Wow, man – this is the kind of thing that, well when I was a kid, a teenager it just blew me away. Songs like that, they sound so easy but they’re not. ‘I got my dark sunglasses.’ Just fantastic!

What happened to the recordings you did with my man Wayne Kramer?

Whew! I don’t know, this all happened before the cancer thing, y’see.

Let’s talk about playing technique for a second, I know you’re not one to be high-falutin’ about that, but you very rarely play traditional barre chords. Hmm. I use a chord shape in which you use your first four strings in a shape and then I use my thumb a lot holding down the sixth string and the advantage of this shape is that you can immediately stop that chord, at will. If you mix in little fast licks, the old thumb is there all the time! It’s just the way of playing in my style, to get the attack going. My playing is all rhythm. Now you can do that with barre chords but for me more often than not it’s using the shape.

And it’s movable! This signature Fender Telecaster model, what are your thoughts on that project?

It’s funny, it took them a long time to get this together, considering how many Telecasters I’ve sold for them over the years! It’s sold a fair few and the guitar I now use all the time is I think the very first one to that spec that they made. It’s fairly standard, I don’t want to mess around changing pickups and all that.

I only change tuning heads when they go, nothing else. Yeah if something needs a repair or replacement that is fair enough, isn’t it? Typically the pickup selector switch but you don’t want to mutate the sound of the guitar. I fell in love with the Telecaster sound when I started playing, so me being me I always want the guitar to have THAT sound to it. I don’t want to change it in any way.

Your band – Dylan Howe, he always strikes me as if someone has taken 50 per cent Willie Big Eyes Smith and 50 per cent Mitch Mitchell and his jazz fluency and you’ve got Dylan! Dylan is easily the best drummer I’ve ever had. I’ve got to this stage of the game and here I am with the best band you could ask for. With Norman and Dylan. He works so hard too, practising paradiddles. He’s got a little studio, y’know. You’ll know who his dad is?

Steve Howe, of Yes and Asia. Yeah and he’ll be doing some U S dates this year with Steve. So John Roberts from The Blockheads will help us out here and there.

As regards Norman, I first saw him playing with his brother in an edition of East Of Eden, Greyhound

Fulham Palace Road, RIP. Do you have a favourite Blockheads moment, because that stint was pivotal for you, I suspect?

Well first of all, I remember that the first time I saw them, I did know them just from being around. Ian and Davey, from Kilburn and the High Roads. But the first time I saw them as The Blockheads was playing on a live television show and the next day I was saying to people ‘Did you see that bass player?’ The couple of years I had with them were among the happiest in my life, I would say. We did a big tour of Australia and at the start of each show we’d dark the stage and then start playing Sex & Drugs & Rock & Roll and the reaction was just… phenomenal! When Ian was on form he was just so funny and entertaining…and there I was in the heart of the rhythm section. Blissful. Wilko Johnson Band play their 30th Anniversary concert at the Royal Albert Hall on Tuesday 26 September 2017. Wilko celebrates his 70th birthday on Wednesday 12th July 2017.

DISCOGRAPHY:

I KEEP IT TO MYSELF – 2017

BEST OF WILKO JOHNSON – 2014

GOING BACK HOME – 2014

– WITH ROGER DALTREY

BARBED WIRE BLUES – 2010

RED HOT ROCKING BLUES – 2005

BACK IN THE NIGHT – 2002

GOING BACK HOME – 2000

LIVE IN JAPAN – 2000

PULL THE COVER – 1998

CALL IT WHAT YOU WANT – 1994

SOLID SENDERS – 1990

(1978 ORIG)

Eric Bibb

INFLUENCES, INTEGRATION – AND HATS!

Verbals: Andy Hughes Visuals: Supplied by artist

Eric Bibb grew up surrounded by music, and a keen sense of his African-American heritage – Paul Robeson the actor and activist was his godfather. Bibb has carved out a musical niche rooted firmly in acoustic blues, but encompassing jazz and folk genres with consummate skill – he has played the Acoustic Tent at Glastonbury Festival, and this year’s Cheltenham Jazz Festival, which is where we caught up with him for a chat about his music.

What motivates you as a blues musician?

That’s a good question. I am very much enamoured in the tradition of the blues, but not exclusively blues players. I am delighted to be associated with a musical form that has conquered the world. I listened to loads of music growing up, my father was a musician and a band leader, and my parents had a very large and wide-ranging record collection, and they encouraged me to listen to all musical styles, and I know they have all had an influence on me, both as a songwriter and as a musician. As a writer, I am happy to be able to contribute to the blues cannon by writing new songs that are going to take people in the direction of existing songs and recordings, to help and encourage them to explore blues music. I don’t think that was a conscious plan when I started off as a player and a writer, but that is how my life and my career has evolved. I believe I am known to be a good songwriter, and that is something that I am very proud of.

We are here at the Cheltenham Jazz Festival where you are performing, do you think that the lines between genres like blues and jazz are blurring as time goes on? Personally, I am not a fan

of categorising music too closely. As far as jazz and blues are concerned, I don’t think you can have one without the other. They have both grown up as parallel musical styles and they have always been very closely connected. All the great jazz players of note have all been great blues players as well, and all the great blues players have picked up jazz influences as each style developed and fed into the other. I am very happy to be at a jazz festival, and I do like to see blues musicians at jazz festivals like this one – Robert Cray is here this weekend as well.

Did you set out to develop your own musical voice, or is that something that develops around you?

I think if you can be unique, you can write your own ticket. You have something that can only ever be you when people hear it, and that is a rare thing, very few musicians have that, but they are all hugely successful because of it. If you are not unique, then you need to jump on somebody’s train, and for me, the blues train was the most accessible. Because I am an acoustic musician, I was able to get gigs at folk festivals, and that has enabled me to reach out to audiences that I may not otherwise have had access to. If I had advertised myself as an African

American singer songwriter, I would have encountered the level of racial segregation that exists in that form. If you are a singer-songwriter and you are black, then people expect you to sing and play blues music. If you are white, it’s easier to be eclectic, and nichless, and blur the lines. Someone like Van Morrison for example, or an even better example is Elvis Costello who has been able to play punk, country, chamber music, all kinds of different styles in his career. African-American musicians find it much harder to do that, to follow their hearts musically. I resent that, it is something of a passion of mine to talk about it. Segregation has loosened up, and continues to do so, but in musical genres, it is still there. Take Americana, as a genre, that is pretty much a white musical style, but what is more ‘Americana’ than blues, which is the pure root of all American music. I try to break down these barriers when I find them – I would like to be able to play country music festivals! At heart I am an integrationist, I think that is absolutely vital.

Who are your musical idols?

Obviously, I love old blues players. One of the advantages of being my age, I am sixty-five now, is that I have been able to see some of the blues masters in action. I saw Son House play at the Newport Jazz Festival in 1965, and that was a real experience, a career-enhancing experience watching a master like that at work. I was always a huge fan of Taj Mahal, and I have been fortunate in my career to

work with him, which again was a wonderful experience. I am very blessed to be able to do what I do, and tour the world and write songs and play them for people and I have enjoyed a wonderful career. But I remember that I haven’t always been at this level, there have been plenty of years when things were tough, I have worked straight jobs to pay the bills before I could do this like I can now, but that experience feeds into my music, so it’s all been valuable, nothing is ever wasted. I think if you live a life like that, and things don’t come easy and overnight, you learn to appreciate them properly when they do come, I know I do.

You are known for your hats, when did the ‘hat’ thing start?

I first started wearing a hat when I was about fourteen, a friend brought a hat back from his holiday, and I liked it, and I started to wear it, and I’ve always worn one ever since. The old blues guys wear hats, I think they are really cool, they link me to a bygone era. I think the compact car has been the death of the hat – it’s not possible to get into a small car with your hat on. I don’t actually drive, my wife very kindly takes care of the driving, and we have a car large enough for me to be able to get in and keep my hat on, but I don’t actually wear it in the car.

I have one of those plastic hooks with a sticky back on it, and that is attached to the car dashboard, and I hang my hat on there when we are out. I recently found a wonderful hat shop in Albuquerque, New Mexico, and I had a hat custom-made there, it cost rather more than I would like to reveal, but that’s an extravagance that I enjoy, and I feel good wearing it, so it was worth the money.

Your dad was a musician, did he give you a helping hand when you were starting out?

He did, he gave me a job as a guitar player in his band, he ran a TV show band and he put me in there when I was sixteen. I could hardly read the charts, and I did suffer from a feeling of being the new kid, which I was, literally! I know that the experience was good for me, not only to play with really seasoned experienced musicians, but to see how they conducted themselves both on and off the stage. Their demeanour was something I learned to incorporate when I started playing my own shows as a professional musician. The experience confirmed for me once and for all that I was going to be an individual musician. I was never going to be a studio player who could turn his hand to any style and play any song on any day. That was never going to be the life for me. I only ever wanted to be a troubadour, I wanted to write my own songs and play them and sing them for people, and that was the way I was going to be happy, so that as the career path that I took.

“I AM NOT A FAN OF CATEGORISING MUSIC TOO CLOSELY”

What’s your opinion on the Internet. YouTube and so on?

In terms of research, I do like the Internet, although for my own listening pleasure, I am still a vinyl collector, and that is my medium of choice for playing music. I find the compression of computer files takes some of the depth out of the music I love, but that’s just a personal view. My wife has been very helpful in introducing me to the home-made performance clips that I can make and put up that means that my music reaches my fans with new stuff, and also it makes me available for a potential new audience. The great thing is, as so many other musicians have discovered, is that it publicises your work, without the need to employ a professional publicist, which can be very expensive. It’s kinda fun to do these things for yourself.

Do you think about retiring?

No, I have no plans in that area. I think that in a lot of ways I am just getting into my peak as a writer and as a musician. I would like to maybe spend less time on the road, and maybe more time at home with my wife, that would be good. I am also enjoying teaching, and I may look at expanding that area of my work a little more. I think if you are a musician who works on one project, and then finishes it, and then there is a lull before the next one, maybe that’s a time when you consider stopping what you are doing. Fortunately, I don’t work like that, my projects tend to overlap.

As I finish one record, the next one is in preparation in one stage or another, so things kind of roll along with no actual time to stop and think about what’s going to be next. The thing that is ‘next’ is already current, and that’s the way I work.

You have received a number of awards; the most recent nomination was for the Jazz FM Award. Do these things mean a lot to you? There is always the split between the recognition of your peers and the recognition of your audience, and like a lot of people, I can’t really say I would rather have one than the other. The award you mention was won by The Rolling Stones, and another nominee was Bonnie Raitt, which is esteemed company and I was very proud to be included. Actually, those two acts being nominated for a Jazz FM Award does point to our earlier conversation about the blurring of lines in terms of genres, and I am all for that, as I said. So, to answer your question, I am always delighted to receive the validation of my peers, I would be lying if I denied that it makes me feel good and boosts my confidence. Validation by other musicians makes me feel motivated, but I never forget that validation by my audience who buy my music and come and see my shows is what enables me to make a living doing what I do, and there is nothing in the worlds that is more important to a musician than that.

What musical goals are left for you?

I have always enjoyed

exploring different musical styles, and I have always enjoyed world music, and I think that for my next album, I am going to include more of my African brothers in bringing some of that style into my own music, so that is exciting. I think if you are born curious about music, you never stop learning and exploring, so I guess if I have a musical goal, it is to focus on that aspect of my life, to look for new ways to write and express my music, and to carry on blurring those lines and breaking down those barriers. That’s a good way to go on!

DISCOGRAPHY:

MIGRATION BLUES – 2017

THE HAPPIEST MAN IN THE WORLD – 2016

LEAD BELLY’S GOLD

BLUES – 2015

IN 50 SONGS – 2014

BLUES PEOPLE – 2014

JERRICO ROAD – 2013

DEEPER IN THE WELL – 2012

THE HAVEN – 2011

BLUES BALLADS AND WORK SONGS – 2011

BOOKERS GUITAR – 2010

SPIRIT I AM – 2008

GET ON BOARD – 2008

12 GATES TO THE CITY – 2006

DIAMOND DAYS – 2006

A SHIP CALLED LOVE – 2005

NATURAL LIGHT – 2003

PAINTING SIGNS – 2001

JUST LIKE LOVE – 2000

ROADWORKS – 2000

HOME TO ME – 1999

ME TO YOU – 1997

GOLDEN APPLES OF THE SUN – 1983

RAINBOW PEOPLE – 1977

AIN’T IT GRAND – 1972

Jay

Farrar has established himself as a pioneer in the alternative country scene since the early nineties, when he played in Uncle Tupelo with Wilco’s Jeff Tweedy and later formed his own band, Son Volt. Since then, Son Volt has received significant critical acclaim for their alt country sound. Earlier this year, Jay with his band Son Volt released Notes Of Blue, an album comprising songs that explore the intersection between folk, country and blues whilst paying homage to country bluesmen Skip James and Mississippi Fred McDowell. Paromita Saha spoke to him about the album before he started touring and later caught up with him in New Orleans to find out how it felt playing the album live.

Jay Farrar TALKS THE BLUES

Verbals: Paromita Saha Visuals: David McClister

Notes Of Blues, is the 10th release in Son Volt’s career, why did you choose to make a blues album like this now? Well, you know, I wanted to do a recording that focused more on the blues. I’ve done a few blues inspired songs over the years. This recording was a chance to focus more and expand more on it, I wanted to explore the tunings of Skip James and Mississippi Fred McDowell. I have been drawn to the folksy blues guys.

Tell me about how these bluesmen influenced your vocal arrangements and tunings on the album especially in songs like, The Storm, and Midnight. The tunings determine where the vocals go. I really wanted to get inside the key tunings and concurrently I was working on songs inspired by English folk guys like Nick Drake and Bert Jansch. In particular, I feel like the tunings of Nick Drake, Skip James and Mississippi Fred McDowell had a certain mystique attached to them. I wanted to ram those tunings and see what was in there. I found that working in a new tuning and a new context, just opens a lot of doors. It’s like learning a new instrument again as you are learning new picking arrangements. There’s a kind of excitement as if you are learning a new instrument for the first time.

During the recording of the album, what did you learn about the intersection between the Americana/alt country sound and the blues? Maybe on the surface, it

seems incongruous, but Nick Drake was a big fan of the blues, so I felt there was a commonality of purpose or a common aesthetic there. Also, I really wanted to focus on what those three guys did, which was the finger picking style on the guitar, and I have not done much of that over the years. I’ve focused more on that for this record and the finger picking stuff.

Do you play Nick Drake at all, whether it is in public or private?

I played him in sound checks.

Lets touch upon the themes of Notes Of Blue, in particular the theme of redemption, which is prevalent in the song Midnight. Why do you think redemption underpins the blues?

I think there is this message in music, and in particular with the blues. Now with that, music can lift you up as well as transcend your surroundings and circumstances. To me, the blues takes the place of religion. You can turn to that place to lift you up.

When and how you did your love for the blues start?

But, I haven’t covered any of his music up to this point. I did do a Jackson Frank cover that’s available on my website. And apparently, Nick Drake was a Jackson Frank fan. He was never incredibly well known, and I think people are starting to find out more about him.

Was it particularly challenging to get that fingerpicking technique, right?

It has been challenging, which is why I have not done much of it. I have to get to a certain level of confidence with it. I guess I have been playing the pedal steel guitar, using the fingerpicking method over the past couple of years. I was playing out with a honky-tonk band, which gave me the level of experience with the finger picking to go ahead and focus more on this recording.

I guess ultimately, there’s a realization that blues was a foundational part of country music. I grew up with my father listening to the songs of Jimmy Rogers and Hank Williams. Both are prime examples of country music icons very much influenced by the blues, and, there’s the realization that blues is an intrinsic part of country music that was part of my background. Also growing up in St Louis, there’s a lot of blues being played in clubs. As a teenager, I was able to sneak into some clubs, and see some of the blues guys with a lot of talent like James Crutchfield. St Louis is primarily known for blues piano players like James “Stump” Johnson who played with Chuck Berry. James Crutchfield was very special. There was another guy called Benny Smith who would come by too. It was the best atmosphere.

Did you ever listen to Alan Lomax field recordings,

“TO ME, THE BLUES TAKES THE PLACE OF RELIGION”

as there is a sense of that on your album?

I have listened to Lomax field recordings and there is a primitive power in the recording. In one of the recordings, it almost feels at there is a house party going on. It’s great, it really tells the whole story.

A couple of months later, Paromita Saha catches up with Jay Farrar at the House of Blues in New Orleans. He is in the middle of Son Volt’s US tour. How is it going translating this album live, given you have had these variations in tunings and finger picking styles?

I’ve adapted the tunings to standard tuning, which allows the set to be fluid. I used to take a lot of guitars on the road with different tunings to get different

sounds. It gets a bit too much for the guitar tech though (he laughs).

And has playing in standard tuning affected the sound of the songs at all, given their distinctiveness in sound on the album?

I’ve kept one of the songs with that distinctive tuning such as the Skip James’ tuning on “Cherokee Street.” I’ve kept that one because it really did enhance the song. With the rest, I have found that you can get pretty close, by approximating and adapting it.

How much practice did you have to do with the finger picking? You must have hardened callouses. Sometimes I look at my fingers and I see a dark wound on it (laughs). So, I had the quite to do a bit of

finger picking practicing to make sure I had a callous and a blister.

Did you ever think about how Fred McDowell and Skip James used to fingerpick? Do you think it was something that was effortless to them or was it a style that they had to master?

I just feel that music was woven into their lives to such a degree that they probably played music every day. That’s not something that I do. However, it’s something that I am doing for three months on this back-to-back tour.

Rewind twenty years ago when you lived here in New Orleans and you embarked on road trips, which influenced your first album “Trace.” Did you ever visit the home of

the hill country blues and any of the blues guys like the Burnsides who lived in Northern Mississippi? They were on my radar in particular when I was in Oxford Mississippi. I distinctly remember these guys would offer to take me out on a late night while they were drinking, which made me hesitant to go. They offered to drive me out to Junior Kimbrough’s place. In retrospect, I wish I did it. At the time, it seemed like a wild idea to do that at 3am or whatever. Gradually over time, I really got into Junior Kimbrough and R.L. Burnside.

Earlier, you said that you were greatly exposed to the barrelhouse blues sounds while growing up in St Louis. Yet, what drew you more to the likes of Fred McDowell and Skip James as opposed to those guys?

I have always been drawn to folk blues guitar players primarily. Since, we are here in New Orleans, I do feel a big affinity for Professor Longhair. I guess I will spend the rest of my life trying to figure out some of his songs. I can do versions of some of his songs. I enjoy playing his stuff to the extent that I can. Music is such an integral part of the fabric here in New Orleans. I remember when I lived here I was able to see Guitar Slim.

Tell me about your trajectory, as a songwriter to where you are now?

From checking out your back catalogue, there are themes such as the passing of time, being on the road as

well as this great sense of space in your recordings. When I was living in New Orleans, I was doing a lot of travelling. I wrote some of the songs for Trace, while I was living here. I just lived in an apartment. At that time, I was doing a lot of driving up to St Louis to rehearse and to Minneapolis to record. And so, I was able to do a lot of thinking while driving and a lot of creating while driving as well. And I guess some of the songs reflect it.

Was there anything different or similar in your creative processes back then that you undertook for the recording of Notes Of Blue?

I’ve been doing some acoustic trio shows behind the first record Trace. I was reconnecting with those songs and rediscovering what the impetus was for some of those songs. I guess in that sense, I was still travelling. Yet, I definitely wanted to be more focused on specific tunings and aesthetics, which was to focus more on the blues. The “Son” in Son Volt is a reference to blues (Son House). After twenty years, I got around to focusing more on the blues.

I have read and you have mentioned briefly, that you are writing songs in response to the current political climate. How is that going and do you find it to be cathartic at all? It’s cathartic definitely. If you see things going on in a contemporary setting, which can be upsetting as you try to make sense of it. Through music, that for me is cathartic.

As an artist, you have a fan base that is probably politically diverse. Is there a risk of alienating certain fans if you are too outspoken about your political views?

I have made some records that were quite overtly political and I don’t remember anyone coming up to me and saying anything about it. Maybe they do online.

How do you feel about being labeled “alt country,” given that you have explored country, blues and folk? I used to feel contained with the alternative country label. But I do feel that those parameters are there for Americana, as it covers anything I can think up. Americana, I feel like is the most inclusive one out there.

Finally, what’s your favorite blues track of all time?

