ife In The ungle The Magazine of the Official Walter Trout and the Radicals Fan Club
Fan Club 10 Anniversary th
Life In The Jungle The magazine of the official
Walter Trout and the Radicals Fan Club ISSN 1363-9269 © 1997-2006 Walter Trout Band Fan Club All photography copyright of Richard Boyles (unless otherwise stated) Membership period will be for 4 magazines, which are published at approximately 3 monthly intervals. The club reserves the right to vary the publication dates so up to date information can be included where possible. Membership subscription rates: Euro * US Dollars * Pounds Sterling * including currency conversion charge UK £ 11 Rest of EU £ 13 € 20 * USA £ 15 $ 30 * Non EU and rest of World £ 15 $ 30 * All payments (membership subscriptions and purchases) to the fan club can be accepted in any major world currency. Just add a £2 bank conversion charge per transaction. Totals for most common currencies are shown in the table above and * include the £2 conversion charge where appropriate. A conversion calculator is available at www.thisismoney.com Credit card payments can be made with PayPal the web site at www.waltertrout.com or send your personal Cheques/Checks payable to Walter Trout Band Fan Club and mail to Walter Trout Band Fan Club PO Box 60, Corby, Northants, NN18 9PT, England, UK e-mail Internet
Current number of web site visits 971,846 Current membership is now up to number 546 in 12 countries UK, USA, The Netherlands, Sweden, Denmark, Germany, France, Norway, Republic of Ireland, Luxemburg, Canada. (in order of number of members in each) When contacting the Fan Club, please and quote your membership number UK Data Protection Act, 1994: Members names and addresses will be stored on a computer for magazine mailing purposes only. If you have an objection please notify club at the above address. Addresses will not be disclosed to any other organisation for any reason.
Walter Trout and the Radicals Fan Club ___________________________________________________________________________
Contents Cover Cover 2 3 4 7 10 19 25 Cover
Cover photo is the Fan Club 10th Anniversary Special Edition CD Membership details and addresses Contents and booklet from 10th Anniversary CD Vegas Live President's Page with news and comments Discussion with Walter about the 10th Anniversary CD Vegas Live Walter chats with Danny Bryant and Richard about the new CD Full Circle Interview with Walter about the new CD Full Circle George Lyonsâ€™ story of how he recorded 10th Anniversary CD Vegas Live Concert schedule Competition
Welcome to issue 40, the Fan Clubâ€™s 10th anniversary edition of Life In The Jungle which includes your exclusive CD called Vegas Live and an exclusive interview with Walter about his latest CD, Full Circle.
Richard Boyles Fan Club President:
10th Anniversary CD Vegas Live
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Walter Trout and the Radicals Fan Club ___________________________________________________________________________
President's Page Welcome to the tenth anniversary of the Fan Club and the 40th edition of Life In The Jungle. This issue is mainly about two CDs. Both are exceptional pieces of work on so many levels. Walter talks to me about the new CD Full Circle which is so different from his previous work and absolutely fantastic and really catching everyone’s attention. It debuts at #2 on Billboard Blues Chart in USA and at Amazon, the Internet store, it was running at #88 on the "all music" sales ranking just 24 hours after initial release! That’s ALL MUSIC purchased in case you missed it. The second CD is a gift for you of Jimmy’s last performance. I’ll talk about that a little later. I remember when Marie and Walter first asked me to run the Fan Club; I was surprised, honoured, excited and scared all at the same time. I thought how can I do this? What shall I write? Will anyone join? If it’s too successful how will I cope? (Marie laughed at that one). As each edition draws near I have panic attacks thinking what shall I write, will I have enough material to fill twenty four pages? So far it has worked and in this edition there is an extra four pages as I just had too
much material. But it’s time to celebrate! About one quarter of the current membership has been members for the whole ten years. Thanks for hanging in there. It has been great meeting so many of you at concerts in the UK, USA and The Netherlands. As I always say, we are all fans of this great band; Walter Trout and the Radicals, I am just the person lucky enough to be able to pass on some great stories to share with you to help you know a little more of these great guys and people involved in making the band work successfully. As always, behind a great man is a great woman, Marie Trout, band manager, Mother, photographer and a really nice lady. By now I suspect you are reading this while playing the Vegas Live CD which will have fallen from these pages of Life In The Jungle. I wanted to do something special to celebrate the 10th anniversary of the Fan Club so I hope you enjoy it. There are so many people to thank for making this CD available exclusively to you… THE FANS The club runs on a very tight budget and I would not have been able to produce this CD for you without some financial help from Marie and Walter, plus all
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Walter Trout and the Radicals Fan Club ___________________________________________________________________________
the work and effort freely donated by George Lyons and Eric Kabik. Plus all the guys at the show in Las Vegas, Ben Labrador, Paul Petronsky, John Taggart, Bob Formica, A J Gross, Jay “Mongo” Brice. George Lyons will be a new name to you all and he tells his story on page 19. Thanks George. During the compilation of track listing for the CD, there were several e-mail exchanges about song number four. Nobody could figure out what the song was called. Eventually Walter listened to a recording of it and realised it is actually a song he made up on stage. He has decided to call it: Seems Like A Long Long Time. So now you have an exclusive, historic CD with a song nobody other than those at the show have ever heard before, or since. As this is the first CD I have produced, I had no idea how and where to get it manufactured and am grateful to Fan Club member and guitarist extraordinaire, Keith Howe of Blue on Black for recommending the company they use.
Thank you all A special thank you of course to Walter for donating the performance to the Fan Club and for being so enthusiastically
behind the idea when I suggested it. Here is our conversation which I recorded as part of the interview later in this issue. In June, the Fan Club has been running ten years and I am publishing issue number forty.