Erm, it’s a good question. I think Hard Time Killin’ Floor Blues, by Skip James, and that’s the tuning, I spent twenty years messing around with. It’s been a big inspiration.

Website: http://sonvolt.net

DISCOGRAPHY:

NOTES OF BLUE – 2017

HONKY TONK – 2013

AMERICAN CENTRAL

DUST – 2009

THE SEARCH – 2007

OKEMAH AND THE MELODY OF RIOT – 2005

A RETROSPECTIVE: 1995-2000 – 2005

Pete Herzog BACK PORCH ROOTS BLUES

Verbals: Darrell Sage Visuals: Jme Liz Photography

Pete is a man of many talents who, during his many years has been a gandy dancer, truck driver, furniture maker, has repossessed cars, worked in sawmills, picked fruit with Hispanics, taught classes at the local community college and has a degree in biology. He plays at Rogue Valley venues, tends his timber in the Cascade Mountains and winters over off the grid on the side of an active volcano, but had never played music for money until 2011. I caught up with Pete by phone in the parking lot of the Shady Cove grocery after recently breaking his foot.

Howdy Pete, thanks for taking time out from an active retirement to have a chat with me for Blues Matters. How’s the foot doing? Are you in a cast? It’s healing up fine in a walking boot. I call it a zombie rapping sandal.

You’re a new grandfather, congratulations. Yes, our first, so it’s a big deal. After two or three it’s like OK, whatever. Darwinianly I feel very successful. I think I made up that word, Darwinianly.

Your latest release, Waiting For The Rain was done with Grammy winner, Dennis Walker (BM issues 77 & 78) and recorded during the Oregon drought of 2014. Was that Dennis that came up with those witty fictional quotes printed in the jacket notes? Yes that was Dennis. I’ve had people tell me, we tried to look up these people and couldn’t find them and I said, well I’m not surprised.

I loved the Crowfoot Congregational Choir singing on track 3, The World’s On Fire Again, a song with multiple entendre. Was that your wife, Debra and his wife, Lyn in the imaginary choir? Yes, that’s right. Me and

Dennis and the recording engineer, Bob Pagano. He’d set the thing on 30 second delay, run out from the studio and sing along. He did that two or three times and blended it all together. Dennis was after some certain sound and was making the most god awful noises and I thought, this is just gonna be terrible, But when mixed down it just sounded great.

It’s my favorite song on the album and hit home being a veteran and certainly for Dennis with his issues playing taps for all those Vietnam War dead. I know that your dad was shot and captured in WWII. Yes, dad was shot in the Battle of the Bulge. He didn’t like to talk very much about his experiences, but some of it came out after he passed away. But anyway, they had to leave him and when they came back he had already been scooped up by the Germans. I can’t imagine how horrendous that is to have your legs blown off and having the enemy pick you up. It’s just amazing that he survived.

What did he do after the war?

He went to school on the GI Bill and was interested in being a machinist prior to the war, but when the

war effort ramped up they decided they needed men in the field rather than people who built stuff. But he got his degree in both electrical and mechanical engineering. He worked in the Bay area (San Francisco) for mostly defense contractors.

Who wrote the lyrics and music on Waiting for the Rain?

Dennis wrote most of the lyrics on all but two of them. But I might have served slightly as an editor sometimes. He wouldn’t tell me what he had in mind musically, for the most part. Sometimes he would give a hint so I was kinda left on my own. Occasionally I would modify his lyrics to fit the music that I had if the pattern didn’t quite fit, but for the most part they were all Dennis’ lyrics.

In The Ground, is yours, and Hot Today, another great song! While listening I can easily visualize you walking down a dirt road, kicking up dust with your boots. Well that’s exactly it, except I was walking through the woods. We have a lot of things to take care of with water.

Tell our readers what a gandy dancer is.

A gandy dancer was named after the big claw bar that is used to pull rail spikes and was made by the Gandy Manufacturing Company. The railroad track laborers use it to line up track. As the train rolls over the rails a number of times the track starts getting farther apart, so you pull the spikes out of one or both sides, put a bar

between the tracks to space it then shove the track back together. It takes a crew of 8 to 20 guys all at the same time to shove it back into place so we would sing songs to keep time. Sorta like blues wood chopping songs to push all the track back together. It makes the work easier if you all push at the same time. We were singin’ and linin’ track and I think most of the songs were learned from Taj Mahal, (laughs).

What was the inspiration for your two CD, Steel Guitar?

It was an old Kay F hole wood guitar given to me by a dear friend who was in the navy and has passed away. He had bought this guitar in a pawn shop right after the end of WWII and carried it all around the world with him. I always wondered, what is the story behind this? How many hands had it touched and how many people have played it, influenced it or colored the sound? Sometimes I think it knows more about the blues than I do. But for the CD itself I made it a steel guitar just because it shows better and shinier for a stage performance. I had envisioned it being a stage play with several actors. Perhaps one person playing guitar and actors speaking the parts, but all I have is me. I’m dependable and I show up on time. I still have hopes of the phone to ring one day and the voice of God saying someone is interested in doing that.

You play in some unusual tunings. I play quite a bit of stuff in DADDAD. A chord is usually

a triad of three notes and that isn’t actually even a chord, but it sounds close enough and the human brain twists it around to make it sound right. It can be either a minor or a major depending on how it’s used. I also use DADGAD, which is like a Celtic tuning. It’s almost like a double drop D and real common in Irish music. First time I played in that I thought, somebody has to be really messed up to think

you could play something in this, but it’s become a tuning that I’m really fond of.

What are your roots in music?

I’ve always been interested in music. I started off with the violin in school, but beginning violin players don’t sound very good and my parents had little tolerance for that. This was in the Bay area and there was somebody that went around door to

door trying to sell music lessons on a lap steel and my parents bought into this. I took lessons for two or three years at least and was maybe 8 when I started. When I was about 12 we moved to Oregon and the lap steel wasn’t really cool and it seemed that girls weren’t really into that. They liked The Beatles and rock and roll so I traded the lap steel in for a really terrible electric guitar. I think it was a Kent like The Ventures used with a half a dozen pickups and all kinds of knobs and dials and switches, but all made the same sound. I went on to an acoustic guitar after that. I appreciate the acoustic guitar and all the overtones it has and it works without being plugged in. I've always been attracted to a common sound that reaches back through the ages and touches all people at a basic level. Even when composing a contemporary song I strive to make connections with those ancient places and feelings. I relate strongly with rural music, the delta and country blues and the roots of bluegrass and jug band styles. I've lived most of my life in the country on a dirt road and spent countless hours pickin’ guitar on the back porch.

To me the blues has always been more than three chords and twelve bars, sometimes one chord is plenty to tell the story and convey the feeling I'm trying to put out. The blues is mostly about a man and woman, the yin and yang, the light and dark, the tension and release, but it doesn't always have to be sad. Some of my favorite blues are more about, I'm happy to see you. Let's do something about that.

Why did your folks move to Oregon?

My Great Aunt had bought the place that we now have back in the early 20’s. She was the black sheep of the family and liked to travel around and do all kinds of adventures. My folks ended up buying it from her in the 50’s. They tried to live on it, but it was remote and difficult if you don’t have any legs. They went back to the Bay area then came back here in the late 60’s until they passed away. My brother and I took over the place then I bought his interest out. It’s mostly just forest and not used for anything. I just water the trees and watch the wildlife.

Tell me about your retreat on the side of the volcano? We wanted to get out of here in the winter time because the charm of Oregon winters has faded. But we really didn’t want to live in Hawaii full time so there was some property on the Big Island near the volcano that could get covered in lava someday. But they are really lax about building codes and the property values are a little lower, so we bought an acre and built this little cabin. We have planted mangos, and bananas of several varieties, coffee from some of the oldest plants on the island and tea from a plantation that specializes in selling tea to high end English tea houses. We have a 12 volt solar system, two 500 watt panels, a controller and a couple of batteries. It lets us run a water pump, a nearly normal size 12V refrigerator and freezer and lots of lights. It rains a lot and we get our

water by catching it off the roof. We have two storage tanks that provide enough for dishes, showers, and the flush toilet. We have an on demand water heater that makes for great hot showers in the outdoor stall and a propane fire pit on the deck for nights when the weather is cool.

Cool! Dennis tells me you two are going back into the studio. We are. We’ve got a live recording that we’re going to do in Yreka, California. Hopefully we’ll get some useful stuff out of it, and a number of new songs written. Some were written before but didn’t take any of those cuts when we did Waiting For The Rain. The songs were good but the performance wasn’t up to snuff so we left those on the cutting room floor. We have enough for a CD and I have a CD’s worth of songs so I don’t know exactly what we’re going to do with them all. We’ll throw them against the wall and see what sticks.

Your last one stuck so I have no doubt the next one will. Thanks so much for a most interesting chat Pete. Here’s wishing you and yours the best. Well, the same to you. peteherzogmusic.com

Thomas Wynn and the Believers

THE BLUES GETS SOME SOUTHERN SWAMP SOUNDS MIXED IN

Verbals: Andy Hughes Visuals: Jim Arbogast

The southern states of the USA are a rich ground for the fermentation of music – and that includes Florida, home state of Thomas Wynn And The Believers. The band are planning a tour of the UK and Europe, and they hope that they can follow the footsteps of the great Tom Petty And The Heartbreakers and crack the British market and return home in triumph. Thomas Wynn starts our conversation by discussing his influences, the great Tom Petty, Bruce Springsteen, The Band, Pink Floyd.

Ican understand the rest of the list, but I would never had had you down as a Pink Floyd fan? I grew up listening to the classic rock stations, and I fell in love with David Gilmour’s guitar playing. His left-hand touch is about the finest I know, and although I don’t consider myself to be a great lead guitar player, I do aspire to be something even close to him one day.

The press talks about you as a ‘true Florida band’ – do you think that your location impacts on the music you write and play? I think it doesn’t always work that way, and it certainly isn’t essential, but I do think it works for us. There is a certain close-to-the-ground attitude in Florida, a downhome way of looking at the world, and I do think we are like that, and I do think that does feed into the songs we

write and the way we present them. Florida people are honest, they don’t dress it up, they tell you straight, and that’s what I am like, and the band is the same, so naturally our music is written and played and presented from that way of seeing things.

You are a spiritual man, and you live your life accordingly – do you have any problems reconciling the way you follow your beliefs, and the somewhat more secular ways that rock and roll music occupies? Well, back in my teens and twenties, I lived my life in a more secular way than I do now! I really don’t have any problem with my beliefs and the driving forces of the music that I love, and that our band writes and plays. The age-old aspects are always there – sex and drugs and rock and roll, and for me it tends to be rock and roll first

and most, and not so much of the other two! I am a very happily married man, I stay off the drugs, I do have a drink sometimes, and I do have the occasional cigarette, and I do have the occasional left-handed cigarette, but mainly, it’s the rock and roll that’s driving us on.

I guess if you can divide it up with five per cent to sex, five per cent to drugs, and the other ninety per cent to the rock and roll, you have the balance about right for you. Well, the sex can be a higher percentage than that, as long as it is with my wife!

You namecheck Tom Petty And The Heartbreakers as a big influence on you, what is it about them that appeals so much? I do adore that band, I saw them just a few weeks ago in Nashville, they are

celebrating their fortieth anniversary as a band. The interaction they have as a band is just mind-blowing, you can just tell that everyone is listening really intently to what the others are doing, they have that non-verbal communication that longtime players get with each other. That and the sheer enjoyment of twenty thousand people screaming every word of their songs. But the best thing is, you know they would be having just as much fun if they were still playing in the clubs and bars where they started out.

Is that level of interaction what you want for your band?

Well, I am nowhere near the showman that Tom Petty is, but I aspire to get better and better at it as we go along. I want to write songs that mean something, but you can’t have that unless you have killer choruses and great hooks that make people want to learn your songs and sing them, and then come along to your shows and sing them back at you, like Tom’s fans do.

You are well known for your incendiary live shows- is it hard to capture that lightning in a bottle when you get into the studio? With our previous records, I would say that it has been hard, but I really think we got it with our new album Give It Back To You. That’s down to working with Vance Powell who is an awardwinning producer and engineer. The great thing about Vance is that he is not a musician, so when he wants

you to get something down a certain way, he doesn’t talk in terms of a B-Flat here, or a minor chord there, he asks for things ‘darker’, or ‘harder’, he explains it like that. Vance almost became another member of the band when he worked our record, the songs were like his babies too, and he got all the essential ingredients that make the band sound the way it does, but there was no superfluous stuff. There were no fanfares, no pointless effects and crazy noises. He knew what we were, and he set out to capture that essence in the studio, and he got it perfectly too. Vance told me that he would make us sound like the best version of ourselves, and no better, and that just sums up what he did, and the record we made together. I am not a great lead guitarist as I said, but he brought things out of me that I would never have got any other way, and I am so proud of my playing on the record.

I guess his use of explaining things in nonmusical terms meant he was easier to understand on an emotional rather than a technical level. For sure. It was such a joy to work with him. We spent a month with him in Nashville and we had nothing to do but concentrate on the record day in and day out. Previously we have recorded in Florida, and we have had a day or two recording, and then had to go back to our day jobs, and then come back, and with the best will in the world, you lose the flow and the connection. It was awesome to be able to

work on the record from start to finish with no breaks.

Are you able to give up your day jobs now?

Well, we are getting a real long series of live shows lined up, so we are hoping that the touring and record sales we get from that is going to replace the income we get from our day jobs, because obviously making a living from music is what we all want to do if we can. I have my wife and son to support, and the rest of the band do what they do, our drummer works in a restaurant, my sister works in a juice bar, and I install window shutters. I like my day job, I don’t have a problem with doing it, but if we can provide with music, then that is what we are aiming for, and hopefully this year is going to be the year we manage to do that.

Tell me about your writing process, do you write all the time?

Pretty much, yeah. We had around forty songs lined up for the last record, and we narrowed that down to fifteen, and we recorded fourteen of those, and twelve made it onto the record.

I’ve written maybe a dozen more songs since then, so we have got more songs coming along to choose for the next record when the time comes. I have recently done some co-writing, and I have really enjoyed doing that. I am thinking maybe a ratio of perhaps a third or a half of the songs co-written, and the rest by me on my own will be a good mix, but we’ll see how that works out. I think if you keep in mind

that finishing the song and getting the song as good as you can be is the aim, then co-writing is a real pleasure.

What is the quality control for the songs that make the albums – do the band have the final say, or is it down to you?

Well, in the past, we all had a discussion, and I tended to have the final say, but for this record, our management team came down from New York for some input. We played the forty songs for them, and they helped us to narrow down the list. They wrote some notes and made a list, and we did the same, and we compared the two lists, and came to decisions. Some of the songs on the top of their list were songs that were lower down our list, but I think outside opinions

from people on your team are very valuable. You know that everyone wants the end result to be the best record we can make, so you can’t be precious about things, you need to listen to other opinions. Remember, Tom Petty didn’t want to put Free Fallin’ on his album, but (producer) Jeff Lynne told him that was a killer song, and of course, he was absolutely right.

Do you have a favourite song to play on stage?

It tends to vary, and it depends how I am feeling on the night, how the show is going, how the band is reacting, the vibe from the room, and the audience. Some nights it’s the rockers that I love best, and some nights it’s the slower songs, but we do switch it up for each show, we tend to pick the same

set of songs, but we mix up the order in which we play them to keep things fresh for us and for the people.

You have your sister in the band with you – and everyone knows that siblings and bands can be a lethal combination, do you manage to keep your fights out of the studio and off the stage? We find that after we come off stage, or out of the studio and a day’s work, whatever we were fighting about is not as important anymore. The fire has gone, and we can talk it over. We can fight, my sister and I, we know each other better than anyone, and we know how to push buttons, but we love each other and we see the bigger picture, and we have no problems making up and moving on.

THOMAS WYNNE AND THE BELIEVERS WADE WAIST DEEP MASCOT RECORDS

It’s tempting to reference known bands and singers and sounds to pin down the sound of a new record, so giving in to that temptation – if Joe Cocker and Janis Joplin recorded a Southern blues album with Led Zeppelin, it would sound like this album. The harmonies on My Eyes Won’t Be Open burn into the listener’s consciousness with a level of emotion rarely reached in a

recording studio. I Don’t Regret brings soul from the depths of the singers, and You Can’t Hurt Me epitomises that hard southern blues sound with fuzzy lead lines and echoing drums. Mountain Fog belongs on a movie soundtrack – a western about redemption and looking for the right way to be better, an atmosphere that permeates every song on the record. Feel The Good underlines the unusual and unique way these songs are structured, no obvious changes, no wasted music, everything is in place to serve the song, an approach they share with Fleetwood Mac among others. If this is how they can sound on record, they must be something powerful on stage – buy the record and see them live. Fantastic stuff.

ANDY HUGHES

You are a spiritual man, but your band are not known as a ‘Christian’ band. What are your thoughts about people who refer to themselves as Christian bands, rather than as bands who are Christians, like yours? Everyone has their own field in which they are inspired to create. My beliefs are there, but I don’t feel motivated to convince other people to think as I do by means of the music I write and play. Our fans are called ‘believers’ but that’s because they believe in making life better, and we enjoy our music, and that’s as far as it goes for us. We just love what we do, and we get such pleasure out of playing our music, and if we can take it out there and other people can enjoy it with us, then that’s what we want, and that is all good.

Red Lick Records, PO Box 55, Cardiff CF11 1JT sales@redlick.com www.redlick.com

11 STEVE YOUNG SEVEN BRIDGES ROAD – THE COMPLETE

ON LOVE Fat Possum CD

13

GARY CLARK JR LIVE NORTH AMERICA 2016 Warners CD

14

GUITAR SLIM JR THE STORY OF MY LIFE Orleans CD

15 GET UP OFF YOUR KNEES FROM BED SPRINGS TO BLOOMERS

JSP 4CD

SELWYN BIRCHWOOD PICK YOUR POISON ALLIGATOR RECORDS

Already the recipient of numerous blues awards Floridian Selwyn now releases his sophomore Alligator album, his fourth overall, and a belter it is as well. Often, as you know, there can be a lot of hype in the business we call music with any number of the “next best newcomer” appearing quickly then fizzling out as the industry moves on quickly. At thirty two he has been playing his dues for a long time now, working hard and building up his following by sheer graft. Pick Your Poison should help garner him many new fans whilst cementing his existing base further. A thirteen track collection of all original material is good value for money with each played completely by Selwyn’s own four piece band. At the back, laying down some pretty solid

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grooves, are Courtney “Big Love” Girlie drums/bv’s and Donald “Huff” Wright bass/bv’s. This formidable due keeps it tight whilst Regi Oliver floats in and out adding layers of texture on a range of horns, flutes and bv’s. All guitars and lead vocals are handled of course by Selwyn. There is some serious Funk going on at times mixed in with Chicago influenced blues and striking vocals which have a distinct raspy quality to them which I liked throughout particularly on the slow ballad Lost In You and it’s heavier counterpart Heavy Heart. There is so much to enjoy here but I must single out Even The Saved Need Saving. A good old fashioned up-tempo, almost Gospel, track including the actual call and response as one would expect. It certainly had my feet a tapping away. That is followed quickly by Guilty Pleasures and the title track as Selwyn takes us down darker alleys. A nicely balanced album.

GRAEME SCOTT

JANIVA MAGNESS

BLUE AGAIN

BLUE ELAN RECORDS

This first listening to Janiva

SONNY LANDRETH RECORDED LIVE IN LAFAYETTE

PROVOGUE/MASCOT LABEL GROUP

Slide supremo Sonny Landreth certainly displays his chops on this live double, with wide-ranging blues influences layered atop the accordion-heavy zydeco on which he cut his teeth as the only white member of Clifton Chenier’s backing band. The result is tasty to a fault, leaving listeners in little doubt why Eric Clapton called this man “the most under-rated musician on the planet”. The 16-song collection weighs in 93 minutes, comprising both originals and covers from all stages of Landreth’s career, and spotlighting his talents on both acoustic and electric instruments. Opener Blues Attack - the

has sent me into raptures, this woman has a voice that oozes blues both

title track of his 1981 debut album - centres on the familiar blues theme of a partner sneaking a fancy piece out the back door just as you return home, and is followed by Hell At Home, an examination of the joys of living with a volatile cohabitee. Of the electric material, Soul Salvation ventures into soul territory to celebrate a good love. The instrumental Umbresso spotlights Sonny’s slide virtuosity, while remaining quite unclassifiable by genre. Even on standards that have been done to death, Landreth and his sidemen somehow inject originality. Key To The Highway gets a Cajun makeover, while Walkin’ Blues ain’t like no other version of Walkin’ Blues you ever heard before. I won’t list all the other guys in the band, but suffice to say they never put a foot wrong, and Sam Broussard’s acoustic guitar work manages to stand out without stealing the show.