Wow. I want to do something special to celebrate ten years. I was thinking of doing a retrospective of the ten years, but I must include all your comments about Full Circle which will take up most of the magazine so I had an idea. You said to me many times that you’ve got songs recorded that you have never released. Would you give one of those songs to me so I could give it on a CD to the Fan Club members? It would be unique to the Fan Club members and not for sale anywhere.
That’s a great idea. I would have to find something. That’s a really great idea. It might have to be something live. Maybe we could take a cut from Jimmy Trapp’s last show and the fans could have it for free. I have some studio stuff but I don’t know where it is since we moved out and moved back in. One thing I know which would be easy to get hold of is… every time I play in Vegas I get recorded by a friend of mine who is a DJ on a public radio station and he can play what ever he wants so he plays my stuff. He’s got some really good live tapes
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and he’s the guy who has Jimmy’s last show in Vegas and that would be more of a piece of history for the Fan Club members. Maybe a couple of songs from Jimmy’s last show.
Let’s do that. I’ll ask Marie to call George in Vegas about it. Every time I play there he gives me a CD of the show and I don’t know where they are. He always sends Marie an e-mail asking if she has
Jimmy relaxing on stage Paradiso, Amsterdam, The Netherlands. May 13, 2003 Photo © Mark Hammett
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heard the CD of the show from last week? And Marie says “where is it?” and I go, “I don’t know”. I’m in the changing room changing my shirt and all sweaty and George walks in and hands me CDs and walks out and I don’t know where I put them. They’re in the guitar case, or in the suit case, or in the van... I don’t know where they are. I’m not good at that shit. (laughter). Jimmy’s last show, I’d be happy to do that. They deserve something like that. About one quarter of the membership is still there from day one of the club.
Yes, let’s give them a couple of tunes from Jimmy’s last gig. I remember on that show he did a bass solo and he hated bass solos, but he did one on Serve Me Right To Suffer, of course I didn’t know he was in the process of dying when he was trying to play his bass solo, and he is just going like this (Walter pulls a face) and I go “what are you doing?” and he yells “I HATE IT” (laughter) and I think it came out on the tape. That could be a piece of history (laughter). Here’s Jimmy doing a bass solo while he’s in the process of passing away ladies and gentlemen. I have to have a sense of humour about it or I’ll break down, there’s not much else I can do.
Thanks to the hard work of Golly Gallagher, Walter’s new UK Public Relations person, there is another Fan Club exclusive for you. I have 10 tickets available for you to be at the BBC recording of Walter Trout and the Radicals for a Bob Harris Radio Two programme. This will be at 7pm on Tuesday 3rd October 2006 at the BBC Maida Vale studios in west London. There is an exclusive invited audience of about 100 people. If you would like a ticket, just let me know. I will have to restrict it to two tickets per member and will draw the names at random from all applications. I need the name of each person attending. Deadline to apply is 1st September 2006. The promotion of the band in the UK and managed to get tracks from Full Circle played on the BBC Bob Harris and Paul Jones radio shows before it was released. Also on Radio Croatia – plays Midnight Special Blues radio [France] - plays review - La Mano magazine Phoenix radio plays review - Ditial Blues Blues Ears radio - Holland Bandit radio [internet] USA - plays review Bobje Blues [internet magazine] plays Anna Livia /Dublin Radio plays review - Blues Matters BBC Radio 2 / Alex Lester plays BBC B.F.B.S etc…
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After the concert at Cirencester on Thursday night, 13th April 2006, Walter invited Danny Bryant and me into his hotel room to listen to Full Circle on Walter’s MP3 player with a small set of portable speakers.
DB - I think that’s the best thing you’ve ever done. Yea… and totally unrehearsed. I just wrote some words about my first wife and said OK here we go, here’s a song. DB – Have you got anything for Jimmy on there?
John Mayall and Walter, 1986 at The Railhead, Las Vegas, USA
Playing She Takes More Than She Gives featuring John Mayall
They ain’t gonna believe that in Okalahoma. I have a hard time listening to that one. RB - Is John keyboards on this one? Yes. Keyboards and harp
No. I haven’t been able to do that yet Here comes Jeff Healey with a song inspired by a friend of ours who works his ass off and bitches about the rich getting richer in America and he can’t get anywhere. I went to Toronto and we sat in a room and played
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with his band. This is also with no rehearsal and the only thing I said was, on the end after my solo, let’s all go nuts and I’ll fade it out. We started going nuts with the thought of a quick fade and we kept jamming and jamming, then all of a sudden we went back into the groove and played an ending so I didn’t do a fade. Because it was ten minutes of me and him going off together at the same time, I had to do cut the guitars into pieces so it’s not just ten minutes of us… it was insane… I was looking at him… he wasn’t looking at me… he was just right there on the chair and he was just going crazy and I was going crazy. We thought it was going to fade and you’ll hear we just go back into the groove spontaneously. This is Eric Sardinas and I on acoustic. He was like you, I knew him when he was a kid and he used to come to my house and we’d play acoustic guitars so I told him he’s got to do what we used to do in the living room. So this is he and I and I’m also playing harp. DB - did you produce the CD yourself? Yes I did. I’m the only producer who started out with a nine minute slow blues. (laughter). This is Junior Watson. Bill Bateman from the Blasters and
Jonny Ray Bartell who used to be with the Red Devils and Mick Jagger and he’s playing upright bass. The Drummer used to be with the Red Devils also. It’s basically the Red Devils rhythm section, but he’s playing upright. This is a Junior instrumental and it’s really different for me. This was an experiment in a different genre for me, but check it out. I wrote a tune for Coco. This one’s the most produced. It’s got harmonies. It’s got guitar harmonies like the Allman Brothers. We used to do that in the Mayall band. Marie and I wrote a tune about in America they’ll tap your phone without asking. So it’s about a guy who’s on the road and he wants phone sex with his girlfriend and realises the governments listening in… It’s really funny. RB – They’ll be taxing that if it catches on. The next one is Joe Bonamassa. He’s been the nicest kid in the world to me. Respectful, nice. He said he just wanted to be on my record. Well he came in and we didn’t know what we were gonna play. He played through my little Boogie combo amp and we just did it, unrehearsed and then I wrote some words and we went back and did the vocals. While we were playing he looked at me and he was thinking “OK old
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fella, let’s see what you got” and I was looking am him thinking “well OK kid”. DB – I’ve got to go now, but it’s f-----g amazing playing. OK, I’ll play some more for Richard. When I was a little kid, about twelve, I had a step sister who married the number one rock and roll DJ at the New Jersey shore in Atlantic City. He was a late fifties disk jockey who I used to listen to in my home when I was ten and listen to him on my transistor radio and he’d be playing Little Richard and Jerry Lee. Those DJs in America back then were really rappers. They would do all this talking and it would all rhyme. My step sister married him and I never saw then after I was twelve. When I played in California last year they turned up. I hadn’t seen them in forty two years. She is still with him. He’s a little old guy now and he hasn’t been on the radio for forty five years. He’s a traffic consultant but he does tour and give lectures to broadcasters about how radio was in the fifties. I told him I remembered him on the radio. He was known as the guy who spins them and the fat cat in record land, his name is Larry Keene. I said I want you to come in and I want you to do some of what you used to do and I’m gonna put it on the
record. He said, “I could get more in the mood if I had music because back then we’d turn the music down and then I’d do the rap” So I played him that Junior Watson jump cut and he said “yea, that’s the one”. So he went off and stood in the vocal booth and we started this song and he said “the things called Full Circle, right?” and he said “OK, roll the tape, I’ve got something to say.” And this is what he did. This is the last track on the CD. This is one of the great disc jockeys of American history who hasn’t done it in forty five years turned loose on a microphone to talk about Full Circle. I love this. It’s my favourite cut. Just listen to everything he’s got to say…. Is that unbelievable or what? (laughter) RB - It’s amazing (laughter) he is so fluent, it’s incredible. Yes… Walter Trout and friends…we just went what?...... (laughter). His wife, my step sister, was weeping. She said I haven’t heard him do that before. I asked him to use his DJ voice and he never will. Now I have it and I can listen for the rest of my life. Here’s me and Bernard Alison doing one of his Dad’s songs and he used his Dad’s guitar. On this track I have Finas Tasby who was with John Lee
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Hooker and Freddy King and I were in his band years ago. I have Deacon Jones on B3 from Hookers band and I play harp. The guitar track on here I had done originally, but I brought Finas in to sing it and changed it around a little bit. I really like it
these genuine looking blues guys and I’m this kid with all this blonde hair, it’s a pretty funny photo. From that kick back blues we end the music on the record with Bonamassa and me freaking out!! (laughter).
and I played a really nasty distorted guitar rhythm. So this is raunchy; almost like the Sex Pistols play the blues. Old black Deacon Jones needed a cut so here comes Deacon on the Hammond B3, he’s the master. I’ve got a photo from ’79 with me in Finas’ band with Deacon and we’re all standing on a locomotive and I’m the only white guy. They are
Interview with Walter Trout about the CD Full Circle Cirencester, England on Friday 14th April 2006. This morning I put on the Jeff Healy cut and it blew my mind. I was like… wow, did I write that? It’s F……g cool. It kinda freaked me out. I’ve been so focused that I haven’t been
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able to sit back and just check it out as a person listening. Yes. I was the same in the past when I did photography, I did audio visual shows, slides to music, and you spend so much time making tiny little changes to get it right, by the end of it you hate it. Then you take time out and look at it again and then you like it.
Yes, you’re focussed in all these little details and you get all analytical and you don’t just look at it as a person, but it’s just starting to happen to me.
looks interesting you click on it. I saw this one called Mad Dog and it has this big room with a drum riser in the corner and in front of that they had about ten beautiful vintage electric guitars on stands and it looked like it was made for guitar stuff. I called them to start with and asked them their rate, and it was an incredible rate and the guy on the phone said we will put you with our engineer Eric. So Marie and I went up to meet him and see the studio and it’s
Danny and I walking in last night and hearing it for the first time, it was amazing, and Danny was knocked out with it as well. He wanted to stay all night.
I was on the phone again last night to Eric Corne who is the engineer and he is a really good find I have made in LA, he’s just incredible. He just gets amazing sounds. He’s a young guy but he just loves this kind of music. Eric has a big part in this. This whole thing fell into place easily, with no problem. I didn’t know any studios in LA who want less than three thousand dollars a day, these big super studios you know. So I went onto the internet and there’s a place call www.studioexpresso.com; it’s a web site of all these different studios and it has a picture of the main room in each studio. There are about forty studios and if one
pretty funky, it’s big but it’s…. how can I put it… a lot of the studios I have been in, for example Ardent in Memphis is all pristine and beautiful and you are scared to spill a drop of your drink on the floor and it’s very kinda pretentious and you get very nervous and this place was like being in somebody’s living room. There’s lava lamps and it’s funky and it had a good atmosphere for getting some guys together and jamming which is what my original thought was.