DAVID OSLER

vocally and emotionally. She has more awards for her blues, than you can

BOBBY G WITH CURTIS GRANT, JR. & THE MIDNIGHT ROCKERS STILL STANDING

THIRD STREET CIGAR RECORDS

What a find! This is pure blues, no hybrid here. Unbelievably, this is Bobby G’s first feature album, laid down at age 73. There’s a wealth of living in his singing. The backing music is superb, usually lead guitar over a walking bass. This is also the debut album for this label; one can only hope for more CDs of this quality. Perhaps in deference to Bobby G’s many years of living, the first song, the title cut, describes a life without regrets. “I’m still standing/I’m standing here to tell you/I wouldn’t change/I wouldn’t change a thing,” he sings, and he sounds like he means it. The musicianship of Curtis Grant, Jr. & The Midnight Rockers is stellar, sparkling clean and bluesy as hell. The guitar work is sometimes reminiscent

shake a stick at. To put come context onto that, The Blues Foundation named Magness the B.B. King Entertainer of the Year in 2009, becoming only the second woman, to be so

of the great soul guitarist Steve Cropper. But more often, as on Good As Gold, a beautiful slow blues love song, it’s evocative of B.B. King. Ball And Chain features more B.B.-style guitar over a walking bass that will have you groovin’ across the floor. Love Love Love has a more hard-ass feel, featuring a propulsive guitar line punctuated by hand claps. By contrast, Little Bitty Woman, about the singer’s tough little woman who gives him everything he needs, is almost entirely bassdriven. Definite shimmying material. As a blues singer, Bobby G is the real deal. You can hear it in every syllable he sings. He grew up in Mississippi and it shows. “Feels so good to be back home,” he sings in the closing track. And let me tell you, it feels just great to be back home in real, deep blues. All 10 songs on the album were written or co-written by the producer, Johnny Rawls, a guitarist, keyboardist and singer in his own right. So, while there’s variety here, there’s also just a bit of sameness to the album’s 10 tracks. But no matter. I could listen to this stuff all day.

M.D. SPENSER

honoured and indeed B.B. King himself presented this award to this time served blueswoman. Right throughout this album, which is a form of blues rock, you get the emotion

of Magness' feelings in her voice. Without delving into her private background, this is one lady that has had much more than her fair share of heart-break and not by individuals but a life that has not been easy on her. The album opens with I Can Tell, which lyrically is a recognition of the end of a relationship and with guitar support from David "Kid" Ramos is raucously blue in tone and tempo. The counterpoint to that is the very next track I'll Love You More Than You'll Ever Know. as the tempo eases off and the whole production is melancholic, still though with a hint of rock and country. She's joined in the vocal stakes by Sugaray Rayford in track 3 If I Can't Have You and this gives this track an almost gospel feel with his input and voice. In truth, there is not a single blemish on this album. Janiva produces vocals and is superbly supported musically by guitar playing of the highest order and TJ Horton on harmonica. The only quibble I could offer is the album is too short, but I guess I'll just have to wait till her next album.

TOM WALKER

CATFISH BROKEN MAN INDEPENDENT

Catfish are one of the finest live bands in Britain today. The quality of musicianship is outstanding and in Matt Long, they have one of the greatest young guitarists on the scene today, rivaled in my opinion by Danny Giles, regular

guitarist with Will Wilde. What has been a letdown for me to date though has been the quality of their recorded material. Both on their debut 2015 album

So Many Roads and their When BB Sings

The Blues EP, released in 2016, they relied too heavily on standard blues material which to me failed to accentuate and demonstrate their abilities. Hallelujah then for Broken Man, for this release comprises nine original songs, all written by Matt and his keyboard playing father, Paul, with the closing track Make It Rain being a fourteen minute song by Foy Vance, a Northern Irish singer/ songwriter. This song is dedicated to one of Matt’s tutors at the Academy of Contemporary Music, Mike Casswell, who was a major influence in Matt’s development and who drowned last year off the coast of Spain. What is plain to hear is that there isn’t a duff song amongst them. The band is completed by Kevin Yates on drums and Dusty Bones on bass as well as a cameo appearance by Paul Jones on harmonica on the song Part As Strangers. A further strength is the variance of voice between Matt and his father Paul who share singing duties throughout. Matt has a very strong and somewhat deep voice, comparable to Warren Haynes whilst Paul has a gentler, more melodic instrument giving a good differential to cover the different styles

they play. Compare the opening track, Hit The Ground Running, with Matt giving a powerful performance on a George Thorogood sounding romp with the melodic blues of Paul on the slow Blue of Some Time Alone. On the aforementioned closing track, Matt takes centre stage on vocals and his voice carries all the hurt and sadness he obviously feels on a beautiful, evocative tune, with both guitar and keyboards mirroring the emotion that is so obvious. A truly great release!

MERV OSBORNE

ROBIN TROWER TIME AND EMOTION

MANHATON RECORDS

Robin Trower is back with perhaps his best solo album since he was in his 40s, considering Robin is 72, that is saying a lot. It is not that Trower’s recent efforts are not worthy, but rather that his latest release Time And Emotion is so good. He is ably assisted on here by veteran bassist/ producer Livingstone Brown and drummer Chris Taggart. The Land Of Plenty opens the album with that distorted, loud and wah-wah soaked Fender guitar that has made Robin a god among men amongst guitar

anoraks. What Was I Really Worth To You is next up and proves right away this is not one of those albums by older dudes with one song that is killer followed by filler, this offering is solid from beginning to end. Trower’s guitar licks, screaming solos and ethereal bluesy vocals keep the listener hooked. Sure, we have plenty of songs by Robin Trower that have that same kind of riff that opens I’m Gone, but that's the blues, I suppose. Robin has a vibe, a voice and a presence on his instrument that transcends time and space. He plays from the soul and he is as intoxicated from the music he creates as his listeners. Robin also trots out more traditional blues sounds on songs like If You Believe Me and Returned in Kind. Both are over seven minutes in length and feature classic guitar solos. On You’re The One his inner mellow Hendrix influence comes out loud and clear. The song is simply beautiful, magical and mystical at the same time. This release saves the title track to last, a smooth and sultry tune that makes you want to start the disc over. The album really has no weak tunes. It starts and finishes strong. Trower is not an entertainer just for the sake of trying to entertain. He is, however, a consummate musician who is still perfecting his craft into his eighth decade on earth. He is a master at what he does and refuses to rest on his laurels. If you love electric guitar then you

will love this album. It is sly, sleek and soothing at times and rocking and rolling other times. This guy can play. It really is that simple.

CLIVE RAWLINGS

MR. SIPP KNOCK A HOLE IN IT

MALACO RECORDS

Now this is the business!

Mr Sipp is Castro Coleman who has many years as a

LISA LYSTAM FAMILY BAND GIVE YOU EVERYTHING INDEPENDENT

Well we have featured the band in interview and on the cover of issue 94 already and it would appear that the review was missed for which we must apologise because this is a terrific CD. Jefferson magazine called her; "the new Swedish sensation" and on hearing you certainly understand why. For a first full album this is a damn fine piece of work. It shows depth, scope, freshness, variety of styles, great vocal (Lisa), super harp (Mike Fall), strident and subtle guitars (Mattias Gustafsson and Fredrik Karlsson) and the essential and solid rhythm section of Patrik Thelin on drums and Johan Sund on bass. Thorbjorn Risager appears on duet vocal on Really Got to Go (which he wrote). The opener, Give You Everything, gets straight at it with super slide then rampant harp and a rhythmic stomp

and you can just see Lisa enjoying this on stage and ripping it up. Drums give us the rumbling intro to Changes as the boogie sets in and features neat harp breaks. Mean Man you think is going to give you a chance to get breath back and indeed we can as we are absorbed by the total change to this almost wistful track. Worship Me then picks up a chugging pace as the girl loses her patience and tells her guy what to do or lose her. The harp and guitar vie in and out and around each other to great effect. Get Up And Move has acoustic slide, clapping and vocal before anyone else joins after 45 seconds then reverts back to the stripped down start, loved it! Lately gives us a touch of swing style and romps along.

Something Is Wrong is slow, gentle and gorgeous, with some rousing slide work as Lisa shares calling vocal. Daniel is a clever and intricate closer that haunts and rounds off a terrific album. It is so good when you come across a debut album that is this good so it gets more than five stars if we awarded stars, a fine album indeed, well done to Lisa and the band now readers get out and order a copy

FRANK LEIGH

MIKE FELTON DIAMONDS & TELEVISIONS

LANDFILL

With the title of the album taking directly from a sign in a pawn shop window it could be argued that Mike and his merry band peddle second hand goods. I guess, in a sense, that is true however this collection brings together so many influential strands that rather than it being a disparate mismatch it actually works rather nicely. One problem that diversity brings is that you cannot really call this the blues. It is closer to Americana but it is not that either. In short don’t try to analyse it just enjoy it instead. The opening track It All Ends Here has echoes of Bo Diddley in there and you immediately notice that

gospel performer on his CV before evolving into his Mississippi alter ego. He has certainly spent his time well, learning his craft as a performer, writer and producer. From the first notes of title track Knock A Hole In It you sense something special is going on. The guitar playing has a Lenny Kravitz feel blended with a dollop of Motown and double shot of the blues. As an opener,

Mike doesn’t really sing as such. It is more akin to Bob Dylan’s semi spoken delivery in style but not in sound. Bohunk’s Daughter, and I admit to looking on line for a definition of the term, refers to those of Bohemian descent. The intriguingly titled Pa Kettle’s Bastard Son harks back the old movie character though not knowing anything about him I can’t imagine why you would feel like that. Still that is the joy of letting your mind wander when writing lyrics. The Country tinged Get Lost fairly rolls along as hit charts the break-up of a relationship in any number of phrases to indicate the parting of the waves. I liked the almost New Orleans Second Line call and response trumpet feel to the intro of the close out cut Mike’s Last Will And Testament. It is strangely uplifting as the tale unfolds. I have no idea how many albums Mike has produced but this was a fun listen.

GRAEME SCOTT

it lays down squarely a feeling of intent that never relents throughout. We go into Bad Feeling with great pace and tempo followed by Stalking Me. The bass is credited between Castro and Jeffrey Flanagan and the drums between Stanley Dixon and Murph Caicedo but sadly the sleeve notes don't identify who is on which track but whatever combinations are at play here the rhythm section is

locked in on every single track. Sea Of Love slows things down a smidgeon but there’s no let-up in quality. We get some funky soul on Going Down and Baby Your Mine is an old fashioned love song. Juke Joint pays a contemporary tribute to Mississippi Hill Country Blues and Turn Up has a great bluesy Motown feel with some terrific horns. Unlike lots of male guitarist/singers on the scene Mr Sipp has got the vocal chops to bring the songs to life. This is one of the best modern blues albums I've heard in a long time with bright production to match. Buy it!

STEVE YOURGLIVCH

ROBERT CRAY

ROBERT CRAY & HI RHYTHM

JAY-VEE RECORDS

If you have any feelings at all for fine American music, buy this CD. Robert Cray’s 1986 album, Strong Persuader, was one of the most successful blues albums of all time. But since then, Cray has often turned toward soul. This has landed him in trouble with some blues fanatics who hold the absurd notion that someone who has once recorded blues should forever be prohibited from recording any other

genre. Cray is a member of the Blues Hall of Fame and has performed with artists such as John Lee Hooker, Eric Clapton and Buddy Guy, so his blues bona fides are in order and the nut-cases can take a hike. It’s true that a few of Cray’s subsequent albums verged on vapid pop. But this album, made with the Hi Rhythm Section, is the real deal – soul with sass, swing and bite. Yes, this CD is essentially soul rather than blues, but get it anyway. The backing band, the Hi Rhythm Section, was assembled by the producer Willie Mitchell and has backed many soul stars, including Al Green, Ann Peebles and Otis Clay. The two songs by Tony Joe White – who also played a key role in Tina Turner’s late-career success – are excellent, as are the three originals by Cray himself. But the real stars of this 11-song album are the classics from luminaries such as Bill Withers, The Same Love That Made Me Laugh, Sir Mack Rice, I Don’t Care and Honey Bad and Lowman Pauling, I’m With You. Cray, at 63, is in fine voice, the Hi Rhythm Section is in great form, and this is an album without a weak song on it. Buy it. Put it in regular rotation. This is Robert Cray’s best outing in years. Highly recommended.

M.D. SPENSER

CHUCK BERRY CHUCK

DUAL TONE DECCA

When the Big Yin called the mighty Chuck to join

his band earlier this year it was most certainly his gain and our loss. Never more would we be hearing any absolutely unique new music from undeniably one of the truly great innovators of rock ‘n’ roll. How wrong I was in that thought as here we have a release of the cuts Chuck recorded shortly before his passing. Ten tracks make up the collection, eight of which are originals, one original live cut and the single cover. Is it value for money and is the quality really there? The answers are yes and yes. Ok there is no getting away from the fact that these tunes have virtually no sophistication about them but you are not expecting that from Chuck. It is very much a case of what you know is what you get. With Mr Berry still well able to pull out his trade mark licks, which are there in abundance, he is augmented by Robert Lohr piano, Jimmy Marsala bass and Keith Robinson drums. Add in his son on guitar, daughter Ingrid on harmonica & duet vocal and guest slots from Tom Morello, Nat Rateliff and Gary Clark on guitars and the sound whilst fuller still rocks along nicely. Strongest tracks are the single Big Boys, Wonderful Woman and the sequel Lady B Goode which I can imagine bands seamlessly merging with Johnny when playing live. Incredibly it sounds as fresh as its predecessor. Most interesting though are the two spoken slow barroom blues of Dutchman and

Eyes Of Man which close out the album. Had he been spared a little longer and continued down this newer path I’m certain this could have been a rewarding shift in direction

GRAEME SCOTT

with the each “A” side immediately followed by the “B” side with the original catalogue numbers for those of you who like

complete details. Taking that one stage further you also get the all the individual players for each track as well. Remastered

CHUCK BERRY THE COMPLETE 195561 CHESS SINGLES

HOODOO

When this collection landed on my doorstep I thought oh great this will be an easy review to do. I mean there can be precious few people who are not aware of the legacy which Chuck has left behind or the major impact he had of countless young wanna-be musicians. Therein lay my problem as just what can I say that has not been already said by journalists over the years since 1955? Undoubtedly these fifty three tracks represent some of the finest moments in rock ‘n’ roll history. You don’t really need me to tell you what is contained here except that for me it was fun to reacquaint myself with many of the “B Sides” of classics such as Maybellene, Rollover Beethoven, School Day, Rock And Roll Music etc. Helpfully everything is compiled sequentially beginning in July 1955

RUBY & THE REVELATORS WALK WITH ME

INDEPENDENT

Ruby and the Revelators are a five piece soul and blues band hailing from Sussex, They have been playing together since 2015. Fronted by the captivating singer Olivia Stevens AKA Ruby Tiger. Performing professionally since 2008, Ruby is well renowned for her effervescent and passionate performances. Giving the blues a good old shake up, mixing it up with Stax era soul grooves and modern song writing, resulting in a fresh and original sound, Crossing effortlessly from jazz to blues to funky northern soul and torch song balladry. Ruby is well backed with the Revelators who are comprised of Louise Maggs on guitar, Frazer Wiggs on key's Paco Munoz on drums and either John Whale or Chris Radford on bass, both are on the album. Following up on their

very well received EP, Ruby and the Revelators independently release, the ten track debut album Walk With Me. Ruby say's "with, Walk With Me, We wanted the listener to journey across diverse musical terrain, It's an album that defies Categorisation, I didn't want to be a slave to genre". The glittering pop of lost love and then regained in opening track When I See You is followed by the emotional Soul Recovery Service. Ruby try's to 'clean that man out of her life', On the brass driven Stax groove of Lingers. "From inside the guts of a tequila worm, I thought the truth was sent" sing's ruby on the psychedelic dreams and grimy bedsit blues of Pity City with its harmonica and lap steel undertones. Cold Cold Winter, brings a wonderful ambient ballad of breaking up, laced with piano, harmonica and accordion that transports me off to 'gay Paree'. the quirky blues of Find Me A Man delivers us to the closing track King Rollo's Walk With Me a piano driven ballad about wanting somebody to share in the journey along life's road. Ruby has a stunning voice that is backed up by the equally effective Revelators. I like it.

SHIRL

BLUES TOP 50

to bring you the best sound quality possible, without leaving behind all the raw energy present on the scratchy old 45s which we mostly grew up with, each two and a half minute time travelling classic is a joy to listen to again and again. Without these tunes arguably there might not have been a Rolling Stones, Beatles or Status Quo. So I give thanks to Chuck for enlivening my youth and indeed my much older age. Man it feels so good to go Reelin’ And Rockin’ to the break of each wonderful day. Thanks Chuck it was a terrific ride. There now that was easy after all.

GRAEME SCOTT

listens to the rollicking classic Shake ‘Em On Down or the superb train songs like The Panama Limited and Special Team Line, you’re hearing rhythms we wouldn’t be familiar with for another three decades. Bukka, whose cousin was B.B. King, was a terrific lyricist and a slide guitar master. The title track, High Fever Blues is a wonderful production for the time with Bukka’s fine lyrics very clear and his rolling guitar keeping perfect pace. These 20 tracks are pure joy, and there’s nothing finer than the wonderful, wild chugging energy of Jitterbug Swing, a showcase of snazzy, sharp guitar playing. Bukka White has influenced many top guitarists and bluesmen over the years, and when you hear these songs you’ll realise why. Definitely one for the shelf marked ‘Classics’.

ROY BAINTON

BUKKA WHITE HIGH FEVER BLUES THE COMPLETE 1930-40 RECORDINGS

DISCOVERY RECORDS

Oh, Lord, just listen to the guitar playing on I Am Heavenly Way and you’ll know why you bought this and why you need it. Booker ‘Bukka’ White (1904-1977) is a major figure in that panoply of greats which includes Mississippi Fred McDowell to Robert Johnson, Charlie Patton and more. It’s hard to realise that these tracks were recorded between 1930-40. So, when one

EDDIE MARTIN BLACK, WHITE AND BLUE BLUEBLOOD RECORDS

The determination to remain his own master, Eddie Martin releases all on his own label (Blueblood Records). This may keep him below the radar for many, but it gives him the freedom to create music exploring and pushing the blues like no other UK artist. He is Equally at home playing solo (Best solo/acoustic artist finalist in the European Blues Awards 2016) in a band or even a big band. His

Anglo-Italian project Big Red Radio released the acclaimed album Live In Tuscany to rave reviews. Bringing in two young musicians for a blues-rock trio to make black, white

and Blue. Martin crafts ten intelligent originals that show there is more to the blues than sorrow and pain. The witty I Lost My Phone a jump blues about our reliance on

BOURBON ALLEY 100 TIMES

HILLBROOK

This is an unabashedly retro CD that’s just plain fun. It features a variety of musical styles, ranging from blues rock to power rock to country blues and more. The eleven tracks are all originals, but many are reminiscent of songs you’ve heard before. ’57 Chevy, for example, sounds sort of like a cross between Eric Clapton and the Beach Boys. And speaking of Clapton, some of these tracks – such as A Girl Called Gasoline – remind one a little of Cream, Clapton’s power trio. “I burn hotter than gasoline/and only good love cools me down,” Mark Archer sings on one of them. The group is largely a vehicle for Archer, who is the lead singer, guitarist and songwriter. Man In A Suit is anchored by a funky, toe-tapping eight-note guitar riff. The song’s about not being intimidated by big shots. “After all is said and

done/You’re just a man in a suit,” Archer sings. And then there’s You Gotta Call, a classic slow blues. The guitar work evokes B.B. King. Somewhere Out There is another slow blues, in a minor key. It speaks of keeping up hope after the loss of love. This might be the first love, the song says, but it won’t be the last: “Somewhere out there/Someone’s Waiting For You,” Archer sings, his vocals supple and emotive. The guitar line is augmented by fine work on electric organ by Ian Richards. Green Eyed Lady Blues is a jangly country blues – very nice indeed – featuring slide guitar over the top of the fingerpicking. Many of the songs may remind you of someone else but they don’t all sound like each other, making the album interesting and stimulating. The band’s website says it plays a lot of pubs, not the kind of gigs where people want to listen to songs they have to hear several times to get used to. So the songs here are not always terribly original. But this UK based band sure are entertaining. This album is a fun listen, beginning to end.

M.D.SPENSER

JJC BAND AFTER MIDNIGHT (LIVE)

MAXY SOUND RECORDS

The late lamented JJ Cale has had quite an impact in the blues and rock world. A primary influence on such names as Mark Knopfler, an associate of Eric Clapton, a leading light in the Tulsa sound, his name is synonymous with easy, laid back grooves, incisive guitar playing, and an easy, but melodically appealing singing voice. The JJC Band pack all of this, and more into the eight tracks that appear on this release. We find some of JJ Cale’s better known work, such as the ballad Magnolia, and the songs that find their way

modern technology or the more funky Too Much Choice, which takes a dig at consumerism.

Mississippi Sounds a foot stomping boogierock track, with plenty of blistering harp and guitar kicks the album into life. Angry, exasperation at social austerity deals out more mean harp and ferocious jabbing guitar. Paying homage to, the African legacy that shines like a jewel, with its bruised history that's now a blend it's Black, White And Blue.

into the set-list of any barband that know what they are doing, such as After Midnight and Call Me The Breeze. The band, which is led by the singer and harmonica player Giorgio Peggiani, has a strong rhythm section of bassist Alessandro Tosi, drummer Arky Buelli, whilst much of the musical interest is added by the delicate guitar of Simone Boffa and the keyboards of Giovanni Gueretti. The respect that these musicians all have for the material is evident. The fact that this is a live recording shows the five musicians in their best natural habitat, as the lively audience reactions show, the recording quality is of a universally high standard, with clear clarity, and separation between the five players, and the closing Mama Don’t shows everything that a good live band should be.

BEN MACNAIR

"Elles Bailey adds harmony vocals to the ballad" I Choose You, for me it's the beautiful Graceful Ways with its slide guitar evoking Fleetwood Mac that burns out a groove for Martin’s soulful voice to pours his heart into. With the bluesy-rocker asking the questions How. Looking back on life, 'In your time of dying, wishing you had not compromised' are the sentiments of the darker Song Of Five Things The brooding, Haunting slide guitar led It All Depends,

a tale of 'which side of the wall are considered friends a stylish finish to the album. Eddie Martin is a multi-instrumentalist playing with aplomb. Knowing he has a tight versatile rhythm section in Drummer Tom Gilkes And Bassist Zak Ranyard. Delivering the blues in various styles and tempo is exactly where needed on a very good album indeed.

SHIRL

DANNY BRYANT BIG – LIVE IN EUROPE JAZZHAUS

For the new live album, Danny took a big band under his wings, as intimated to me in an interview I did with him a while back. So, in addition to bassist Alex Phillips and ex Hoax drummer Dave Raeburn, his regular band members, are renowned keyboard player Stevie Watts, rhythm guitarist Marc Raner and a brass section consisting of David Maddison on trumpet, Alex Maddison on trombone, Lauren Young on tenor sax and Mark Wilkinson on baritone sax. Richard Hammond is on production duties. As the title suggests, the recordings were made in Europe, during the concerts in January this year at

Jazzhaus in Freiburg, W2 Poppodium in Den Bosch and The Harmony in Bonn. Five of the thirteen songs come from the latest studio album Blood Money, three from Hurricane and two from Temperature Rising. Danny rewrote the arrangements of his songs all requiring some tweeking to complement the different approach from the trio to nine-man band. That's perfectly illustrated on opener Temperature Rising where the brass section sets the standard for all that is to follow. Nothing detracts from the passion Danny brings to the table, both vocally and instrumentally. I've also never heard Stevie Watts play so well and be allowed to bring his undoubted talents to the fore as on here. For me, Just Won't Burn is amongst the strongest songs on the album, coping, as Danny does, without the assistance of Bernie Marsden on the album it's taken from, Blood Money. Almost twelve-minutes of blissful blues/rock balladry. Most of the songs on the album are originals, but there are, in total, three covers. Willie Dixon's Groaning The Blues is first up, allowing Danny to really let loose. The first disc ends with the title track of his Blood Money album. Clever, because it makes the listener reach quickly for the second disc. The instrumental On The Rocks, in homage to Albert Collins, starts us off, the driving rhythm section going great guns, Danny

lets himself go, segueing straight into the classic As

The Years Go Passing

By, once again brilliant guitar work from Danny and the brass section. On Take Me Higher, Stevie Watts excels, combined with Danny's very strong guitar riffs. Acoustic guitar and piano introduce Painkiller. The song is built up, and Danny's voice and other instruments reinforce the song. The calm exterior of the song explodes when halfway through Danny puts all his energy into a gripping liberating guitar solo. The encore is a brilliant take on Robert Johnson's Stop Breaking Down, all the musicians soloing for a great finale. Great album, highly recommended! CLIVE RAWLINGS

BARRY GOLDBURG STREET MAN & BLAST FROM MY PAST FLOATING RECORDS

Having enjoyed a career that has endured for over five decades, Barry Goldburg is currently lending his considerable keyboard talents as a founder member of the American Bluesrock super group "The Rides" Initially playing the drums Goldburg was encouraged by his mother, an accomplished barrel-house piano player to persevere with the piano. Making friends with Michael Bloomfield when teenagers, they cut their musical teeth in Chicago. Bloomfield would take Goldburg to the old town

going to the west side and south side, learning his craft with the likes of Steve Miller, Charlie Musselwhite and Harvey Mandel. Always improving he again through Bloomfield got the chance to sit in with the blues giants, Muddy Waters, Howlin' Wolf and Otis rush amongst many others. Through the Retroworld label we have two of Goldburg's earlier albums released. the 1970 Street Man and 1971's Blasts From My Past, on one CD. This is as they say a disc of two Halves. Street Man, aided by other musicians, Goldburg gives his organ playing interpretation of one original composition and covers of song that include Soul Man, I Got A Woman, Bo Diddley, and Sittin' On The Dock Of The Bay, to name a few. Blasts From My Past, the sleeve note's list a fine cast of backing musicians to aide Goldburg on the keyboard. Unfortunately, not which tracks they play on. This album is made up of three sessions recorded in muscle shoals, L.A. and New York, The album starts with Goldburg's Tribute to Hendrix with Jimi The Fox, It Hurts Me Too, Lazy Lester’s Sugar Coated Love, Maxwell Street Shuffle plus the 10 minute Blues For Barry & Michael these tracks Have Charlie Musselwhite, Michael Bloomfield, Duane Allman and Mama Goldburg wringing out some good blues. Of the other two session’s You're Still My Baby adds some

KYLE T. HURLEY

KYLE T. HURLEY II

INDEPENDENT

Some of this lushly instrumented CD is not strictly speaking the blues but it’s all wonderful music nonetheless. Nine of the 10 songs are originals; the only cover is the opener, Pride And Joy, which was written by Stevie Ray Vaughan. That track is marked by richly layered guitars. It features superb lead guitar over a walking bass line. The effect is excellent; Stevie Ray would be pleased. Track two, In The Doghouse, sounds like the amps are cranked up as high as they’ll go. The song features a staccato lead line and lot of reverb. It feels as if you’re listening to it in an echo chamber or perhaps a cave. It’s superb -- electro-pop with bite, well worth repeated listens. Hurley, who’s Americanborn but London-based, is a fine singer; his voice shines on Carolina Cries, where he slows down the pace and delivers a fine country blues. Another excellent track is House Of The Setting Sun, which features Claptonesque lead

guitar. And Shot! positively rocks. One of Hurley’s strengths is variety. On Getting’ Home, his guitar is, for the most part, neither staccato nor marked by reverb; instead, it chimes like a bell. Completely Clarissa’s Crimes sounds almost Beatlesque. The album’s final song, BeBop-A Lua sounds pretty much as you’d expect from the title. Hey, it’s got a good beat and you can dance to it. A great way to close out the album. Leaves you wishing for more. And here’s a tip for you. If like this CD, you’ll also enjoy Hurley’s 2014 self-titled album. Once again, the opening song’s a cover – That’s All Right Mama, which was written by the Mississippi blues guitarist Arthur ‘Big Boy’ Cruddup and famously recorded by Elvis Presley. Great stuff. And the album just gets better from there. In addition to eight originals, it also includes a version of Midnight Special, a traditional country blues sung from the perspective of a man in prison who believes that if the train of that name shines its light on him, he’ll soon be free. Other songs sound like old-fashioned rock ’n’ roll. Blues, pop, bop, rock – it’s all good. Both of these CDs will make fine additions to your collection. Highly recommended.

M.D. SPENSER

BOOGIE PATROL MAN ON FIRE

INDEPENDENT

This Edmonton quintet is partly responsible for our melting planet because they are the hottest band with the hottest album in northern Alberta. Their latest release is smokin’ hot! Why doesn’t anyone record music like this anymore? It’s got soul baby! Soul and blues and boogie and rock and roll from a good time band that carries me back a few decades. Front man, ‘Rott’n Dan wails with vocals somewhere between James Brown and Rob Strong. Remember that old flic, The Commitments? Well, this could be the soundtrack to the sequel if someone were of a mind to film it and would feature band members, Dan Shinnanharmonica & lead vocals, Yuji Ihara - guitar, Nigel Gale - bass, Emmet Van Etten - drums, Chad Holtzman – guitar with all singing harmonies. Rott’n Dan is anything but while

blowing cool and hot harp with vocals that range from a mellow intro on Foolish Mind to James Brown’s scalded cat yowl on most everything else through ten tracks. Co-writers, Dan and Yuji’s lyrics trend more in the tradition of a time gone by. Player’s Blues opens with a swinging horn sound just to let you know what’s coming down. There’s not a clunker in the bunch but an ‘R’ rated, Let’s Get Randy is totally not suggested for airplay. Whole Lot Of Gravy, Shaker Down Below, Easy To See are all up tempo tunes with the latter hitting a harp lover’s G spot while Foolish Mind, Hard To Tell You and Easy To See slow things down a bit. Just Wanna blends those sweet soul harmonies of a time gone by. But it’s the addition of Marc Arnould’s keys and Calgary’s, Mocking Shadows horns from co-producer, Murray Pulver’s experienced hand that takes this album from great to spectacular and a certain Juno contender. It is music like this that helps keep those of us of a certain age young at heart. And I just wanna’ thank you all for an album of mighty fine tunes akin to an era that seems almost forgotten.

DARRELL SAGE

soul. The closing track according to my booklet should be Two For Tea, But I have the psychedelic Hole In My Pocket, Street Man, a background album of

GUY DAVIS & FABRIZIO POGGI SONNY & BROWNIE’S LAST TRAIN

M.C. RECORDS

highly enjoyable project. ROY

BAINTON

organ music. Blasts From My Past has some good tracks on it, but it seems a mix of seventies sounds that stayed in the seventies.

SHIRL

Sonny Terry (1911-1986) and Brownie McGhee (1915-1996) were a unique acoustic blues duo who achieved worldwide popularity. Sonny’s brilliant harmonica style, all country whoops ‘n’ hollers was thrilling, and formed a perfect balance for Brownie’s fine vocals and precise guitar. Can anyone improve on their original sound? You tend to be wary of these kind of ‘tribute to’ albums, because to pay full tribute to great artists you need to be pretty damn good yourself. Thankfully, Guy Davis and Fabrizio Poggi are well up to the task of delivering some of Sonny & Brownie’s finest songs. This neatly packaged CD was recorded in Milan last year and by the sound of things the participants really enjoyed themselves. The opening track, Sonny & Brownie’s Last Train, is written by Guy Davis and has the duo’s dual harmonicas, left and right channel, plus Poggi’s excellent guitar. There’s nice, clear fold-out sleeve notes complete with lyrics. Throughout, Guy Davis’s warm vocals and guitar are complemented by Fabarizio’s accurate reading of Sonny Terry’s harp style. There’s a dozen songs here, the production is superb, and I reckon Sonny & Brownie would totally approve. A

CHASTITY BROWN SILHOUETTE OF SIRENS

RED HOUSE RECORDS

There is never a dull moment on this stunning ten track self-penned release. The quality of singing and song writing is just amazing. A roller coaster ride of emotions here this is not for the faint hearted and at times just seems to take on visceral tones but wrapped up in a soft lyrical presentation. It seems autobiographical in places mixed in with reflections of life and relationships she has had, and the fan base she has built up. She has described herself as a queer woman of colour and in relation to this release it just adds power and underpins the passion to every lyric and nuance here. Drive Slow opens up proceedings a brooding haunting anthem. Wake Up is an up-tempo rootsy love song with twangy guitar very catchy. Carried Away is a stand out track full of cutting reflections on a loving relationship and the ensuing fall out driven by a soulful beat. Whisper is another love ballad with fine harmonies and she plays harmonica in this

with a raspy tone. My Stone is the centrepiece though matching her vocals with the emotional delivery perfectly. Lies is a bluesy ballad with underlying visceral political tones. Pouring Rain has a swagger to it and a feel of hope. Colorado has an infectious beat throughout. How Could I Forget has that reflective feel again and last track called Lost with piano and violin tones is musicianship of the highest order. A true masterpiece should be in everybody’s collection, a gem.

COLIN CAMPBELL

DARREL HIGHAM HELLS HOTEL

AMBASSADOR RECORDS

This CD came with minimal information, that is to say absolutely sod all and I put it on to play with a sneaking feeling that I knew the name? It is a 12 track CD with nothing to give any clues as to the musicians or the songwriters. As soon as I heard the opening notes of the title track I was busy scribbling, and the first thing that I wrote down was Stray Cays? Followed by Chris Isaak? Then Rockabilly, and that is when it all fell into place! Yes that Darrel Higham, the genius guitarist and former husband of Imelda May, now striking out on his own. The songs are a mix of fifties style rock with influences from the Sixties too, sounding at different times like early Cliff (Yes really!), shades of Elvis too, as well as the aforementioned Mr Isaak.

Ex wife Imelda is featured on the title track and Jools Holland pops up on two numbers. Darrel used to lead a band called the Katmen, but I don’t know if this is them on hire, but whoever it is, they are really good at what they do and although it would be a stretch to call this blues, it is certainly a close relation. Darrel was well known for his appreciation of the late great Eddy Cochran, and he brings on the similarly appreciative Robert Plant to sing on the closing number. Is this going to sell? Well, a lot will depend upon the exposure that it gets, it is a well crafted well produced CD with a plethora of musical talent from a wide range of sources. I liked it a lot.

DAVE STONE

little bit, but overall you can imagine this artist as an in your face type of singer. Track 3 Stormy Monday is just short of 11 minutes of guitar delight with brass support. There is nothing subtle in the album at all

and it begs the question why they resurrected it. Watson died in 1996 of a heart attack and he's not going to be concerned about my thoughts on this album. The one thing you can say about

TORIAH FONTAINE BLACK WATER INDEPENDENT

JOHNNY "GUITAR" WATSON AT ONKEL PO'S CARNEGIE HALL HAMBURG 1976

NDR INFO RECORDS

This album is anathema to me, insofar that it is a re-release from 1976 and is "Live" and although that is in itself ought not to be a turn-off, the whole concept of live recordings is something I honestly don't have much time for. There are individual tracks which have the ability to please a

The cover of this CD actually looks quite threatening and I expected something a lot more in the vein of metal music so it was a thrill to hesitantly place the disc in the player and hear the tumbling drum introduce the wails of Toriah as she takes you into the title track Black Water. A song about pollution and what we do to ourselves without thinking. There is a touch of THE Mick Fleetwood drum sound here, but not as prominent, but it is very effective while the bass is incessant. Toriah’s vocals are a great mix of bluesy, jazzy gravel that take turns at oozing at you one song then amusing you and next warning you, a fine blues voice that connects with the listener as some of the classic voices of the past. These ten tracks have eight self-penned by Toriah and on this evidence she

is a name to keep an eye on. I spotted on her web site that she has already played on the British stage at Colne and the 100 Club in London., I’m sure that her name will catch on out there and you will be able to see her around the UK soon. She pleads on Give Back My Loving, she rocks on Howling At My Door, the backing is laid back here but I’m sure would be pushing her and great live. I reckon Adele would be proud of Sunday Best as wistful piano (Ethan Jones) accompanies plaintive voice. Marked By Sin reveals a sad, tragic story with a world worn vocal and gentle guitar solo. Bitter About Being Bitter probably relates to some feelings we’ve all had at some point. This is moody, tense and tantalising, a treat! To keep us on our toes Toriah even gives us an Alpachean folk song, In The Pines, oh yes it did keep us on our toes and after that she roused us up with her working of Come On In My Kitchen before closing with the rousing Blood Runs Thin where she lets go. Recommended? Oh yes!!!

TOBY ORNOTT

Johnny Guitar Watson with impunity is this guy could play the Fender Stratocruiser guitar and with a level of ability on par with BB King and Hendrix. His singing is raucous and in itself so redolent of the period, and almost like an early form of rap, with talking rhyme lyrics. This is suitably demonstrated with track 6 which is quaintly named Ain't That A Bitch. Well the answer is yes, it is and this is only going to appeal if you have a romantic notion of the seventies and want to be transported back in time. Not for me I'm afraid, this won't make anyone rich on the proceeds from sales.

TOM WALKER

HECTOR ANCHONDO BAND ROLL THE DICE INDEPENDENT

This has to be the feelgood record of the year not a bad track on this ten song release. All self penned apart from the interpretation of Black Magic Woman longest track but well worth playing loud and listen to the guitar intricacies of this highly talented hard working bluesman Hector Anchondo from Omaha. From the opening bars to Dig You Baby guesting Amanda Fish it just oozes talent, the harmonica playing by Justin Shexlton

gets the listener in the groove and keeps you there just press repeat it is that good. Roll the Dice has a real swagger a mark of a guitarist confident in his work and a really good strong singer. This noted on the soulful down tempo Sometimes Being Alone Feels Alright with a consummate guitar solo and deep bass played by Josh Lund. A Latino vibe eases through Thats How It All Goes very danceable with some fine percussion searing through from Khayman Winfield. Boogie woogie tones up the fun level on Jump In The Water very commercial and catchy a real winner. On Your Mic Get Set Sing is a slow burner a bit of crooning on this one full of mellow tones exemplifying the tightness of the band. The last song Here's To Me Giving Up just drips blues infused influences the guitar work is sensational reminiscent of Peter Green at his best with sweet harmonies as well the chords here are belted out to a wonderful crescendo. A second release for an extremely talented four piece band with a very charismatic lead singer and guitarist and musicianship of the highest standard.