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Then we met Eric who was this nice young fella and what kinda clinched it… he’d never heard of me… was when I said we’re gonna bring some players in here and we’re gonna sorta jam on a blues record. I have to say the day I was there, there was a session going on and all these guys were sitting around smoking pot, and I said to Eric “look, if I’m in here and I bring in John Mayall and there’s pot going on he’s going to leave” and Eric went “John Mayall… you mean THE John Mayall?” and I went “yea”. “Oh my God… will he sign my record?” Then I kinda knew I had good engineer who understands this kind of music who hasn’t been recording hip hop. This place specialises in roots music. They do a lot of alternative country music. Dwight Yoakam records there and Lucinda Williams what the call “alt country” song writers. When I talked with James Harman and told him the name of the studio he said “yes, I record there all of the time”. I called up Deacon Jones and told him the name of the studio and he had just done a record there. It specialises in this stuff and it worked out great and Eric is awesome at getting guitar sounds and drum sounds. He really understands what this stuff needs. I was on the phone with him again last night, him
talking to Marie, Marie talking with me and me talking to him about different mixes we are gonna change. They are going to master the thing tonight and he’s going in all day on his own to remix certain things, and to set up for a re-mix takes an hour because they document how the board is set up and what the out board gear is and he is gonna redo songs. On one song he says “I need to turn your guitar up half a decibel” You know, that’s really getting into it. He’s doing it on his own, he’s already been paid, it’s done, but he just wants it to sound really good. He’s great, he’s really good. I think I’ve found a studio and an engineer in LA that I can use now which I never had before. Does that mean you will stick with LA and not go to Memphis?
Probably. It’s really nice and it means I can drive home. If you were to do another WTR studio record would you get Jim Gaines in?
I don’t know. I’m kinda liking doing it myself. Of course one thing Jim Gaines would have told me is that all your songs are like eight minutes long and you’ve gotta cut them down and I have to say that on this one, excuse my French here, “I didn’t give a shit”. They say that if a song is over two and a half minutes long it won’t get air play.
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I don’t give a shit. I was trying to make a record with my friends. Bring them in and let’s play, let’s write, let’s compose some music and play it and let’s not worry about any commercial considerations here. All those other records, I’ve cut the songs down and made them shorter and done this, and done that and they don’t get air play anyway. Nobody plays this shit on the radio over there any more unless it’s satellite radio. XM and Serious, both have blues stations and they play me all the time. Or unless it’s blues and jazz radio stations which are all over the country and most of them play me too. I’m starting the CD with a nine minute slow blues and that’s unheard of, but I don’t care and I’m ending it with a 1950’s disc jockey!
when I was a little kid I’d be listening to him and he’d be playing Little Richard and Chuck Berry records and he was the guy back then. He was at the birth of rock and roll, he had a piece of it, he was the guy who was playing it on the radio in New Jersey. It just happened to be a coincidence that he married my step sister, and then I didn’t see him for forty years. So I got him to do it man… it is unbelievable (laughter)
I’ve just heard both of them and they’re brilliant.
Even when I was going to do Mosaic I was going to bring in friends and jam. I still want to do an album called Mosaic but I’ll tell you the problem I have. Both Thomas Ruf and my management said the first album you release after Relentless can’t have a picture of the Mosaic on the cover as it’s going to look just like Relentless in the CD stand. You just put out a CD with a close up picture of your guitar and that would be another picture of your guitar. The Mosaic is beautiful but you will
The disc jockey is unbelievable isn’t he? You told me the story before you played it, but people who just put on the record will go… What!!! (laughter)
Here’s the thing though. I’ve written all these extensive liner notes about every musician on there and I have written a paragraph about them. Where I know him from, who he’s played with and that kinda stuff. The disc jockey, Larry Keene, I’ve written a long thing about how
You would think he was still twenty years old (laughter)
Yea. To do all that and bring it right to the end of the song… it was remarkable. How did you come up with the idea for the album with friends and not the original idea you had back in September with a normal studio album called Mosaic?
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just have to wait a while before you make that a cover. That made sense to me. So then I started thinking differently. I told my wife, I don’t feel like sitting down and writing twelve songs. Rehearsing twelve songs with the band. I’ve done fifteen CDs this way and I just don’t feel like doing “here’s Walter and his band doing twelve new songs”. My original idea was to bring in some friends of mine and we’re gonna jam on old blues songs and we’re gonna do a guitar record with whoever I can get. Bonamassa, Jeff Healey or whoever and we’re gonna jam and play them in our way. That’s how it started and it kinda changed when these guys started coming in, instead of doing old blues songs it just transpired that we would sit down and write songs together, or I’d think to myself… OK… tomorrow I got Guitar Shorty coming in, I’ve done a lot of gigs with him, I very familiar with him and I’d think… what song would work well for him, and I would just write a song with him in mind, and it would come out real quick. They’re not epics, I’m not trying to come up with Bob Dylan lyrics, they’re blues songs. But each one of them was written with these people in mind, like the Jeff Healey tune. I thought long and hard about coming up with a
groove that was his kinda thing to play on and some of these guys like Joe Bonamassa, Eric Sardinas, John Mayall, Junior Watson and James Harman, with all of them, they came in, we set up and we looked at each other and said…what are we gonna play? Then we’d sit down and come up with something and just play it. It’s all unrehearsed. Most of the songs on this record we’ve never played before. You’re hearing us learning the songs, but it keeps it kinda exciting I think. I wrote the Coco tune specifically for him so we could do some guitar harmonies and vocal harmonies because he and I have that history as we did that in the Mayall band. Every night we used to do a song on our own and we’d sing together and do harmonies and do all that stuff. So I had that idea and I had the melody and when I came up with the concept of the wire tapping in America, Marie and I sat down and wrote it in the studio. They were all sitting around. Coco was there. Victor the Cajun was there with a big vat of gumbo, and my kids were there and they were running around and making noise, so Marie and I went in the drum isolation booth, closed the doors and sat down and wrote the words and said OK we’ve got a song now… let’s go.
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Walter Trout and the Radicals Fan Club ___________________________________________________________________________ How is Victor? He was in Iraq sitting in this little room I had my last year wasn’t he? video camera and I focussed it
Yes he was in Iraq. He’s OK, but is a little mentally affected by his experience over there. He’s having some post traumatic stress syndrome and he’s getting some therapy and having a hard time sleeping, but he’s as funny as he can be and he’s such a sweet guy, a great guy. He catered the sessions and showed up with big vats of gumbo and stuff. Kept everyone well fed. They were really fun sessions. My kids were there running around. It was great fun. I know you went up to Canada to do the Jeff Healey song, but were all the others done in this studio?
Yes, everything else was done it that one studio. When Jeff Healey agreed to do this, I had him on the phone and he said, “I really hate travelling. Tour is a four letter word, so there’s two options we can do. You can either record a track and send it to me and I’ll play and sing on it, but probably the best way to do this is if we all sit in the same room together”. Well that’s what I had in mind anyway. He said “if you want to come up to Toronto, I’ll get my band, and I’ll get a studio and I’ll have it all ready and you show up and we’ll go for it”. So I flew up there. He has a great band. When he was recording that track and we were
right on him so I have this great footage of him and can see how he plays. Then he recorded his vocals. (laughter) He was supposed to be singing “the man is getting richer and he’s got me working overtime” and he sings “I’ve gotta sing it again I really f….d up that line” (laughter) and he sings it perfectly (laughter) and everyone starts cracking up. (laughter) How was the session with Joe Bonamassa?
It was awesome. He came in the day Mayall was there. So we had John Mayall and Joe on the same day. He used one of my little combo Boogie amps which my wife bought me. He brought in a beautiful 1958 Les Paul. Turns out his father was a guitar collector. Joe has his father’s collection. He’s got hundreds of vintage guitars. I looked at him and said, “wow man, isn’t that guitar worth fifty grand now?” He said, “I hate to tell you this but a ’58 Les Paul is now worth two hundred grand”. I said “you’re kidding me” and he laughed and said, “yes, I could sell this and buy a house”. He goes, “I’ve got a bunch of these from my dad, I’m just lucky I have all these guitars. I bought a Les Paul as I know you are going to use a Strat so this way we’ll
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have some different sounds”. He’s quite a brilliant young kid you know. Richie Hayward and Rick were there and we’re all going… what are we going to do? What are we gonna play. I’m like… I don’t know. But I knew that Joe, of all the guys who were coming in, was the one who could go over the top like I’m known for doing. Let’s not play some blues, let’s just go off, let’s Hendrix out… I wasn’t sure what we were going to play, I had no idea and Joe was checking the amp and setting the tones on the amp and he was playing with one hand and was going da, daa, da, and played again da, daa, da (Walter was singing the sound here ) and I say “that’s a good lick”. Joe says “it’s not a lick; I’m just checking your amp”. I said “OK, this is what we’ll do. Do that lick over the one, do that lick over the four, and instead going to the five, we’ll go to a D chord, then we’ll go to the four chord, then we’ll do the walk up back to the one”. This is musician talk, and I looked around and said do all you guys understand and they went “yea we got it; we’ll do the lick over the one, over the four, D chord, four chord, walk up back to the one”. I said we’ll play an intro, I’ll sing a verse, you sing a verse, you do two solos, I’ll sing a verse and do two solos, then we’ll jam on the one and see
what happens. All we did was discuss it and we looked around, I started the lick and the band jumped in and what came out, is what came out. That was the first and last time we ever played that song. Joe and I just stood there two feet from each other just going at it and I think for me it is some of the best playing I have ever done on a record on that cut. That kid is just awesome. That kid’s the real thing you know. He’s been on tour since he was twelve and he’s in his mid twenties and he’s a veteran of this stuff. He is also the nicest, humble, well mannered young fellow and he just plays unbelievably. He really is something else. He is going to go far. I’ve done shows with him in the States and I have a festival coming up with him in the summer and I think he and I will get up and do that song if we can remember it because we only played it once! (laughter). I was going to ask how did you choose the artists, but you already answered that by saying they were all friends.
It’s really friends. There wasn’t one person on there I didn’t know apart from the drummer from the Red Devils on the Junior Watson cut, but I knew about him and Junior is an old friend of mine for thirty years. I’ve known Junior longer than I knew Jimmy. Johnny Ray Bartel
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who is the bass player on there is a good friend of mine and a neighbour and they both recommended this great drummer we’ll bring in and I said OK. The drummer with James Harman I’m a fan of and I’ve seen him do shows with John Hammond, Tom Weights, but I had never played with him, but I met him in Finland at a festival. The only other musician on there which was my first time meeting was James Harman’s bass player and that was because James said “how about I bring in my rhythm section that I use on records?” You said Rick played on a few tracks. Did Joey and Sammy play also?