COLIN CAMPBELL

JOHN PRIMER & BOB CORRITORE AIN’T NOTHING YOU CAN DO

DELTA GROOVE

Knocking Around These Blues, 2013’s collaboration between John Primer and Bob Corritore was a great

success, so no surprise that they have followed it up with a second disc. There are three originals and seven choice covers,

all in classic Chi-Town style, hardly surprising as John was Muddy Waters’ last guitarist and spent fourteen years with

The question is where do I start? A voice that is of a gravely preacher, a heavy presence of attitude and of guitars that flit and fly and bring the air down as well as rise up into the air while the rhythm section plough on undeterred, yes maybe formidable is a good word! Even captivating indeed as you do want to know what is coming next. This has been a long time coming since adding the guys who have moved forward from a previous incarnation of Long John Laundry. There are slight hints of ZZ Top in there but they do not rest there, far from it, the sound created moves on and tries to possess you as it drives on through there and anything in its’ way. Long John (vocal, guitar, harmonica) must have gargled gravel with bourbon to achieve that voice! Danny Page on lead guitar could grace any heavy rock gig and believe it or not he tones

it down, if I was wearing a toupee it would have fallen off during Devil’s Train! A hell of a ride that one. Pip Mailing on drums formerly with Quireboys amongst others is the rock foundation with Jules ‘Fly’ Haffegee on bass and who has been with Long John for some time. The songs absorb, My Soul Rising gets us off in what turns out to be gentle mode as it growls for 1;59, Holy Moly Blues thumps and grinds in then up front bass lines and flitting guitar tones drive along hard. A previous download single, Preacher’s Blues follows. Loved Deep Water and it sounds deep and murky too, very effectively done with guitar fighting against the water flow. Cold Blood Blues rises and falls and rises again, Big Man Got A Fat Chicken title made me smile, do listen to the lyric. If the cover is anything to go by then the title of the penultimate rack says it all; Hell Ain’t No Place To Be. The album ends with a shot of Tequila that positively zips along with stinging guitar notes across a driving backdrop, sensational album. If you like yours poured thick and heavy then this is for sure an album of killer heavy blues you to savour TOBY ORNOTT

LONG JOHN & THE KILLER BLUES COLLECTIVE HEAVY ELECTRIC BLUES

OUTLAW COUNTRY RECORDS

MARTY MANOUS KNOW MY NAME INDEPENDENT

This is Marty’s second album following 2015’s Transcendence on Lucky Street Music Records which earned him airplay across fifty states in the USA as well as a good deal across Europe and the UK and a place in the blues radio charts. Here then is his latest, totally original ten track offering. An offering that reveals a lot of skills in all the necessary departments needed, writing, playing, vocals, variety, he’s not just another player, he’s the real deal. You are not going to be swept away by a barrage of slickly played fast and loud notes (but do turn it up loud) but treated to well-constructed tracks and there are some nods you can notice of days gone past but Marty is here and now. The album was started while his world was full of joy and happiness, but as in the blues world tragedy was

Magic Slim whilst Bob has proved himself in recent years to be the master of the amplified harp sound. John is on lead guitar and vocals, Bob on harp and musicians include

around the corner and Marty lost his soulmate and the love of his life as Leslie Steinhoff passed away on February 14th of this very year 2017. It was her wish and determination that he completes this album that was as important to her that he gathered himself and through it all and with her determination and his he got the job done. I feel some hardness of resolve in this album and tones of soaring hope, as well as frustration and despair. An album commenced in good times but finished in painful ones and as a tribute to Leslie, she would be proud of him. With some gritty and tuneful tinges throughout, including a touch of Leslie West to be particularly on Bitches, here is a talent to look out for. Know My Name gets us off to a strident and riffy start and bounds along, on his website Don’t Let Me Go is dedicated to Leslie no need to say more. Look Over Yonder Wall funks it up while Transcending is a fluent instrumental with shades of Jan Akkerman and Focus, nicely done. On this evidence, I’ll be very interested in Marty’s next offering, he clearly has room to grow.

TOBY ORNOTT

the late Barrelhouse

Chuck and nonagenarian

Henry Gray who share piano duties. The album is bookended by John’s two compositions: Poor Man Blues makes a solid

opener with a plea for aiding those less fortunate than us while the slow grinder When I Leave Home finds Bob on top form, slowly releasing the mournful notes as Chuck tickles the ivories beautifully. Sonny Boy Williamson I’s Elevate Me Mama has John sounding very much like Muddy while a run through Snooky Pryor’s Hold Me In Your Arms sets the toes tapping as Henry plays a rocking piano solo that completely belies his age. John shows us his best Muddy slide guitar style on Johnny Temple’s lascivious Big Leg Woman and reprises

Gambling Blues (a song he must have played many times with Magic Slim) before Bob offers us an instrumental feature for his harp work entitled Harmonica Boogaloo. The title track is an extended version of a song by the relatively unknown Chuck Brooks who recorded for Malaco in the early 70’s. For The Love Of A Woman is a Don Nix tune with a Crossroads riff and they tackle another one of the ‘greats’ with Howling Wolf’s May I Have A Talk With You in a blistering version with lashings of slide – terrific! These guys are masters of the classic Chicago style and this disc comes highly recommended if.

JOHN MITCHELL

MAHALIA JACKSON COMPLETE MAHALIA JACKSON VOL 15 1961 FREMEAUX

This CD is part of a set of four albums that cover

recordings Mahalia Jackson made at the Paramount studios in Hollywood between June and July in 1961, which were being filmed for the TEC Television channel, there were eighty two tracks in total which are all represented in this series of releases. On this particular release there are twenty songs which I believe represent tracks recorded in the middle of the TV sessions, the sound quality is pretty good although not comparable to a full studio recording. Mahalia is an authentic Gospel singer, often in her career she was cited as being the “Queen of Gospel” whose contralto vocal drives these songs, while she has some supporting musicians which include Edward C Robinson on organ and Barney Kessel on guitar, they are kept in the background with Mahalia the focus, I am not familiar with this type of material but there are a couple of songs I did recognise like When The Saints Go Marching In. These are very historic recordings especially as the majority of songs were never recorded or released on her LP’s. Mahalia had little time to rehearse these songs such were the tight recording schedules and she must have been totally exhausted but her fervour kept her strong, her singing is spellbinding, this French label are doing their upmost to spread the Gospel and should be congratulated.

ADRIAN BLACKLEE

LEO BUD WELCH LIVE AT THE IRIDIUM

CLEOPATRA RECORDS

Leo released his debut album of gospel themed blues in 2014 at the ripe old age of Eighty-One, this release is now his third which was recorded live in New York City in 2016, it captures him running through his repertoire on vocals and electric guitar accompanied by an additional vocalist and drummer. On the album he covers an assortment of blues classics that everyone will have heard of before but I doubt ever sung and played with such authenticity, there is an accompanying DVD which while covering the same seventeen tracks has the bonus of seeing him perform the songs in his own unique way, pick of the bunch are No More Doggin’ and My Babe which are perfectly suited to his deep throated vocal and loose country blues strumming, highlighting his really long fingers which must be a great asset with no need for a plectrum. In addition to the visuals Leo is interviewed on the DVD, where he recounts his life, a fascinating insight into the struggles he faced and the era in general. You will not be

surprised to hear that Leo is one of the few surviving real blues musicians from Mississippi, when I first became attracted to blues music it was the traditional American blues music that captivated me, to find a new recording artist performing this way forty years later is unbelievable, it is like he has been stuck in a time capsule all these years.

ADRIAN BLACKLEE

JOHN MCNAMARA ROLLIN’ WITH IT

BAHOOL RECORDS

Australian John McNamara travelled to Ardent Studios in Memphis to record this album and the disc bears the clear imprint of the Bluff City with an impressive cast of local musicians including Lester Snell on keys, Jim Spake on sax, Marc Franklin on trumpet and Steve Potts on drums. John plays guitar and handles lead vocals in a voice rather like Tad Robinson’s (and that is a huge compliment!). John wrote seven songs here and there are four covers, each paying tribute to an iconic soul-bluesman. John does a good job on Bobby Bland’s Ask Me Nothing (But About The Blues), ups the tempo for Otis’ Security on which the horns are great and emotes on strong readings of Little Milton’s Blind Man and Little Willie John’s Sufferin’ With The Blues, the latter having a really gorgeous horn chart. However good the covers are though the success of the album has to depend

on the originals and John’s work measures up well. One, Two Of A Kind makes a storming opener with blaring horns and a higher register chorus that grabs the attention; Bad Reputation features John’s guitar work over a

funky rhythm that recalls Booker T & The MG’s as John confesses that his reputation precedes him but that he has now changed for the good; the catchy Wild Out There has great vocals on a tune led by Lester’s piano and the

KEVIN WRIGHT & OLGA BYSTRAM BLUES FOR JENNY POPE…AND OTHER SONGS

INDEPENDENT Titles like this one are intriguing I find, I simply had to look up Jenny Pope. The sleeve notes tell us that she was a Memphis player but there is not much known about her. She recorded six tracks only in 1929. On the evidence here I find that disappointing as she was an appealing singer in the ‘classic’ mould and the representation of her six titles here by Kevin, guitar and Olga, vocal with the very able assistance of Phil ‘Buffalo’ Taylor (Deluxe Blues Band that featured Dick HeckstallSmith and Bob Brunning) on harmonica, mandolin and vocals is stripped and exemplary. Jenny Pope herself features singing Bullfrog Blues et al. on Document Records’ Memphis Blues Volume 4 (1929-1953) where more

about her and the songs can be found in their sleeve notes. This very Blues For Jenny Pope is an excellent and faithful modern day recording that sounds 1920’s, brilliant in its sparseness. The tracks are Mr. Postman Blues, so many postman songs are so sad and this one is extreme, poor woman. Tennessee Workhouse Blues is a colourful piece about incarceration in a hard-labour jail where no one is ever freed, Bullfrog Blues originally featured piano but not here, in Doggin’ Me Around you are warned that she may be a stranger in town but “I won’t be dogged around”, Rent Man Blues and Whisky Drinkin’ Blues all written by Jenny Pope. Kevin and Olga moved to Brittany, France in the 80’s and have been playing the blues there ever since. They have two previous CDs and many concerts under their belts as a duo and Kevin has a solo of acoustic guitar. Kevin and Olga and Phil, I find you guilty of a very fine album and of bringing to this writer’s ears some splendid old blues and I hope we can look forward to more.

FRANK LEIGH

horns. The pace drops for Under The Weight Of The Moon, a ballad which puts the spotlight on John’s vocals before building to an impressive instrumental outro with plenty of guitar over a horn arrangement with a hint of Latin rhythm. One Impossible Night swings well and You Wouldn’t Wanna Know returns to the blues with some tough guitar over a stop-start rhythm and yet another solid horn arrangement. This was my first encounter with John McNamara but I will definitely watch out for him in the future. This is a disc that soul-blues fans will enjoy a lot.

JOHN MITCHELL

GARY CAIN BAND TWANGADELIC BLUESOPHUNK

QAYN

SRV meets AC/DC, OMG and WTF?!!! Not sure I’ve ever heard anything quite like Cain’s guitar playing. It’s like he’s driving high speed through a school zone. Watch out kiddies, he’s armed with a Strat and licensed to kill. The band is a power trio with Don McDougall on the drum kit who must be exhausted by the end of a gig. He’s an old phart unlike the younger bass man, Tom Nagy. All three

are graduates of Humber College’s music program of different eras. This CD gets my vote for the coolest album cover since Dr. John’s, Creole Moon. Live Wire opens the ten song set and is like a 45 being played at 78 rpm with Cain’s finger work on the strings. His vocals are rough and might not yet have fully recovered from multiple daily performances on a club contract in Dubai in the early 2000’s, ultimately forcing him back to his home in Cambridge, Ontario and a secondary career as a video producer in Kitchener. Wait, Dubai? Isn’t that where pious men of a certain religion go to get blitzed on booze and hookers before returning to their homelands with lies of fine dining with Sheiks and Western infidels. And of seeing this crazy Canuk who plays the guitar like his skivvies were on fire. No Foolin’, that’s the third cut and a bit slower tempo if you feel like catching your breath. I’m bouncing around the CD here due to journalistic irresponsibility. Pipes and Spoons carries social commentary and guitar work resembling a drag race between a Stratocaster and a 747. Turn it up to 11 and annoy the neighbours. You’ll thank me for it later. Write You a Letter, Girl’s Too Rich and the last cut, Faith Healer show those SRV influences that moved Cain toward the blues as a teenager.

Twang Strut is another one of those high speed finger pickers that borders on insanity, but with a country

edge, pick your country and pity the poor drummer. Got Me Where You Want Me rocks and rolls along like a freight train solidly on its tracks. Throughout this album you’ll be wondering if the train is a runaway or if Gary Cain is. Play it loud and play it often because the Gary Cain Band puts the phun in phunk

DARRELL SAGE

MAC REBENNACK GOOD TIMES IN NEW ORLEANS 1958-62

SOUL JAM RECORDS

Mac Rebennack is better known these days as Dr John, that very name bringing back memories of his spooky early morning performance wrapping up the Bath Music Festival… but here he is in earlier times, in the studio embellishing various recordings on keys and on guitar. Over the thirty cuts on this new release, he shows why he was an indispensable player at New Orleans’ Casino Recording Studio. The influence of Mac’s biggest influence Professor Longhair abounds in the piano work. Apparently, the studio owner Johnny Vincent of Ace Records took advantage of the player’s youth and aid him a relative pittance for his hard work. This was with

Huey Smith, Frankie Ford, Joe Tex and others! This is moving, lively jukebox material. Highlights include the brass-laden guitar instrumental Good Times by Mac, New Orleans by Big Boy Myles, the strident and beautifully sung rocker from Carl Greenstreet, Aw! Who which sounds very Coasters in style and is by Bat Carroll. Then Joe & Ann’s Curiosity mines a Mockingbird type vein. Ronnie & The Delinquents give us a fast rhumba with a classic middle eight on Bad Neighbourhood. Jerry Byrne belts out Lights Out, a song familiar to Dr Feelgood fans. Sugar Boy Crawford croons strongly on I Cried. Mac’s instrumental Sahara hits a real desert mood, tinkling cymbals, gritty low-register sax and tumbling piano that seems to channel Monk. The fast-rockin’ Lucy Brown by Chuck Carbo shows his rich voice off well. The organ chug of Talk That Talk brings us Drits & Dravy. The album ends with Mac’s own Storm Warning, tremelo’s guitar and ominous drum rolls to the fore then smashing into a hard Bo Diddley groove. A feast of great earthy 45s on this one here disc, bargain!

PETE SARGEANT

NICK SCHNEBELEN LIVE IN

VIZZTONE LABEL GROUP Nick is a founder member of Trampled Underfoot but here is

performing under his own name, with a mixture of versions and his own material. A left-handed guitar player, Nick’s voice, heard here above a lively crowd is solid rock-blues in style and on the opening Fool he sings along with the guitar single-note figures to start the number. The band smash in before two minutes is up. The venue is Knuckleheads (is that the owner or the patrons?) Saloon in December last year and the performance rocks the place up. Pain In My Mind brings Bad Company to mind, sparse bass and all. The band has some fun on the jumpy Herbert Harper’s Free Press News and cools out on the trad blues You Call That Love. The syncopated Bad Woman Blues features slide guitar. It’s a brave artist that attempts Johnny Winter’s Mean Town Blues especially at the same tempo as The White Tornado, with slide, bass and drums. Best not, Nick. The boogie thump of Jonny Cheat is well-played standard stuff. Bad Disposition is the meanest sounding piece in this collection and sounds pretty authentic. The jazzy Schoolnight nods at Wes Montgomery with a sort of Stray Cats leaning and is easily the best cut on the record. For me this album is listenable but not in any way original or that exciting. More adventure would make better use of the obvious talent here.

PETE SARGEANT

WATERMELON SLIM GOLDEN BOY DISCOVERY RECORDS

Bill Homans, professionally known as Watermelon Slim, whose classic, rugged features look like Death Valley seen on Google Earth courtesy of NASA, helps one realise that If ever a record sounded like the cover, this is it, and it’s a terrific piece of work too. Slim has a great, gritty voice and a tough band of musicians and co-vocalists here which complete this rock-solid album. There’s chords prowling from moody, choppy guitars, lurking harmonicas, (check out track 6, Mean Streets) even a traditional folk song, Barratt’s Privateers, sung acapella by the ensemble with great gusto. Some of the socially-conscious lyrics, dark, sometimes bitter and philosophical certainly draw you in to listen very carefully: for example, on Dark Genius: “He was a dark dark genius, lonely haunted man some people say And I’ll probably end up just like him some day…” Well, Slim, this fan reckons you have. In his young day’s Slim dropped out of college to fight in Vietnam but came back home a fervent anti-war activist, and remains an anti-war campaigner today. Since then, in addition to being a total bluesman, he’s gained an MA in history from Oklahoma State University and a BA in journalism and history from the University of Oregon. Every reviewer deserves his ‘album of the

month’ and this is mine.

ROY BAINTON

THE LITTLE RED ROOSTER BLUES BAND HIJINX AND TOMFOOLERY INDEPENDENT

This is quite simply a traditional blues album which has skilful musicians enjoying what they do best, playing for all they are worth. The other point worth noting is that with 14 tracks on it, this represents true value for money. There is not so much as a bad note played on it. There is, despite the title, no Hijinx or Tomfoolery here either, but simply a class act of musicianship by all concerned. Kevin McCann leading the vocal charge has a blues voice which with his name must be an oxymoron. Surely the big man is Irish in extraction, yet he has the sound of a natural blues singer. It's a fact that this album was put together in a mere 6 hours and that in itself lets you know that these guys are quality when you can put this calibre with 14 tracks together in such a short space of time is bordering on miraculous. None of them are exactly sylph like and do not conform to today’s expectations of televisual appearance. All of which is to my way

of thinking, to their credit. One of the tracks brought a smile to my face with the lyrics of track 5 Bad Toupee as we've all seen some of those in our lives and the truth is you can't take your eyes off of them. Track 13 must be most men’s dream, finding a Honey With Some Money, sorry guys but that exists only in your head. This is a diamond album and while it may not be earth shattering for the band it is going to be worth your while to add to your collection. As pointed out earlier there is no bad tracks on this, it's the real deal.

TOM WALKER

TROMBONE SHORTY PARKING LOT SYMPHONY

BLUE NOTE

This is Trombone Shorty’s (Troy Andrews) debut for Blue Note and it shows just how far he has come since first seen wielding a ‘bone that was longer than he was tall at age 4. This covers a wide range of musical styles and entity from the sweet soul of the title track and on through New Orleans groove, funk and straight out jazz – all of it intensely pleasant to listen to and insinuating itself into your soul a little more after every number. Two covers – Allen Toussaint’s Here Come

The Girls and The Meters

It Ain’t No Use - and 10 original numbers all make up a real tour de force. Andrews voice is the right side of husky and tinged with a real brown sugar sweetness while his

trombone playing is full of little rolls and sass. One of the funkiest numbers, Tripped Out Slim, is loaded with punch and some seriously fresh horn playing before leading into ‘Familiar’, total swing with a deep sense of groove – modern R & B without the ridiculous bump and grind. Of the rest. Well they are all tasty but each in their own way; Fanfare is a sleazy brass instrumental with a wicked bassline and huge distortion in the drum sound, Like A Dog keeps the riff going to the end while Dirty Water has a wicked beat and tough rhythm behind sweet soul vocals. All told, a brilliant album.

ANDY SNIPPER

RUBY DEE AND THE SNAKEHANDLERS LITTLE BLACK HEART

CATTY TOWN

Austin, Texas, singer Ruby Dee has been leading The Snakehandlers for around fourteen years, but she had to overcome massive difficulties to make this album. Following an accident in 2008, she suffered traumatic brain injury and she has basically had to learn to speak again, eventually regaining the ability to write songs again, though not with the ease she possessed before the accident. There is no need for a sympathetic approach though, this album most certainly stands on its own merits. It is a joyous collection of mostly rocking tunes – blues, rockabilly

and Americana - sung by a very sassy sounding Ruby accompanied by a tight band that includes Jorge Harada’s wonderful guitar work. Expect to find the driving vintage rhythm and blues sound of the opening Not For Long, straight-up rockabilly, as on Mean Mean Woman and When I Steal, a country tinge to the title track provided by Dave Leroy Biller’s atmospheric steel guitar playing, Camille is a rock-a-ballad with a wonderful smoky and vulnerable vocal by Ruby and Can You Spare A Match is a jumping swing-blues with strong affinities to classic era Louis Jordan. Listen too to the doghouse bass playing of Dylan Cavaliere on the aforementioned Can You Spare A Match? and the slightly risqué Pretty Little Kitty. All songs are originals with the exception of rockabilly Jack Scott’s The Way I Walk, which contains definite echoes of The Stray Cats in this version. If you like your music rocking, rootsy, sexy, exciting, and incredibly infectious, then this is the set for you.

NORMAN DARWEN

Dickinson brothers, Luther on guitars, drummer Cody, and a number of other musicians play a number of covers, and their own material, in a set that is drenched in melodic, Ry Cooderish slide guitar, soulful vocals, and rhythms that exist somewhere between hip-hop, blues, rock and swing. Opening with the gospel like title track, Prayer For Peace, all soft vocals and a message of hope, whilst Need To Be Free takes a leaf out of the Led Zeppelin style, with plenty of screaming guitar, thumping drums and pulsating bass. Miss Maybelle is a stomping blues track, whilst Stealin’ tips its hat to both the Stones, and more recent acts, with gospel piano tinkling away in the background. Songs by Mississippi Fred McDowell, in You Got To Move lifts the pace, whilst live favourite Long Haired Doney by RL Burnside is a funk workout, with menacing slide guitar to the foreground, whilst Bid You Goodnight is a softer song with soulful, feel good slide guitar, and stacked lead and harmony vocals giving this gospel rock song a certain lift, that would be an ideal live song. This is a fine release, with plenty to like about it, from the slide, acoustic and electric guitars, to the vocal blend, and the interplay of the band members.