My band plays on two tracks. They are on the Bernard Allison cut and they are on the Coco Montoya cut. But I really didn’t want to use my band, I wanted it to be guests, I wanted it to be something different. Rick ended up on a lot of the cuts at the request of Richie Hayward. I had another bass player on line who is a famous LA session guy who I’ll not name. Richie Hayward called up and said “OK, we are in the studio next week, right?” I said yea man; we’ve got Mayall, Bonamassa coming in. We got Guitar Shortie, it’s gonna be fun. He goes, “who’s playing bass?” I named this fella who has all these credentials, and
there was silence. I said what do you think? Richie says “Well he’s not funkiest guy I know. Who replace Jimmy? Who’s in your band? Who’s he played with?” I told him Rick Knapp. He’s played with Sam Lake, Kerry Bell, AC Read, Eddie Shaw all these old black blues guys and Richie goes “That’s the guy! Get him”. So I had to cancel out the famous bass player. Rick is on half the album and he sounds just great. He’s on all the cuts with Richie and he’s on the two cuts with my band. He’s on eight out of the twelve songs. There is always is a close musical connection between the drummer and bass isn’t there?
Sure. When Richie didn’t like the idea of working with this famous session player, then I thought I was going to have to cancel the guy, and since we are jamming and not even rehearsing, they have to get along musically. One track is acoustic with Eric Sardinas, how did that come about?
Well. He’s a neighbour of mine. He is almost like Danny Bryant in that I have known him since he was a kid and he used to come over to my house when I was in Mayall’s band and listen to music and play acoustic guitar in the living room. Eleven or twelve years ago I tried to get him a record deal with Provogue
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and they turned him down. I produced a session, and Bernie Pershey and I recorded with Eric and we did eight of Eric’s tunes, we backed him up and I sent it to Provogue and we took eight by ten glossy’s of him and Marie wrote a bio and I was going to produce it, but they turned him down for which they are kicking them selves now. But he’s doing great now all over the world and he is really known for playing slide through big Marshall amps and when he agreed to this I said “look man, let’s do what we did in my living room. You fans have never heard you play just acoustically and I know what you sound like when you are sitting down with two acoustic guitars” and he was all for it so he showed up and said “what are we going to do?” I said “I don’t know”. We walked outside the studio and said “it’s so hot today”. I said “yes”, then he said “hot… fire…fire…woman…that woman’s on fire. She a hot woman…she’s on fire… fire house… fire house mama… there’s a title”. So we went in and we sat down and we wrote lyrics for about ten minutes. Really funny stuff I think. That woman’s smoking from her head down to her toes, the only way to cool the fire is to use your fire hose. (laughter) We just had a ball. We wrote it and we sat down with acoustics and we came up with a
groove and we played it, then I over dubbed the harp. But it was really very spontaneous. We were doing that and Coco walked in. Coco can say stuff with his sense of humour which most people couldn’t say. Eric Sardinas has a big black beard and Coco walked in and looked at him and said “ Hey Eric Sardinas, when did you turn into Jim Morrison?” Everyone laughed, and even Eric laughed his ass off. I couldn’t have said that to him. He would have said “I’m leaving” It was funny. We had a really good time with all these musicians little kids running around and gumbo being cooked. It was really a lot of fun and I think it comes through on there that we were having a ball. I’m really looking forward to hearing it when it’s complete. So am I (Brenda). So am I (Walter). I should have come in last night. (Brenda)
Yea, I didn’t want twenty people coming into my room and hanging out, but you would have been, of course, welcome. Last night I thought “I should have played this for Brenda”. As soon as it’s printed up you’ll get copies. I have covered everything about the new album from your perspective especially for the Fan Club members.
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tour with The Grateful Dead, and this made me even more curious about Walter Trout?! Let's back up a few years The `VEGAS LIVE' project to give you some background. I actually started in 1989 when I started recording live concerts in first met Walter Trout at one of 1979 with small cassette his gigs in Long Beach, recorders and portable California. My friend Tom Darien microphones, and as technology had told me about a guitar player progressed I tried to make the that played with John Mayall & best concert recordings possible with the consumer equipment from which I had access. By the time I started seeing Grateful Dead shows in 1981 I was already a "lowtech taper" (The Grateful Dead actually started allowing â€œtaping/recording live concerts in 1970). When I realized that The Grateful Dead actually allowed people to record their concerts, and I George Lyons and the band saw the at The Railhead, Las Vegas, USA "professional" March 11, 2005 Photo ÂŠ George Lyons equipment people The Bluesbreakers, that now were using, I had to upgrade to played regularly with his solo better equipment immediately. band just down the street from This is where I met other "tapers" where I lived in Huntington like Tom. All of us helped to Beach, California, his name was form the foundation for what has Walter Trout. Tom told me that become the standard for live Walter then allowed people to concert audience recording to record his live shows, you see this day. we were "Deadhead Tapers" on
George Lyons explains how Vegas Live CD was created. June 29, 2006
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By the time 1984 rolls around, The Grateful Dead establish the first "official" live concert taping section" in history! (Berkeley Community Theatre, Berkeley, California – October 27, 1984 – I was there!) I had become part of this group of “tapers”, and we were all perfecting the art together by experimenting, comparing tapes, bringing in new equipment and having fun! Skipping forward to 1989, by this time I had become pretty good at what we were “all” doing, but rarely could find a band willing to let us set up our equipment at their shows and record, other than The Grateful Dead......enter WALTER TROUT! Tom tells me that Walter would allow us to tape EVERY SHOW if we please, and Tom started doing just that at Perq's on Main Street in Huntington Beach (Perq’s is still there and Water Trout, to this day, continues to play on a stage so small you would not believe it!!). Perq's was about 1 mile from my house & I would come down to help Tom set up his equipment, we would hit record, and Walter would play 4 sets!! This went on for months until Tom stopped bringing his recording equipment to Perq’s, and I started to bring in mine. The first tape I have in my rack is dated December 9, 1989, but I know there are plenty from the previous months!
After a while I started bringing in a second tape deck to record Walter a "master tape" and deliver it to him as soon as he got off stage. Walter told me that he liked it because he would go home and listen to the tape after the show to "wind down". These tapes ultimately became "work tapes" for Walter to critique his own performance and band, as he was not able to hear the audience mix during the show... I liked that aspect and eventually Walter and I would sit together and critique some of the performances. During this time, many nights, I would drive Walter home after the gig at Perq's and we would sit and listen to tapes. Needless to say, “The Catalog” grew as I audio & video taped Walter through the years. THE VAULT IS THICK! Back to the present time, I moved to Las Vegas in 1996 and my ability to see Walter Trout was hindered to say the least! In early 2000, Walter started playing in Las Vegas at `The Railhead' - Boulder Station Hotel & Casino (about 1 mile from my house!). I showed up the first night unannounced to surprise Walter, but I also brought my taping gear! I plugged into the soundboard, and once again, the rest is history! After 6 years of recording every set in Las Vegas, Walter and I had begun to discuss the high quality of
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these recordings, and that maybe he should do something with them. Then Jimmy died! Jimmy
guy, great bass player, and damn good fisherman (NO MORE FISH JOKES!). The last thing I told Jimmy was that I had a great recording
Walter and Jimmy at The Railhead, Las Vegas, USA May 26, 2006 Photo ÂŠ George Lyons
friend; I met him when I first met Walter in 1989. Jimmy was so damn funny it hurt! If you ever met Jimmy you know what I mean, if you didn't I can tell you that James Trapp was a great
of that nightâ€™s show and that I would burn him a copy and have it for him the next time he came to Las Vegas. His response was "Thanks G-orgi"! I gave him a
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hug and went home to review the recording. "LIFE IS SHORT!" Since 1998 I have had a radio show in Las Vegas called `The Lyons Den' on KUNV 91.5FM, and have played Walter Trout religiously since day one! When we realized that the final performance that Jimmy ever did was in Las Vegas on May 26, 2005, `The Lyons Den' aired the entire concert on the Sunday night following his passing in tribute to the man. I have been playing complete live Walter Trout & The Radicals sets from Las Vegas on my radio show as they have been recorded since 2000. WE BRING THE TROUT! `VEGAS LIVE' dated May 26, 2005 is taken from the 2nd (& final) set of the night. The "Boulder Blues Series" is an ongoing Thursday Night blues concert that features some of the premier touring acts in the U.S.A... Walter Trout & The Radicals have been featured anywhere from 1 to 4 times in a year since 2000, and it's always a great show. The Railhead holds about 500 people and has great sound & video. Walter Trout’s audience in Las Vegas has steadily grown since his first show at The Railhead in 2000. May 26, 2005 found The Railhead packed to standing room in the first set with Walter Trout & The Radicals doing their thing! By the time the second
set rolled around there were still a good 300 people in the room for what ended up being the final set Jimmy Trapp would ever play. There is a reference on the CD to "Bobby D." Bobby Daniels was a Huntington Beach local I met through Walter at Perq's in 1990. Walter, Jimmy & Bobby D. had been friends for years, and Bobby became one of my close friends too. Let's just say that Bobby D. was one of the "Heaviest Cats" I have ever met, `NUF SAID! Bobby called me about a week before this gig, as he had then been living in Albuquerque, New Mexico for the past few years. He told me he was going to surprise Walter & Jimmy at The Railhead on May 26, and to “not tell them”. Bobby showed up and it was certainly a surprise/reunion of sorts, but you could never pin Bobby D. down in one place for very long, and before we knew what happened he was gone again. I can remember Walter asking me after the show, "Did you see Bobby D. leave?” My response was that I had seen him walk out and he did not come back, just like I had seen him do so many times before at Perq’s. Bobby Daniels ultimately died of heart failure on August 13, 2005 (13 days prior to Jimmy Trapp’s heart failure). I never saw
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Jimmy Trapp or Bobby Daniels again after May 26, 2005. “CAN YOU MAKE IT? ARE YOU MAKING IT? MAKE!....aduh-duh-duh-duh-duh!” REST IN PEACE MY BROTHERS!!! (THIS ONE’S FOR BOTH OF YOU!!!!)