BEN MACNAIR

NORTH MISSISSIPPI ALLSTARS PRAYER FOR PEACE

LEGACY RECORDINGS

On their eighth album, the

JON ZEEMAN BLUE ROOM

MEMBRANE

Singer, guitarist and band

leader Jon Zeeman grew up just outside New York City and began his own music in the 90s. He is now based in south Florida and has a strong, pretty straight blues approach to his playing on the evidence of this, his fourth CD since his debut in 2003. Yes, a number like Hold On has an 80s rock approach, particularly in the hook, but his guitar licks are pretty much out of the Albert King/ Stevie Ray Vaughan instruction book. Jon has a way with a shuffle – do lend an ear to the romping Next To You (nice vocal too) or a funk inflected blues as on the Albert Collins tinged ‘Talkin’ ‘Bout My Baby, and of course he knows how to get down on a slow blues like If I Could Make You Love Me. All Alone reminded me of John Mayall’s Bluesbreakers tackling Otis Rush’s All Your Love – I Miss Loving in places, though there are also jazzier tinges in its nearly five minutes running time. The two cover versions included on the album are also instructive: Love In Vain draws more from The Rolling Stones 1969 cover than it does from Robert Johnson’s original, and ‘Still Rainin’ Still Dreamin’ tidies up Jimi Hendrix’s song, just a little, whilst retaining the iconic guitar work. In fact, in several places Jon sounds closer to the UK blues boom sound of the late 60s than he does to a Florida bluesman – I doubt that will phase many readers, and indeed, I’d certainly advise you to

check out this fine album.

NORMAN DARWIN

LAURA TATE LET’S JUST BE REAL

811 GOLD RECORDS

This is Texan singer Laura Tate’s fourth release but the first that this reviewer has heard and it was a real pleasure! If Teresa James’ records appeal to you, so will Laura Tate, as she sings in a similar style and used two of Teresa’s close associates, Terry Wilson who plays bass and produced the disc and guitarist Billy Watts; Teresa herself adds backing vocals. The disc was recorded in LA with players like Tony Braunagel on drums, Lee Thornburg on brass and Paulie Cerra on sax. Laura has an excellent voice on material from a range of writers including Stephen Bruton and Naomi Neville; Terry Wilson had a hand in three songs and there are also two by Mel Harker, the Californian songwriter (Laura previously did a record of Mel’s songs entitled I Must Be Dreaming). There are no weaknesses here but all three of Terry’s contributions are good: If That Ain’t Love (a co-write with keyboard player Jeff Paris) has great horns and a real swing to it, Laura’s vocals shifting between the keys well; Can’t Say No is a sophisticated ballad with jazzy horns and a semi-spoken vocal, as Laura recognises that she is completely hooked and can’t refuse the guy; Terry and Teresa penned I’ll Find Someone Who Will,

another big production that is lyrically a response to the previous song. The late Stephen Bruton was a fine songwriter and provides two songs: Nobody Gets Hurt has a swampy feel with swirling organ and nicely featured guitar work; Big Top Hat is a suitably jazzy sounding song with sassy lyrics that Laura uses to full advantage. A short run through Naomi Neville’s Hitting On Nothing works well but the real surprise here is the adaptation of Thin Lizzy’s Boys Are Back In Town which is re-imagined in a version that might have worked for Blood Sweat And Tears back in the day, moving from slow ballad style into a swinging second half. The two Mel Harker songs take us into classic female singer ballad territory but I Know You Lie is more of a Texas roadhouse song with some nice slide work from Billy. Laura has a good voice that can handle all the styles in evidence here.

JOHN MITCHELL

MONSTER MIKE WELCH AND MIKE LEDBETTER RIGHT PLACE, RIGHT TIME

DELTA GROOVE

My, but this album does lift the spirit. At the moment I’m about half-way through track 3, Kay Marie, totally

impressed with Chicago singer Mike Ledbetter’s ohso confident vocals soaring over Monster Mike Welch’s ringing guitar playing and all driven along by a superstar and super-skilled rhythm section of Anthony Geraci on keyboards, Ronnie James Weber on bass and drummer Marty Richards. Then on the next track, I Can’t Stop Baby, Mr. Ledbetter hits those falsetto notes that certainly allow Mr. Welch to prove his assertion that the best blues guitarists try to make their instruments sounds like vocalists. Bliss! The two Mikes worked together last year at an Otis Rush tribute show, and Rush is certainly a big influence on this set – not just the reference in the title to Rush’s classic album Right Place Wrong Time, but also because many numbers sound like they should have come off classic blues 45s dating from the early 60s. If you want instant confirmation, try the opener, Cry For Me Baby, originally by Elmore James; or if you want to hear what BB King sounded like back in the 60s, take a listen to Welch’s own I’m Gonna Move To Another Country, the lyrics of which may well cause his country’s president to make a few critical tweets. This is a truly magnificent set, throw in guest appearances by top-rated sax players Sax Gordon and Doug James, and excellent intros, outros, solos and fills from the late Candye Kane’s guitarist Laura Chavez, and the set is unreservedly

recommended. A joy from start to finish…

NORMAN DARWEN

POLLY O'KEARY BLACK CROW CALLIN' INDEPENDENT

This is sublime, a superbly crafted album with a female wizard on the bass guitar with a voice to die for. It is astonishing that such a powerful album could be produced from a trio and a little help from some friends. The opening track Hard Hearted World is an absolute belter with a real rocking beat and Polly's singing dovetailing with an almost Jerry Lee Lewis sounding piano set from Eric Robert. Musically and vocally this album is a multi carat diamond set in platinum. Track 4 has the album name Black Crow Is Callin' and this gives the visiting harmonica player Jim McLaughlin scope to engage with the trio to produce a minor musical masterpiece. Drummer and husband to the Pretty Polly of rock and blues, Tommy Cook keeps the rhythm of the CD water tight with his drumming and between the trio there is a real blend of individual talents which come together in a perfect recipe. Such is the quality of Polly O'Keary's vocals and guitar

playing that she oozes awards from profoundly respected sources and this is crystalised in track 7 Reconciled with the Hammond B3 honey from the hive that is Norm Bellas. This is without a shadow of doubt my favourite track on an album in which it seems almost churlish to pick one track. This lady has virtuosity oozing out of every pore and so do her fellow musicians in the Rhythm Method.

TOM WALKER

PI JACOBS A LITTLE BLUE TRAVIANNA RECORDS

This is the seventh commercial release from multi-talented singer songwriter Pi Jacobs who is now based in Los Angeles. For her new project she has picked up her acoustic guitar and written eleven heart felt songs of the highest calibre taking the listener on a musical odyssey of a mainly Americana music style. Produced by Aaron Ramsey who also gets time to play bass guitar and mandolin on the eighth track Halfway Done at the prestigious Mountain Fever Studios in Virginia, this is a highly infectious release. Other musicians include Jeff Partin on dobro and lap steel guitar. Also on backing vocals there is

Celia Chavez and Sam Morrow guests on Purple State which definitely has that blue ridged mountain feel a real tug at the heart strings stinging with emotion. Opening with the hollering Dance Clean with very seductive even coquettish vocal style it sets the tone. All Love has a bluesy ballad feel and showcases her rich vocal talent sweet guitar twanging also stated. Good Things is a pure joy foot tapping tune celebrating life. Faking It is autobiographical and a life lesson. Weed And Wine has a gospel feel with fine harmonies. The Moment is a lilting expressive tune. She Dont Love You That Way flows well with mandolin overlaying velvety vocals. Dead Man is a highlight very upbeat the musicianship very tight with superb harmonies expanding the vocal range. Finishing with When My Father Is Gone the most powerful song

again dripped in emotion and the delivery has the right pace and feel.

COLIN CAMPBELL

JOHN FRANCIS CARROLL BLUES INSTRUMENTALS

JFC

I confess I was a little unsure about this at first glance. After all, the blues is primarily a vocal art, and although there have been some fine instrumental recordings – think Freddie King, for starters – it does take a rare talent to maintain interest throughout the length of an album. John is a busker from Melbourne, Australia, and this set consists of his acoustic guitar, backed by drummer Andrew “Idge” Hehir, and on the short closing version of Sweet Home Chicago only, Mississippi John McConnon on lead guitar. And it works… maybe not unexpectedly so on tracks like Mississippi John Hurt’s

Payday or Leadbelly’s waltz time In The Pines, but John also turns his hand to the likes of John Lee Hooker’s Boom Boom, Barrett Strong’s Money, That’s What I Want and a couple of Willie Dixon numbers: My Babe and I Just Want To Make Love To You. He also tackles Elvis Presley’s big hit Heartbreak Hotel and perhaps most stunningly, Booker T & The MGs’ Green Onions. I would swear Booker T himself is on this, adding organ bass in the background, but after careful listening, no, it does seem that it is just John’s own guitar! So no, John’s not your average busker. Looking through the material, all the songs (except for John’s sole original, Lil’ Hot Sauce) are numbers that would have been familiar to blues lovers back in the 60s, so maybe he has been doing this for a while. Whatever, he certainly kept my interest throughout.

NORMAN DARWEN

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BOOKS

HOLGER PETERSEN TALKING MUSIC 2 INSOMNIAC PRESS

book into the following four groups of interviews: The British Blues Revival including Chris Barber, Bill Wyman, Long John Baldry. Delta and Memphis Blues with Sam Phillips, Roscoe Gordon and more. The Artists Who Helped Build Stony Plain including Maria Muldaur, Bonnie Rait, Leon and Eric Bibb, Duke Robillard, and ‘Bonus Tracks’. These are terrific interviews and mighty fine reading for any fan of blues / roots music, oh and nice clear, easy to read print!!

FRANK LEIGH

move to Chicago and his musical emergence through gospel and Blues and the Chitlin Circuit he’s been through it all. He and Freddie learned to play guitar from their mother Ella Mae (King) Turner along with her brothers Leon and Leonard. Benny spent many years content to be the sideman and play bass and enjoy the ride and the venues but eventually the time came for him to step up. During a period with the Soul Stirrers in which he played electric bass that was controversial in gospel music at the time, he was a main factor in the pioneering of the instrument in taking an integral role on the gospel sounds of the modern day. After the tragic loss of his brother and band leader Freddie in 1976 Benny became something of a recluse for a couple of years before

albums since including When She’s Gone, a tribute to his and Freddie’s mother Ella Mae in 2016 and now tells his story in Survivor. Do check this out, it is an absorbing and heartfelt story of a legend

FRANK LEIGH

DVD s

ERIC CLAPTON LIVE IN SAN DIEGO WITH JJ CALE

BENNY TURNER AND BILL DAHL SURVIVOR – THE BENNY TURNER STORY

NOLABLUE PRESS.

WWW.NOLA-BLUE.COM

Survivor indeed and what a story from the brother of Freddie King no less! From his first days and young years in Gilmore, Texas through the family

Veteran Canadian broadcaster Holger Petersen has run his weekly Saturday Night Blues show on CBC network for 24 years; at home in Alberta, his CKUA network show, Natch’l Blues, has been out there every week for more than 40 years. Holger also runs his own Stony Plain record label, one of Canada 's longest surviving independent record companies, and was a founder of the Edmonton Folk Festival. For his long running radio show he conducted live on air interviews and here we have the second volume of some of those many chats he conducted including Billy Boy Arnold, Amos Garrett, Charlie Musslewhite, Sam The Sham, Tony Joe White, Albert Lee, B.B.King, Alan Toussaint and more. Petersen compiles copious back notes along with his own recounting and photographs. Sadly a number of the subjects have passed but their presence is well remembered here by a man with a life-times’ experience of the Blues. Petersen has divided the http://bluesmatters.com/news/album-reviews

Recorded in March 2007, I don’t know why we have had to wait so long before this live concert was released on DVD. It is a 15 track recording with

his usual highly vocal self, but was laughing and smiling for much of the time. The audience were as ever, very appreciative as one would expect given the wealth of talent before them, this was almost like a run up gig for the Crossroads Festival. The pity is that we in the UK only get to see concerts like this through the medium of the DVD releases. Can you imagine booking this lot in at the Albert Hall? Eric seems to have ceased his annual residency there now, and if they were to revive them, God only knows what the ticket prices would be? Where has this footage been for the past 10 years? Anyway, enough of the sour grapes, this is a must to watch.

DAVE STONE

JOE BONAMASSA LIVE AT CARNEGIE HALL AN ACOUSTIC EVENING

Hot on the heels of the recent release of the double CD of this concert comes a 2 DVD edition of the self same concert. Now I am not a dyed in the wool Joe Bonamassa fan, but I have copies of some of his work, and I have interviewed him and he comes across as a

very nice guy, the point that I am making is that I am not drenched in his back catalogue and don’t necessarily recognise some of his work, apart of course from those tracks that I have already got. So, to the review, and I have to say that I was a little disappointed, because you are sitting looking at a 9 piece band on stage, mostly sitting down and getting on with the job of putting out a very creditable performance, the problem for me is that it isn’t very exciting to watch as nothing much happens. Joe plays an awful lot of what he refers to as cowboy chords and a great part of the exciting bits are actually played by Eric Bazilian who plays mandolin, mandola, guitar and saxophone! Joe certainly doesn’t come across as the central part of the performance and it is very much to his credit that everybody gets to show off their talents while he sits in the midst of it all, laying down a steady rhythm. Right up until the last three tracks where Joe launches into a frenzy of strumming that made me tired just watching him, with the highly acclaimed Chinese cellist Tina Guo who plays a phenomenal duel with Joe and it was quite stunning. This was followed by what I think are the 2 best performances on the DVD as Joe and the band play Hummingbird (BB King) and The Rose (Bette Midler). So, a great concert to listen to but not really much

of a visual experience. Things got better when I played the second bonus disc in which Joe and the band members talk about the show and how privileged they all felt playing at Carnegie Hall. It also features a second version of Joe and Tinas dual, on a second night, so great value when you add in the second disc that to me completes the evening’s entertainment and shows Joe as the very nice guy that he is.

DAVE STONE

STEFAN GROSSMAN BUCKETS OF RAIN FINGERPICKING POSSIBILITIES IN OPEN D TUNING / BEYOND FINGERPICKING BLUES GUITAR IN THE KEY OF E

I have lumped these two DVDS together in one review because they are two of the latest offerings from the prolific Guitar Workshops who would seem to be not letting a single Chord Scale or Note get away from an in-depth analysis. As we have come to expect from this series, production values are top notch with crystal clear up close filming and impeccable sound, and Stefan himself has to be

one of the best tutors out there, he is certainly one of the most productive. These two are aimed squarely at the finger picker who wants a little bit more meat on the bones and in combination with the superb filming, you have their excellent 25 page and more PDF files that give you everything that you need to put lessons into practice. The first DVD (Key of D) has just five numbers for you to work on covering Country (Tennesee Waltz) Beatles and Dylan (In My Life & Buckets of Rain) an old Banjo tune (Waterbound) and finally blues (Como Blues). The second offering gives you 5 more in the key of E including a wonderful version of Summertime that I shall be definitely giving a try as this is probably my all-time favourite to play and sing. I am sure if someone were to come up with the scale of H, it wouldn’t be too long before the Guitar Workshops had a tutorial out to cover it. Put a couple of these in your collection and you’ll not have any excuse of nothing to practice. I think it was Segovia who said that he never stopped learning, so look out for these or order on line.

DAVE STONE

BATON ROUGE BLUES FESTIVAL DOWNTOWN BATON ROUGE

8TH AND 9TH APRIL 2017

Baton Rouge is known for not only being the epicentre of the blues in Louisiana, but also the home of “Swamp Blues.” The Baton Rouge Blues festival started in the early eighties to honor the city’s swamp blues tradition and pioneers including Slim Harpo, Guitar Kelly and Silas Hogan. Forty years later, the two-day event now takes place across four stages in downtown Baton Rouge against the backdrop of the state capital’s historic buildings, restaurants and bars. The blues festival is also free and is purely run by a committee of volunteers with the backing of the Baton Rouge Blues Foundation. Over the years, the organizers have curated a festival that showcases the city’s swamp blues heritage alongside international renowned

SHOWTIME

The BM! Round-up of live blues

acts from Bobby “Blue” Bland, Dr. John to Baton Rouge native, Buddy Guy. This year's festival’s bill follows the same format. It comprises local blues legends including Grammy nominee Kenny Neal and his family, Henry Turner Jr, Lil’ Jimmy Reed, Larry Garner who share the bill with international blues acts Ana Popovic, Alvin Youngblood Hart and The Fabulous Thunderbirds with Kim Wilson. Meanwhile, the Old State Capitol building, which stands as a mock medieval fortress in the heart of downtown Baton Rouge, serves as venue for “Backstage at the Festival.” Throughout the course of the day, festival visitors can catch local music journalists/ influencers interviewing some of the festival’s renowned acts.

This year, Baton Rouge Blues Festival takes place during the same weekend as the

internationally renowned French Quarter Festival in New Orleans, which is also free. As a result, I find myself only attending one day of this two-day event. It’s early afternoon and the crowds are slowly arriving and milling around the town centre. I venture over to the Front Porch stage, a small set up that sits on the periphery of the festival and acts as a showcase for three upcoming bands including The Rakers who hail from Baton Rouge. Their sound brings together a wide range of influences from punk, Americana, alt rock to John Lee Hooker. Despite a few sound issues, The Rakers manage to entertain with songs that are witty observations of Baton Rouge life, which rightfully earns them their self proclaimed title as “the thinking man’s drinking band.” Unfortunately, the sound issues persist into the next set, when one of New Orleans’ hottest live bands, Darcy Malone and The Tangle arrive on stage. The band manages to play one song, which is an exciting eclectic fusion of traditional New Orleans rhythm and blues, indie rock and jazz. Sadly, the sound issues kick in again, which calls for a halt to the set. The festival organizers issue an apology to the crowd. Unfortunately, it leaves a question mark as to whether blues musician Brody Buster will take to the stage later on in the day. Brody Buster has already won considerable attention with his one man band show as well as accolades at the 2017

Lil’ Jimmy Reed by Paromita Saha

International Blues Challenge as best harmonica player. I cut my losses and head over to the Swamp Blues stage. Hundreds have already gathered around to catch Louisiana blues legend Leon Atkins otherwise known as Lil’ Jimmy Reed. The 6ft something 77 year old blues legend oozes charisma with his head of thick white hair and striking facial features. The rays from the Louisiana sun bounce off his glittering jeweled shirt, as he entertains the crowds with classics such as Hoochie Coochie Man, I’m In Love With You Baby, and You Got Me Running, while effortlessly playing the harmonica and guitar together. At one point, he gets off the stage and strolls into the enthusiastic crowd while playing his guitar. Towards the end of Lil’ Jimmy Reed’s set, I scuttle across to the festival’s biggest stage to catch some of Alvin Youngblood Hart’s set. He kicks off with the opening track, Mama’s Door, from his earlier album, Motivational Speaker. The song exudes the vibes of the North Mississippi Blues and sounds as fresh as it did back in 2005. Hart’s backing band only comprises a drummer and a bass player. Yet, they skillfully manage to pull off a diverse range of musical styles from ska, rock to country, which makes up Hart’s back catalogue.

Meanwhile, international blues artist and Baton Rouge native Kenny Neal has gathered together the who’s who of Swamp Blues on stage, which he proudly calls his music family. One by one, he introduces blues veterans including Baton Rouge icon Kenny Acosta who performs his version of the BB King classic, The Thrill Has Gone. Oscar “Harpo” Davis also joins Kenny Neal on stage and shows off his virtuoso skills on the harmonica. The highlight of the

set is when 92 year old legendary blues performer Henry Gray takes to the stage. As well as his outstanding talents as a musician, Gray is also well known for his various skirmishes with death. He is like a cat with nine lives having survived a series of health scares as well as losing his home twice in a tornado and during the great flood of 2016. As a result, the 92 year old has become a beloved treasure and wows the crowd with his dexterity on the piano. I manage to catch Ana Popovic on the main stage. She plays a solid set of material from her latest release Trilogy, in which she covers three genres of music including blues, jazz and funk. On stage, Popovic injects sensual sensibility into her performance of tracks such as Train, which she candidly explains is an account of a one night stand on a train.

The first night of the Baton Rouge Blues festival ends in a difficult toss up between the Fabulous Thunderbirds with Kim Wilson or local blues legend Larry Garner. Given that the festival is primarily dedicated to celebrating Baton Rouge’s Swamp Blues heritage, I opt for Larry Garner and he does not disappoint. His set is an excellent showcase of his talents as a songwriter and a blues player. Garner covers a wide spectrum of material, which brings together blues and soul. He throws in funny anecdotes and his own observations about love in between songs that brings much laughter from the audience. I manage to catch the last few numbers of the Fabulous Thunderbirds with Kim Wilson at the festival’s main stage. I notice that the field is not as packed when Buddy Guy performed the year before. However, the crowd seems to be enjoying the band’s vibrant set.