`VEGAS LIVE' represents Walter Trout & The Radicals at their finest moment in Las Vegas to date, and the crowd reaction says it all, "YOU GUY'S ARE FU**ING GREAT!” This recording was taken directly from the soundboard onto 2 track Digital Audio Tape (DAT), and transferred to
When Richard Boyles & Marie Trout notified me of the intent to release Jimmy's final show as part of the 10th Anniversary Special Edition of the Walter Trout & The Radicals Fan Club, I was not only thrilled, but honored. I have been audio & video recording, photographing & archiving Walter Trout for some 17 years now, and I personally consider Walter Trout to be one of the greatest guitar players on Jimmy and George at the SanDiego Street Scene, CA, USA the planet (not to September 09, 2000 Photo © George Lyons mention one of the computer using Sound Forge. I QUALTY human beings I have then spent quite a bit of time ever met!). Walter always say's getting all the audio & separation "Well thanks Georgio", when I levels proper for CD production say things like that (where he (more than you think!). There gets "Georgio" from, I will never has been no remixing to the know??) audio in any way other than
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equalization for proper CD audio (and a small amount of silence during guitar tuning that has been edited out, maybe 50 seconds). I think it's pretty good, I hope you like it! This is the first complete production of it's kind, and I would like to thank everyone involved, especially Eric Kabik who did all the graphic design work with the provided photos I shot that night. Eric Kabik is a very talented Graphic Artist and Internet Design Expert in Las Vegas. More of his work can be found at www.digistockdesign.com. After all is said and done, Walter and I were talking the last time he was in Las Vegas, and I told him that I had figured out that I had seen him perform about 600 to 1000 times, depending on how you count and how messed up I was at the time (but whose counting, or can!!) This made me realize that 14 years on the road with The Grateful Dead & The Jerry Garcia Band ONLY had me seeing Jerry Garcia about 400 to 450 times. "Who's your daddy now", I thought! I already knew this!! The journey with Walter Trout continues, and I can only hope that `VEGAS LIVE" is the "tip of the iceberg" of more things to come. With Full Circle just
being released, this is a nice live dose of the recent past. "LET THE VAULT BE OPENED, THERE'S PLENTY MORE!!!" I would like to personally thank all of you fans for believing in Walter Trout's music! For almost 20 years now, I have believed WALTER TROUT will take his rightful place in the hall of great guitar players, and I continue to watch it happen. It's FANS LIKE YOU that make it happen; the people make the music bigger, TELL ALL YOUR FRIENDS! I can only hope you dig this live disc as much as I do, I think it's AMAZING, but you be the judge. Richard Boyles does this out of a "labor of love", as do I, but don't forget to THANK RICHARD for this great gift of music that he decided to have me put together for all you fans. This is Richard’s project, I just did my part! “YOU DA MAN RICHARD!” THANK YOU to The Trout and Trapp Families & The Radicals, without you none of this is possible. Take care of your Brothers and you’re Sisters, but most of all take care of Yourself! MUSIC IS THE HEALING FORCE
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Full Circle Tour Dates 2006 check with venue before traveling, all subject to change! July - USA - Canada
October - Europe - UK
US - Woodland, WA
Woodland Blues Festival
UK - Exeter
US - Snowbird, UT
Snowbird Rock & Blues Festival
UK - Frome
Phoenix Arts Centre 01392 667080 Cheese & Grain 01373 455 420
UK - Tavistock
US - Deming, WA
Mt Baker Blues Festival
UK - Norwich
US - Tacoma, WA
US - Oroville, CA
Feather Falls Casino
UK - Morcambe
US - Sonora, CA
Fire On The Mt Festival
UK - Manchester
0161 832 1111
US - Minot, ND
Minot State University
UK - Colne
US - Fargo, ND
Fargo Blues Festival
UK - Southport
US - Wausau, WI
Wausau Blues Festival
UK - Sheffield
0114 279 9090
US - Superior, WI
Bev's Juke Joint
US - Appleton, WI
US - Des Moines, IA
Blues On Grand
US - Milwaukee, WI US - Thief River Falls, MN US - Clearlake, IA
UK - Cleethorpes UK Wolverhampton UK - Melton Mowbray UK - Nottingham
Seven Clan Casino
UK - Newcastle
UK - Edinburgh
The Exchange 0131 477 3500
UK - Glasgow
Renfrew Ferry 0141 429 1010
UK - Fleetwood
The Marine Hall01253 770547
August - USA
September - USA 02
US - Redding, CA
Harley Davidson Convention @ Redding Civic Ctr
US - Winterpark, CO
US - Canon City, CO
Belvedere Blues Festival
October - Europe - UK
BBC recording. Tickets available by invitation only
Melton Theatre 01664 851111 Rescue Rooms0115 958 8484 0191 260 2020
November - Europe - The Netherlands - Belgium Germany - Denmark 01 NL - Tilburg Tilburg-013 02
NL - Groningen
NL - Hellendoorn
NL - Amsterdam
BE - Verviers
Spirit of 66 tbc
DE - Lorsch
DE - Berlin
DE - Esslingen
DE - Siegen
DE - Aschaffenburg
DE - Remchingen
DE - Gelsenkirchen
DE - Hamburg
UK - Southampton
023 8055 5366
DE - Hannover
UK - London
020 8961 5490
DE - Bonn
UK - Deal
UK - Cardiff
DK - Odense
Harmonie north of Germany (on the way to Denmark) Magasinet
UK - Aylesbury
DK - Aarhus
DK - Copenhagen
UK - Milton Keynes
DK – Esbjerg
UK - Worcester
Huntingdon Hall 01905 611427
01908 280 800
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Competition Page Issue 39 Competition - Question: In which city was this special version of Go The Distance recorded? Answer: St Louis at Four Seasons Media Productions The prize is a signed copy of the CD single Go The Distance There were six entries of which only two were correct and the winner selected at random was Pete Edwards, Stamford, England Issue 40 Exclusive give away I have 10 tickets available for you to be at the BBC recording of Walter Trout and the Radicals for a Bob Harris Radio Two programme. This will be at 7pm on Tuesday 3rd October 2006 at the BBC Maida Vale studios in west London. There is an exclusive invited audience of about 100 people. If you would like a ticket, just let me know. I will have to restrict it to two tickets per member and will draw the names at random from all applications. I need the name of each person attending. Deadline to apply is Friday 1st September 2006 I do not know when the programme will broadcast, but probably on a Saturday night in October.
The band at The Stables Milton Keynes England Photo ÂŠ Richard Boyles
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Walter and some friends
Life In The Jungle The magazine of the official Walter Trout and the Radicals Fan Club PO Box 60, Corby, Northants, NN18 9PT, England www.WalterTrout.com