It’s easy to see why the Baton Rouge Blues festival is a jewel of a festival. It’s a great showcase of the Swamp Blues tradition, mixed with great international blues acts. Consequently, there’s plenty of choice for the discerning blues fan. It’s clean, friendly and laid back in comparison to its Jazz cousin French Quarter Fest. And the best part – it’s free!

PAROMITA SAHA

GUINNESS INTERNATIONAL BLUES ON THE BAY FESTIVAL WARRENPOINT, N. IRELAND

24TH-29TH MAY 2017

The Rory Gallagher Rhythm and Blues Revue featured Gallagher’s long-term rhythm section Gerry McAvoy (bass) and Brendan O’Neill (drums) on songs like Brute Force And Ignorance and Who’s Gonna Be Your Sweet Man When I’m Gone? For much of the set Ben Poole stood stage right and Gwyn Ashton stood stage left, each guitarist facing the other, each challenging and inspiring the other, a set-up which was visually dramatic and musically massively exciting.

But anyone wanting to savour the lyrics was at the wrong gig because Ashton, the main vocalist, barked most of them indecipherably although bandleader McAvoy, a tireless showman, himself sang, quite capably, the nostalgic Homeland and Grainne Duffy guested tellingly on A Sense Of Freedom.

Poole, on acoustic guitar, played dazzlingly on a solo version of As The Crow Flies. On a similar solo showcase Ashton’s acoustic slide playing on Out On The Western Plain was virtuosic.

Bluez Katz, a quintet led by singer, harmonica player and Festival organiser Ian Sands, impressed on a stylish medley that included Spoonful, I Asked

For Water and a crunchingly heavy On The Road Again, the latter featuring contrastingly spectral backing vocals from saxophonist Sarah Sands. The same singer’s innocent-sounding voice on Further On Up The Road somehow made the vengeful lyrics seem even more shocking.

Big Dog Mercer, who last year was inducted into the Chicago Blues Hall Of Fame, is a big dog indeed. In fact so vast is he that his guitar looked ukulele-sized in his mighty paws and the tattoos on his forearms would have covered my entire chest. But more importantly Mercer is a fine musician who sang powerfully if not especially subtly on the likes of the angry original Love Changes, about a bad relationship, and whose guitar playing, as on Trouble In Mind, was often surprisingly delicate. Ian Sands guested, singing and playing harmonica on a Roryfied Messin’ With The Kid and on Mannish Boy, which included an expert bass solo from Mike Boyle. An instrumental, Comin’ Home Baby, showcased the excellent

musicianship of local drummer Lyn McMullan, an unrehearsed dep.

Vivacious singer Suzanne Savage, who was backed by a trio, showed exceptional technique on a wide range of material, including Is You Is Or Is You Ain’t My Baby. How High The Moon was a scat-singing tour de force while on Summertime she oneupped the likes of Ella Fitzgerald by taking a very competent violin solo.

A crack band, a soulful singer and a repertoire of classic songs … It never fails does it? And thus, it was with the Andy Whittaker Band, who included sometime Van Morrison trumpeter Linley Hamilton and who delighted the audience with stylish versions of Sweet Home Chicago, Phone Booth, Moondance and other much-loved songs.

Crow Black Chicken, a trio, were fronted by singer-guitarist Christy O’Hanlon, who with his apocalyptic beard looked like he’d emerged from decades in the woods to give the human race a terrible warning.

Alongside impressive originals

the band played Red House with electrifying intensity and inspired, O’Hanlon said, by having played Rory Gallagher’s guitar the previous day at a Festival exhibition, a take-no-prisoners version of Messin’ With The Kid.

Robin Bibi marauded through the audience as he played, stood on tables, soloed behind his head and pulled off a range of classic stunts with great aplomb. And that was just during his opening number.

Accompanied by the excellent Tony Marten (bass) and Dave Raeburn (drums), Bibi, playing a green Strat, channelled his inner Hendrix on Fire, playing with his teeth et al, although I’m not sure that even Hendrix ever strode out of a venue, across the road and back again, through another entrance, playing all the while.

Stormy Monday Blues, performed as a tribute to Gregg Allman who had died the previous day, was played eloquently and with great feeling while original songs like In Too Deep were well-crafted.

Bibi, also a strong singer, and

Robin Bibi by Trish Keogh-Hodgett Gwyn Ashton, Grainne Duffy and Gerry McAvoy by Trish Keogh-Hodgett

his band were one of the most impressive of the Festival because, while obviously taking their playing seriously, they possessed none of the dourness that can make listening to some blues-rock bands hard, joyless work.

Blackwood, fronted by Sam Davidson, an imaginative guitarist, performed a tough, hard-rocking version of the Boxtops’ The Letter and a thunderously heavy interpretation of Taste’s What’s Going On, the latter featuring a particularly ferocious guitar solo.

Mark Braidner played acoustic, semi-acoustic, resonator and steel-bodied guitars and harmonica very adeptly and was accompanied by drums/ washboard and double bass on engaging versions of Out On The Western Plain, In The Pines and Mystery Train.

South Carolina singer Dana Masters moved to Northern Ireland several years ago. Van Morrison happened to see her in a pub playing with a jazz band and hired her to sing backing vocals with him but in between her international touring with Morrison she has developed a solo career and at her festival gig she sang soulfully and expressively on originals like Crossing Lines and, in a compellingly impassioned performance, the uplifting, gospelinfluenced Feels Like Love. Her chatty personality also endeared her to the audience (“Do I want to be a singer or a professional talker?” she mused at one point) and in her between-songs patter she displayed the humour and timing of a professional comic.

Fronting a four-piece, Belfast man Mike Wilgar’s gritty singing and raunchy harmonica playing impressed on Tore Down and

the darkly atmospheric original Swimming With Sharks.

Ex-Them veteran Jackie McAuley, accompanied by bass/violin and drums, played scintillating guitar on Dust My Broom, a good-humoured Your Feet’s Too Big and several high quality originals including the unrecorded Train Whistle Blowing.

The ever-zeitgeisty The Times They Are A-Changin’ was performed with a quiet intensity that was riveting while a highlight of the set was provided by surprise guest Grainne Duffy who sang searingly on I’d Rather Go Blind and on a rollicking The Shape I’m In.

Rab McCullough, whose band included the exceptional South African harmonica player Cuan Boake, performed a dramatic I Shot The Sheriff and a version of I Shall Be Released which featured a gorgeous, elegant guitar solo.

Light were one of Northern Ireland’s key blues-rock bands in the late 70s. Now reformed by bassist-singer Albert Mills, the band impressed with excellent original songs such as Castles In The Sand, with new member Speedo Wilson confidently executing its fiendishly difficult guitar lick, and standards like Need Your Love So Bad.

Flamboyant and with rock star charisma, guitarist Pat McManus, fronting a trio, played with a speed and fluency that were astonishing on the likes of The Boat, an instrumental. As if being a guitar virtuoso weren’t enough McManus also played excellent fiddle on traditional themes, proving that folk rock is not yet dead.

In all, Blues On The Bay featured around a hundred gigs, all but

two of them free. No wonder the small town of Warrenpoint was totally overrun by happy blues fans for the duration. Kudos, indeed, to Ian Sands who has run the festival since its inception nineteen years ago.

TREVOR HODGET

BOWNESS BAY BLUES BOWNESS ON WINDERMERE

7TH TO 9TH APRIL 2017

Friday: Held in one of the most glorious locations you will find for any blues festival – the Lake District – the Bowness Bay Blues Festival is held in about ten locations around Bowness and Windermere. There is a fabulous view from the Lake District Boat Club, which is the first venue for the opening act Dean Newton, a local singer guitarist who plays in the band AWOL. Dean is a very accomplished musician with a solid fan base in the Lake District.

I need to own up to going to eat at this point and met friends – which ended up lasting longer than expected. We got back to the festival trail at the Wheelhouse, which is a nightclub venue where we settled in for the evening. Changing State were on stage, a young, South Lakes-based band of teenagers who play solid blues-infused rock music. By the time The Stumble came on stage, the venue was full to capacity, which is not surprising as they have been belting out hot Chicago-style blues for quite a few years now and have built up a very enthusiastic following - then they gain new fans every time they play. Not surprising with a great singer and front man in Paul Melville who has an amazing blues voice.

Top of the bill for the Friday evening was Geoff Achison and the Souldiggers, who brought their crowd-pleasing interpretation

of blues, funk, soul with a hint of jazz. Geoff is a phenomenal guitarist who hails from Australia and his band included some excellent UK artists including Paul Jobson on keys. A great end to a wonderful day of music.

Saturday: Because of an unexpected late renovation taking place at the Hydro Hotel, some of the bands booked to play there had to be moved to other venues. This meant that some sets had to be shortened to allow all of the bands to be able to play a set at the festival, but didn’t take away from a great weekend. It was an early start at the Quayside, with Big Joe Bone (AKA Danny Wilson) playing what he called “blues grass music” - which is a mix of Delta blues, bluegrass, oldtime, gospel and hillbilly music - on steel-bodied resonator guitars, banjo and harmonica. Off up the long climb out of Bowness for us to Beresford’s where Benjamin Bassford performed his own

pure blues compositions on his steel resonator. His set also included a few covers, on which he puts his own twist, showing a new side to the compositions. I have been watching Benjamin’s development over the last few years and he has learned his craft well and his performance improves at every outing.

Time for some lunch at Beresford’s before Mike Ross took to the stage. His solo performance is a contrast to Benjamin’s as he is a blues/rock Americana singer songwriter, whose songs remind me of Creedence Clearwater Revival and The Band. He also plays in a few bands including his own Mike Ross Band. As is the way when you are moving from venue to venue, gigs clash and unfortunately I missed Robin Bibi who is a favourite of mine, but you can’t be everywhere I suppose. We got to see Catfish who were on top form and if you have seen them lately you will

know what I mean. We managed to see most of the set, just missing the start, and their grand finale - a Foy Vance number, Make It Rain - captured the whole audience in the Lake District Boat Club (LDBC) venue and as has become the norm for a Catfish set, it had the full 'Wow!' factor.

While this was going on, the Windermere Blues Cruise was taking place with Matt Woosey playing to a packed crowd and though, again, I would love to have been on board with them, timing prevented that happening.

Staying in the LDBC, Rainbreakers were the next band exciting the audience, playing all their own songs from their latest EP - Rise Up being the title track, along with the other four self-penned numbers. Every song is a winner in my book! They also played some songs from their first EP which are real favourites of mine, ending with Gary Clark

Benjamin Bassford by Christine Moore

Jr’s, Bright Lights, which never fails to go down well. A magic set in a venue with a glorious view of Lake Windermere as we could see the Blues Cruise sailing past.

While these events were going on, in parallel on the Windermere Fringe just down the road, Buzz, Dean Newton, Rucksacks, Benjamin Bassford, Sparky and the Wailers, and Mike Ross were performing in four other venues.

The bands who were playing the Wheelhouse started with Changing State who I have talked about earlier in this review. They were followed by Troy Redfern Band, who put on a great set with new material, which is currently being recorded. Check them out if you love rock/blues trios. The headliners of the night, LaVendore Rogue, have been favourites of mine since half of the band were Hokie Joint and they have magic that just keeps happening, weaving a tapestry of wonderful stories in music. They are total entertainment and tonight in this nightclub atmosphere, they excelled.

Sunday: Last day and we started out at the Lake District Boat Club again to see Backwater Roll. If you want to see a splendid blues band at the top of their game, then make sure you check out this band. They have all the elements for a great show, singer/harmonica, two lead guitars, keyboard, bass and drums, playing some great old numbers as well as some of their own compositions. I missed the Elderly Brothers, who were performing in the Hole In T'Wall and I only just caught a few numbers from Ash Wilson Band who were playing in the Wheelhouse at the same time as

Backwater Roll. As I've said a few times, it’s a pull on your time to decide where to go, but I did want to catch Ash Wilson Band again and they didn’t disappoint. Ash is gaining momentum and playing more and more gigs – he's another one to watch for sure.

The Revolutionaires ended the festival in the Wheelhouse as the headline band and gave a crowded room a taste of r&b as it should be, with amazing playing and stage presence. They are a band that has captivated every audience I have seen them perform in front of. Samantha Holden Band was playing LDBC but we had moved on by then to catch Matt Woosey playing the very last event of the day in the Hole In T'Wall - unfortunately in too small a room as many of the festival crowd couldn’t get in to witness his explosive acoustic performance. And so another great festival came to a close.

I can thoroughly recommend the Bowness Bay Blues Festival, set in a fabulous part of the UK in some quirky venues. Next year booked already.

CHRISTINE MOORE

LINCOLN BLUES FESTIVAL

14TH MAY 2017

Solid Entertainments, the 4th Lincoln Blues,Rhythm and Rock Festival took place on Sunday the 14th of May. 2pm-10pm at the Drill Hall. A change of venue this year followed feedback about the lack of seating at the Engine Shed. Having spent £2.6 million in the nineties refurbishing The Drill hall, it is now a modern Entertainment centre in central Lincoln. The main auditorium holds around 500, a theatre style seating arrangement, with the first half taken with rows on one level and the rest in tiers. Sat in one of the tiers near the

back there was ample room with the tiers being high enough to have a good view. The first act was the London based Born Healer, a four piece blues/rock band, consisting of Helen Turner on vocals; guitarist Iain Black, drummer Andy Jones and Marek Funkass on bass. They played a mixture of originals and covers, and opened with a couple of original blues/rock tracks, River and Trust Yourself before covering Janis Joplin’s One Good Man. The Funkier Brand New Day was followed by the album title track 'Til The Dawn a superb slow bluesy ballad. The rockier Healing Hands preceded a fine cover of Led Zep's Since I've Been Loving You and they finished the set with a rockier Gimme Shelter. Not always easy first on, but the crowd showed their appreciation throughout. A good start to the day. A twenty minute break gave me time to have a look around the cafe, comfy seating area, hot and cold drinks, various snacks and sandwiches plus alcoholic beverages, Apart from 1/2 Pints the prices were fairly reasonable. Next on stage were Southbound a five piece band from London. Elliot Stout played lead guitar, harmonica and vocals, Tom Ford was on lead vocals and keyboards. Dan Collins played bass guitar and backing vocals, and Jordan Carter provided rhythm guitar, with the line-up completed by Aaron Virciglio on drums and percussion. With an average age of 18-20 they play their own blues, blues-rock and southern style rock originals. opening with Book On A Shelf, followed by the bluesy What A Man's Gotta Do, a real crowd pleaser. The slower lonely blues had good solos from Jordan and Elliot (guitar and harmonica) going down well, the bass driven Deceiver was my pick, ending the set with Yes Indeed

it had some dancers up at the back. These guys looked to be having fun and it came through in the music, they went down well. With a twenty minute break, I had a look round. toilets were large and clean. An outside area had some seating, ice cream stall and food stall doing some good trade. Third billing on the day, Sussex based Catfish took to the stage. A four piece blues band, Paul Long on keyboard and vocals, son, Matt Long on guitar and vocals with Dusty Bones on bass and Kevin Yates on the drums. Opening the set with blues rocker Hit The Ground Running this had the crowd’s attention. So Many Roads gave them their breakthrough "so we will always play it" said Paul. Matt's gravelly voice took over on Leading Me On and the slow burner Broken Man. The "warm song" as Matt calls it Better Days Had a few up and dancing. A funky cover of Buddy Guy's Man Of Many Words had Matt giving some blistering guitar riffs as he moved all around the auditorium, the crowd lapping this up. Finishing with a homage to his friend and guitar teacher who died last year with Foy Vance's Make It Rain a poignant, powerful performance straight from the heart. A very tight band that received and deserved a standing ovation, excellent. Another break in the proceedings, A chance to stretch the legs and mingle, It was nice to see the other bands hanging around chatting and watching each other’s performances. Taking to the stage next was the four piece Connie Lush Band, Liverpool's very own Connie on vocals, husband Terry Harris on bass, Roy Martin on drums with Steve Wright on blues guitar. Changing the band’s sound slightly with the release of Renaissance. Opening with Bonnie Raitt's I Can't Make

You Love Me, then a nice Funky Shine A Light On Me made way for a great cover of Bobby Bland’s 24Hrs A Day. Turning it up the pace with Shopping got a few dancing in the aisles. A Quick happy birthday by Connie and the crowd to one of her friends. With Blame (It All On Me) and the Jazzy Falling Down Like Rain going down well, taking the tempo up again with Dog, before we were treated to an absolute stunning version of Lonely Boy sung with passion and feeling to a spellbound crowd, and the traditional Rollin' And Tumbling took us to the closing I Don't Say Goodbye. Backed up with some great playing by the band, Connie’s voice was great today. Very enjoyable set that had people up and dancing. A trip to the food stall, burgers, chips, sausage in a bun and a variety of wraps were on offer at reasonable prices. Had a wrap, which was good. Back to the Music with Chantel McGregor taking to the stage with her bluesrock trio, bassist Colin Sutton and drummer Ollie Goss. Like Chantel, the three were educated at Leeds College Of Music, With Colin and Ollie both coming from a jazz background, which lends itself to a proggy/improv style of blues-rock. This was most evident in the 10 minute plus April with its eerie intro, mellow guitar, which then seemed to turn into freestyle blues-rock, going down well with the crowd. Blues In A (Having a giraffe) an instrumental jazzy blues and the bluesy I'm No Good For You, mixed up the set from the more rockier tracks like Killing Time with its driving riffs and Your Fever, Southern Belle a drum driven southern rocker pleased, finishing with a grungy Take The Power going for a bit of distortion, and the crowd really enjoyed the set. Last break, talking to people I think most thought it had been a good

line up but Catfish seemed to steal the show so far. Last but not least the Climax Blues Band, take to the stage. Formed in 1968 the band have gone through various members over the years. Current line-up consists of George Glover on keyboards, backing vocals Roy Adams drums, Neil Simpson bass, Lester Hunt guitar, backing vocals, Chris Aldridge saxophone and harmonica and Graham Dee vocals. Starting the night with a couple of seventies tracks 7th Son featuring the keyboards and saxophone and Louisianna Blues, swapping the saxophone for a harmonica, A subtle guitar solo and some decent gravelly vocals. Chasing Change with its funky groove got the crowd warming up with a few dancing, New song 17th Street Canal with its progression of instruments coming in went down well. Howlin' wolf’s SPOONFULL had a few more on their feet followed by the hit Couldn't Get It Right bringing a lot more to their feet singing along, a couple more new songs A Kick In The Head and Hard Luck were followed by Let The Good Times Roll, and they were, with most up on their feet again. Going off to rapturous applause before coming back to play 1971's Towards The Sun as an encore. The whole day was well run with the bands having only twenty minute turn rounds. I thought Stephen from Solid Entertainment did an exceptional job of keeping all the bands on schedule. All the staff on the day were organised, helpful and pleasant through the day. Accommodation in Lincoln is a little hard to get if booking late, unless you stop at one of the bigger inns. Like most people we spoke to, we were staying at the Premier Inn which was across the road. There was plenty of parking nearby at a reasonable price. The Big question is would

I go again? The simple answer is YES we will be there next year. SHIRL

CONCERTS BACKWATER ROLL BLUES BAND MR KYPS, POOLE

28TH MAY 2017

I have followed the progress of this Southampton-based band for a few years now and in my opinion, this is the best I've seen them. From the opening bars of So Mean To Me, the audience were engrossed. Miff's gruff vocals and harp playing were a joy to behold, along with the dual guitar mix of Deano and Louis Matthias, Barry Pethers on bass, Steve Watts on keys and the one and only David Essex's drummer Dave Wallace, what a rabbit they pulled out of the hat! Wait On Time was followed by perhaps the most passionate take on Peter Green's Love That Burns I have heard, you could hear a pin drop through all the solos, it was certainly heart-rending. The bar and the tempo, was raised again for the classic Who Do You Love, again brilliant soloing all round. Backwater Roll base their style very much on American band Red Devils, illustrated perfectly

on Highway Man, take a bow, Miff! The introduction to the final number brought to mind Billie Jean, with Barry's funky bass line, but my fears were allayed when it turned out to be a first class take on Big Boss Man, thank the Lord, all the band for one last time showing their respective talents. They left the stage to rapturous applause, a few people around me having heard them for the first time, swearing it won't be the last.

CLIVE RAWLINGS

DAN PATLANSKY/ ASH WILSON

ISLINGTON ACADEMY 2, LONDON

2 ND MAY 2017

Everybody’s favourite lumberjack shirt-clad South African Strat strangler Dan Patlansky has moved on considerably since his first UK visit back in 2015. Two years later, it remains instantly clear that Jimi is his main man. But the direct Hendrixisms have been dialled down, with tonight’s gig more clearly in what we have to take to be his own voice. The show opened with moody instrumental Drone, then effortlessly segued into hard rocker Sonnova Faith, featuring cutting lyrics that take a distinct pop at religious hypocrisy, and

available as a single. Bright Lights, Big City was comprehensively reconstructed to such a degree that even Jimmy Reed reincarnate would have had some trouble recognising his own handiwork, given soloing on both keyboards (a little) and electric guitar (a lot). Heartbeat was built around a somewhat Voodoo Chile-like bass string riff, and on this one, Patlansky’s debt to Hendrix was openly on view. Still Wanna Be Your Man, was a slow blues of the known and loved standard variety, incorporating quiet passages in the name of dynamics, and at some points the lead lines got a bit too directionless for my liking. A two-song encore was comprised of the minor key and ballad-paced Loosen Up The Grip and finally crowd-pleasing riff rocker Fetch Your Spade, featuring a chorus that will inevitably put the listener in mind of Led Zepp’s Your Time Is Gonna Come. Tip of the hat, too, for Felix Dehmel on drums and Jonathan Murphy on bass, both accomplished sidemen capable of chipping in a break or two, as required. Verdict? There’s no doubt whatsoever that Patlansky’s got the chops, but sometimes seems unable to stop himself letting his sheer technical ability run away with him. That’s a pity, because a little more thought to what he is doing melodically could lift him into the very top echelons of blues rock’s league of six-string heroes. But at just 35, he’s got bags of time to get there, and may well get there one day. Meanwhile, I found myself warming to opening act Ash Wilson, perhaps because I am now familiar with his material, after seeing him for the third time in less than six months. I won’t lie, this guy is always going to be a smidgeon too prog for my pretty traditionalist tastes. But tonight’s set somehow seemed to have to have a bluesier edge

Dan Patlansky by Edyta Kzesak

ERJA LYYTINEN/CONNOR SELBY BAND/JFK

100 CLUB, LONDON

APRIL 11TH 2017

Verbals: David Osler Visuals: Al Stuart

When white women from Finland rank among the planet’s premier slide guitar merchants, you know that God has finally brought diversity to the blues. And Erja Lyytinen is determined to take the technique in a rockier direction than most other contemporary exponents, eschewing both back-tobasics riffing and classy Cooderesque understatement in favour of technical prowess. That, and turning it up to eleven, at least some of the time. Ms L was in town to promote her Stolen Hearts album, and naturally enough, that proved the source for most of the material in the set. She chose to open with arpeggio-based paean to Los Angeles, City of Angels, and a couple of songs later came Black Ocean, built around lead work that made an unusual degree of melodic sense. Slowly Burning, as befits its title, was a 12/8 slow blues that gave Lyytinen a chance to show what she can do on the vocals front. And since you ask, yeah, it burned. Slowly. For blues traditionalists, her rendition of I’m A WomanKoko Taylor’s high-swaggerquotient remake of Muddy’s I’m A Man - will probably have been the highlight of the show. This piece is famously a one chord vamp, and Erja took nine minutes to open this basic stomp up to some of its inherent soloing

possibilities. A nod goes to whoever was playing keys on the gig for some equally tasty sonic contributions, although this was a veritable slide extravaganza. It is testament to the faux-Hendrixy semi-pop catchiness of title track Stolen Hearts that the audience picked up on it as a singalong without even being prompted. Much more material of that quality, and commercial success could even beckon. Rocking Chair did what it said on the can, and rocked out. The closer, People Get Ready, started life half a century ago as a Curtis Mayfield and the Impressions single, but is better known today thanks to inclusion in Jeff Beck’s live set. Lyytinen took her cue from the latter version, essentially achieving with the slide what Beck does with the whammy bar. Hey, this lady could be the greatest Finnish export since the Nokia 3310, or even perhaps the mighty Hanoi Rocks. Take your pick. Word up, too, for opening act the Connor Selby Band. Sure, the young man who gives his name to the outfit copped all his licks from mid to late 1960s Clapton. But nobody ever says that like it’s a bad thing, do they? I’d see ‘em again. Also on the bill were JFK, a handy little combo better described as rock than blues. That proviso aside, their guitarist is evidently capable of no little bottleneck wizardry himself.

MOLLIE MARRIOTT

BORDERLINE, LONDON

1ST JUNE 2017

It won’t be long before it is no longer obligatory to preface a review of a Mollie Marriott gig by mentioning who her dad was. No doubt the ‘daughter of’ tag has helped her career so farand the publicity blurbs don’t let anyone forget it - but it is otherwise frankly irrelevant. She’s a promising new British vocal talent in her own right, and in any case, comes across as far too posh to be obviously indebted to the old man’s legendary brand of cheery cockney raucousness. The evening’s entertainment was arranged to prove the point by showcasing her debut album, due out in September, and the case was convincingly made. Slow-paced title track, Truth Is The Wolf, is just the sort of number that gives her voice a chance to shine, and also got the benefit of some nifty keyboard work courtesy of Ms Marriott’s

musical collaborator Sam Tanner. The single, Control, was delivered in a format not quite as rocked up as it is on the recorded version, and to my mind suffered slightly for it. But that’s just me quibbling; it’s a substantial song, and penned in part by Mollie herself. Broken, which lyrically explores the impact of parental relationship break-up on an eight-year-old kid, was suitably moving. The World Party cover version, Ship Of Fools, shows what she can do with a too-clever-by-half 1980s pop ditty. You’ve got to be brave to cover Aretha Franklin, and Marriott even went there with Baby I Love You, in a fun rendition that was agreeably the right side of raunchy, but maybe two notches short of full-on soul queen mode. The set was not over long, and concluded without an encore. That’s a pity, as I’d have liked a couple of out and out rockers and maybe even a

12 bar or two. There is already recorded evidence that Marriott can handle that stuff with ease, so why not? But there will be plenty of time for that later on. Of the evening’s support acts, Anna Krantz is a nice middle-class girl who plays deep and meaningful introspective singer-songwriter stuff on an electric piano, and does so obviously well, but need not unduly detain hardcore blues fans. Pocket Dragon are an interesting proposition, as a young outfit playing a brand of 1980s Old Skool-era soul and jazz funk somewhat older than they are themselves. They get the vibe so well that they almost come across as ‘a tribute band with original material’, if I can put it like that. If you are nostalgic for the good old days of Luther Vandross, Jones Girls and Evelyn ‘Champagne’ King, you’ll probably lap ‘em up.

Verbals: David Osler Visuals: Paul Clampin

than past outings, not to mention an appreciably meatier guitar sound. Words Of A Woman remains his best original song, while his cover of The Way You Make Me Feel - yes, the Michael Jackson pop ditty - was amusing.

DAVID OSLER

Please Don’t Leave Me powered through on the same single chord, the Chicago way, with a false end before some blistering wah-wah guitar brought it home.

It takes a certain style to bring a metal classic like BOC’s Don’t Fear The Reaper into the proceedings, but by this time of the night, Mr Gales had the crowd exactly where he – and they – wanted them to be which was in the palm of his strumming and picking right hand. Getting the audience to call-and-respond on this song shows a level of class - a musician who knows he is very good at what he does, and doesn’t mind who knows it.

ERIC GALES THE ROBIN 2, BILSTON

31ST MAY 2017

Being original is increasingly hard in this day and age, and if you play a format like blues music, that goes double. If you can find a new or at least different and fresh way of presenting the all-time classic genre to a discerning audience, then you are going to receive due appreciation.

Step forward then Eric Gales with his Jaco Pastorious double bassist - Cody Wright, his hard and heavy drummer Nick Hayes, his wife LaDonna Gales on vocals and percussion, and the man himself on guitar.

Hitting Freddie King’s Boogie Man, the band set it out – swampy and tight with sparring percussion, heavy power chords and sweet top-end soloing from the man. The best way to show you are a red-hot musician is to under-play, and make every single note count. That’s a lesson that Eric Gales has understood, and he showed that through the entire set. Buddy Guy’s Chicago classic Baby

If there was a flat spot at all, it was the bass and drum solos. There is no disputing the technical wizardry of either musician, it’s just that their solo spots did detract from the rockin’ and rollin’ vibe that had been set up previously. Happily, the band effortlessly picked up where they left off and it was just a matter of storming through to the finish.

The West Midlands blues fans turned out in force for this show, and they were not disappointed,

it was a set delivered with power, precision, confidence and precision, in equal measure. If Mr Gales swings this way again on future tours, he is assured of a rapturous welcome in these parts – people know and understand their blues well. They know a class act when they see and hear one, and this night did not disappoint. Eric Gales appreciates overcoming his difficulties, and emerging with a red-hot band and some mean blues tunes to prophesy over. Check him out.

ANDY HUGHES

THE GILES ROBSON BAND & GERRY JABLONSKI AND THE ELECTRIC BAND

EDINBURGH BLUES CLUB, THE VOODOO ROOMS, EDINBURGH

7 TH APRIL 2017

On my previous visit to this prestigious blues club, I had attended a talk given by Bruce Iglauer, founder of Alligator Records one of the largest contemporary blues labels in the world. With a catalogue of over 300 albums and mainly American artists ranging from Albert Collins to James Cotton, I asked Bruce

Eric Gales by Christine Moore

Giles Robson and Gerry Jablonski by Stuart Stott

if he would consider signing up any UK blues musician. Without hesitation he replied, “Giles Robson, because he meets my criteria of passion, originality, amazing energy and sweat; above all he plays with feeling from the toes up.” Minutes into the opening set, Giles was justifying this faith in him but also reminding Iglauer of what he has missed, the harp ace having joined the major Dutch label V2 alongside Adele and Mumford & Sons! Most of the material on this double headliner set is from Robson’s highly acclaimed “dirty 12-bar blues album,” For Those Who Need The Blues which catapulted him deservedly into the category of world class harpist. Giles excels in songs about low down, lying cheating women such as Sarah Lee, his powerful, expressive vocals surpassed only by innovative harp solos reaching a succession of crescendos. Where You Been and A Walter Shade Of Blue constitute a masterclass in American blues harmonica, Robson playing mainly in the upper register on the former with breathtaking skill, timing and phrasing. His recreation of the sound of a steam locomotive through the technique of chugging has the audience gasping in disbelief, so authentic was the outcome. Giles’ version of The Rolling Stones Commit A Crime is a tour de force in that it symbolises the journey made by this small diatonic instrument. From its predominantly folk beginnings in Germany in the 1890s, it was adopted by the blues fraternity in America, and came back to Britain in the same genre. Robson now proudly stands at the top of the UK pack alongside that other luminary Paul Lamb, with tonight’s performance demonstrating that Giles has the authority, confidence and expertise associated with legends Charlie Musselwhite and

James Harman. The harp has never been in such good hands. This was what has become Gerry Jablonski and The Electric Band’s annual appearance at the club such is their popularity, reflected in the size of the audience, its age profile including many younger fans, and the demographic spread from Galashiels to Dundee. They come along because they know this set will be rock smashing, show stopping, high energy, sublime blues delivered with showmanship and panache in a theatre of dreams. Tonight, proves to be no exception but there is also some musical digression as new material is presented. Gerry sets the scene with a quiet, intricate guitar introduction to Heavy Water from the forthcoming EP before the other musicians take the stage. Grigor Leslie adds gorgeous vocal harmonies to his more familiar qualities of dexterous bass playing in the subtlest of grooves. Other new tracks, Soul Sister and Dancing With The Angel Of Love, are testimony to Gerry’s songwriting abilities, extraordinary vocal range and inventive guitar work as well as confirming Peter Narojczyk’s rapidly growing status as a seriously good harpist. Songs like Hard To Make A Living highlight the value of a harmonica player with this sole purpose in the band because it is like having a keyboard musician, such is Peter’s ability to deliver continuous high quality, complementary and innovative interludes as well as background wash. It was always difficult for drummer Lewis Fraser to follow in the footsteps of the late Dave Innes but he has achieved this and more. Fraser’s respect for Dave is evident as he sings the first verse of Anybody with the same emotion as Gerry when he takes over what has become a moving tribute to the founding member

of the band. Not only is Fraser’s drumming precise, versatile and intelligent ranging from thunderous to clever time changes, his singing has added a further dimension, notably on Stereophonic’s Been Caught Cheating. However, it is the established showstoppers which still get the fans on their feet; how could you sit down to Trouble With The Blues, Two Time Lover, The Dance and Slave To The Rhythm? This is vintage Jablonski, but with a twist and hints of even more to come. The evening ends with an extended version of Stormy Monday with Giles joining Peter in what had been billed ‘the battle of the harps’. Although competitive it was a draw, as these two brilliant musicians decided to give their all for the audience rather than for themselves.

THE BISHOP

JOE BONAMASSA

ROYAL ALBERT HALL, LONDON

20TH APRIL 2017

Joe’s come a long way since the beginning of the century when he was that pudgy kid with long, lank hair that blew away crowds in blues clubs around the world with his mesmerising fretwork, and he’s come even further than the 12 year old prodigy who used to open for BB King. At some point he cut his hair, got slim, bought a suit and dedicated himself to becoming one of the best known, and hardest working, guitarists in the world. Sixteen albums down the line, he can sell out two nights at the Royal Albert Hall, although some would argue that he has been so prolific and eager to ship product that, in the studio, he has tended to repeat himself. Onstage at the venerable Royal Albert Hall, there was some evidence to suggest this was true…the first half of the set was mostly a succession of second hand blues-rock riffs interspersed with some dazzling,

if predictable, guitar runs as he prowled the stage like he owned it. There weren’t many shades of blues in his palettte on this showing. Then came a surprising stab at Zeppelin’s Boogie With Stu when he allowed ex-Stevie Ray Vaughan keyboardist Reese Wynan to take centre stage and the whole gig seemed to lighten up… further covers of Albert King, John Mayall, Clapton’s Pretending and BB King’s Hummingbird showcased a deft touch, augmented by a tight horn section, but some of the audience were still left wondering why he omitted to play some of his best-loved and intricate tunes like Sloe Gin or the acoustic Woke Up Dreaming. All was forgiven, however, with a final, barnstorming version of more Zeppelin – How Many More Times was funky, long, loud and dark at the same time. Bonamassa announced he’ll be playing the Royal Albert Hall again in 2019… and you can bet it will sell out.

CHRIS COE

LAURENCE JONES BAND/ HEIDI BROWNE LICHFIELD GUILDHALL

23 RD APRIL 2017

Two young bands from two disparate genres showcased their talents for an appreciative audience when Heidi Browne and the award-winning blues guitarist and singer-songwriter Laurence Jones appeared at Lichfield Guildhall on Sunday April 23rd.

First on the bill was singersongwriter Heidi Browne, who’s melodic, keening vocals, sharp lyricism and catchy guitar-playing kept the audience entertained, as she fluently tackled a number of genres from blues, to jazz and country. After winning the Open Mike competition, and releasing a number of critically acclaimed songs she will be an act to look out for in the future.

As part of an international tour, the band had flown in from Norway on the morning of the gig. Still only in his mid-twenties Laurence Jones bought his new band to

play. With Jones on guitars and vocals, the rest of the ensemble was Bennett Holland on keyboards and backing vocals, bassist Greg Smith and drummer Phil Wilson. They played a number of songs from the recent album Take Me High which has received a number of plaudits from the critics, whilst older originals, and cover songs also featured in a set that ran the gamut from slow burning blues songs, to rock, funk, and jazz.

The addition of keyboards has helped to broaden the ensemble's sound, whilst also allowing an extra soloist into the group. The blues funk of What’s It Gonna Be? And Touch Your Moonlight got the gig off to a roaring start, whilst the slow-burning intensity of Thunder In The Sky, with its long held notes, expert blues phrasing, and changes of pace and style showed why Laurence Jones is so highly acclaimed as a guitarist. The Motown rhythm of Live It Up showed another side to the band’s style, as did the

Joe Bonamassa by Christie Goodwin

reggae of Something’s Changed. Two covers, Good Morning Blues, and JJ Cale’s Cocaine were well received by the audience, whilst a new song Never Good Enough was another showcase for the maturity of the band’s sound, and Jones' ever-evolving vocal sound.

An old favourite, Stop Moving The House with its Stevie Ray Vaughan flavoured guitar work and good time dynamic closed the gig, but the inevitable encore of Everyday I Have The Blues, a staple in the blues rock canon had a swinging groove, an a cappella section, some fiery guitar and keyboard playing, and provided an incendiary ending to a musical evening that had already provided enough sonic fireworks.

BEN MACNAIR

LOGAN’S CLOSE THE VOODOO ROOMS, EDINBURGH

15 TH APRIL 2017

Lights down, and Logan’s Close stroll on stage to the strains of the theme for A Fist Full Of Dollars. It may only be the Voodoo Rooms with the tickets costing a fiver, but they still believe in putting on a show. A rumble of jungle drums from Mike Reilly, and they’re off. Logan’s Close specialise in recreating the spirit of Beat Boom rhythm’n’blues, and they do it with style (check out the haircuts, skinny ties and winklepickers) and a devil may care attitude. But that doesn’t mean that they slavishly churn out covers. Sure, the middle of their set features versions of Baby, Please Don’t Go and Ray Charles’ What’d I Say, but they deliver them with a shed-load of brio, stimulating a psychotic reaction from the young folk down the front. What’s even more impressive though, is that their own songs fit in so well beside those classics that you can scarcely see the join. On Work

they instantly capture that scratchy 60s sound, with bonkers rock’n’roll guitar fills from Carl Marah and clever vocal harmonies. Vision Of Beauty is funkier, sporting a terrific middle 8, and they even essay a Latin vibe on Dance In The Dark. Marah combines well with Scott Rough on front man duties, the latter conveying a laid back, tongue in cheek charisma in addition to his rhythm guitar and spot on lead vocals. Meanwhile Reilly’s drumming is sharp as well as energetic – and his eight bars of silent drum solo is typically knowing - while 18-year old Ollie Burdett looks increasingly confident on bass. Coming down the stretch they crank out plenty more floor-shaking stuff. Ticket Man celebrates the fare-dodging habits of small town youngsters visiting the big city, with Marah weighing in with some wild harp. Come On Pretty Lady is summed up by its bop-shoo-wop vocal interjections and Marah snapping a string because, as Rough says, “he rocked too bloody hard”. The launch of their single Listen To Your Mother is the pretext for this bash, and it lives up to the billing in sassy fashion, while their encore is a typically danceable R’n’B treatment of Every Day I Have The Blues. Fun fun fun. Bop-shoo-wop. And for that matter a dollop of a-wop-bopa-loo-bop-a-lop-bam-boo. I know it’s only rock’n’roll, but I like it.

IAIN CAMERON

THE JIVE ACES

LICHFIELD GUILDHALL

12TH MAY 2017

With their canary yellow zoot-suits, sharp, brass heavy sound, and repertoire of some of the most toe-tapping songs from the past 50 or so years, The Jive Aces showed an appreciative, and large audience why they are one of the leading ensembles in their packed field when they played at Lichfield

Guildhall on Friday May 12th.

The line-up of Ian Clarkson on Vocals & Trumpet, double bassist Ken Smith, pianist Vince Hurley drummer Peter Howell, saxophonist John Fordham and Alex Douglas on trombone were joined by guest singer Amy Baker, to show both the musicianship and stage craft that the band have developed since their first gigs in 1989. Sixteen releases, and an impressive showing on Britain’s Got Talent have kept the ensemble in the spotlight, but it is on the stage, where their clear love of the music is most evident.

Much of the music was fast, designed for dancing, and the heavy hitting drums and double bass led the charge through such songs as Jive, Jive, Jive, Choo Choo, and Boogie Country, whilst singalong opportunities were provided in such songs as Mack the Knife, and Bugle Boy of Company B, which showed the pure vocals of too best effect.

Glenn Miller’s In The Mood showed the ensemble brass to great effect, as did Tuxedo Junction, whilst three big hitters in the feel-good Bring Me Sunshine, Wanna Be Like You from the Jungle Book soundtrack, and Singing In The Rain showed the humour of the group, alongside their seriously finely honed musical skills. Fish Fingers was a jump boogie number, that was prefaced by a master-class in piano playing, and stage jumping from Vince Hurley.

BEN MACNAIR

The Jive Aces by Ben McNair

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