01 - Blues Matters

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THE NEW
INTERNATIONAL BLUES,
BLUES/ROCK &ROCK
REVIEW M AG AZINE
editorial address :
P.O. BOX 727
CARDIFF
CF4 1YQ
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Editor:
Alan ‘D’ Pearce
Contributors :
Tim Pratt
Jean-Claude Mondo
John O’Leary
Alec Prade
Neil Slaven
Lance Pedaar
Mike Nind
Alana Dere
Joe Geesin
Steve Nicholson
Pete Feenstra
N.B. . Original material in this
magazine is copyright © the
authors. Reproduction may
only be made with the prior
consent of the Editor and provided
that acknowledgement of
the source is made and copy
sent to the editorial address.
"BLUES MATTERS !"
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“BLUES MATTERS T
B.M. will be issued 5 to 6
times a year depending on
number of CDs to review. If
we get enough support then
we will ensure a regular six
issues and aim for the magazine
racks too.
We currently go out to twenty
countries !
All opinions expressed in
these reviews are those of the
writers. ( in print that wont
strain your eyes!)
We hope that we bring you
music that’s new to you with
new / different artists that
don’t usually get reviewed,
not that they’re not good
enough just that the big mags
don’t have time or space to fit
them in with all the 'names’
they have to deal with.
We also try to make your
purchases easier by having
everything ( well certainly
most of what we review)
available in our own mail
order companion :
SHAKEDOWN MAIL ORDER
So we hope you enjoy the
read and find something new
and exciting to listen to from
us blues to ya !
2
the thankyou column :
Don, Robert and Pete at
Mystic,
Luigia at Strange Fruit,
Richard Wooton Publicity,
Greg at Blue Wave,
Arnie, Koz and Paul at
Viceroy,
Mike Vernon,
Neil Slaven,
Mouse Records
Frank and Del at Indigo,
Sue Williams at Frontier,
Mike Howell at
Connoisseur,
TKO / Magnum,
Burnside Records,
The Quite Great Co.,
Koch International,
Peter at Red Lightnin’,
Snapper,
Hannibal,
Locomoto Records,
Tom at Archive Reocrds,
Strength thru’ Vinyl,
Bluetrack,
Blues Archive,
BGO Records,
Rykodisc,
Julia at Ace,
Direct Dist.,
Castle,
Excel,
Catfish,
JSP,
AND.,
Taxim,
Planet,
HTD
Proper
Records,
Record Collector
Zenith Enterprise
(Wales) Ltd.,
Impress (especially you
Wayne - wishing you the
very best in your new
job).

O ' 3 *
"BLUES MATTERS!"
THE REVIEWS BEGIN HERR. * 9 9 9 9 9 9 9 9 9 9 9 9 9 9
THE HOAX
“Humdinger”
58.08 over 10 tracks
on the Credible label
CRCD27b/7
Wow, this is the
way to start the
first issue of a
new review magazine
and what a
CD to give me as
the first one !
This is a scorcher
and make no
mistake. “High Expectations”
just grabs you
and pulls you in without
any niceties. If
you’ve seen the band
you know what’s coming,
no bones straight
ahead with the barnstorming
tactics.
Feeding Time” has
neat acoustic intro
before the grinding
rythmn gets
you hooked.
“Last Man
If* Down” has
funky intro
a n d
grooves
straight
through leading
you to “Superstition”.
Yes the Stevie Wonder
one. At first I wondered
what this was
doing here, but it fits
though it’s not my
favourite track. Good
to get back to
“Something Out Of
Nothing” with it’s hypnotic
beat and dreary
(but well suited) vocal.
“I Want To Be Loved”
sion
Connie’s is fine) kicks
3
us off well and lets
Connie’s tonsils run
free, it’s followed by
“House Straight” but I
was brought to a sudden
halt at track 3, the
slow, sleepy “You
Don’t Know Me”. A
good song but out of
place I felt. “Million
Dollar Secret’ brings
the mood back and
works well. Gentle sax
intro to “Don’t Play
That Song” and interesting
bass lines make
this one work and the
vocal builds to some
good peaks. Connie
talks / sings her way
through “One Monkey”
with a swing. At last we
hit on a self penned
track : “Good Lovin’”.
written with bass
player Terry Harris
nice fret/ess ?
rk Terry) the
ong shows us
he promise of
ore good maerial
to come
ater I’m sure,
iked the voice in
Any Day Now”
but found the feel too
country. “Dog” is written
by Connie and
smoulders and burns
well with a fine feel. I
still can’t understand
why this often promising
album ends with
“Mad About The Boy”.
I’ve played it over but
don’t see the reasoning.
A somewhat disappointing
end though

{CrmtiJiued fro m page 3 } "■ " :
Connie has shown a
good vocal performance.
Personally I preferred
the self penned material
and would love to
hear a whole album of
her own compositions
that really do promise
a bright future.
WILLIE CLAYTON
“Midnight Doctor3’
(Greatest Hits) 70.32
over 17 tracks on Biueside
WESF 101.
Confessing to a naivity
about souisters when I
first saw this I had my
doubts about reviewing
it in a Blues / Rock
column but once it hit
the CD platter it just
grabbed me and said
“you know me already”
. ....... I didn’t
know I knew so many
of Willie's songs. This
is an album with a
good feel all the way
through, thoroughly
enjoyable from start to
finish. The sleeve
notes were from Juke
Blues #38. Soul /
Blues at it’s best on
this first release on
Btueside. I shall not go
through the tracks because
there are too
many
good
ones hear for
your- self.
JOHN HAMMOND
“Long As I Have
You”
15 tracks over 47.01
on Pointblank VPB CD
44.
John Hammond
backed by Little Charlie
& the Nightcats
you read that
and you know that
you’re in for something
spe-r
cial. This
could
be
bigges
selling
blues al
bum
1998. It’s
a potent
brew not to be
in one go. Like a
Bourbon pour and
take your time and
savour each drop. Including
songs by
Sonny Boy
Williamson, Willie
Dixon,Eddie Taylor,
Chester Burnett.
Aaron
Walker, Blind-
Boy Fuller,
W alter Jacobs
an
more you
can’t pick
stand out track - they
all stand out ! Tracks
13-15 are acoustic and
feature John on guitar,
harmonica and vocals
with Chaz Leary
on washboard - good
wholesome stuff and
totally enjoyable.
The sleeve notes
by Bob Vorel of
Blues Revue sum
it all up and pay
homage to a man
most deserving it.
liked the
>f these
An essential
album for your
collection.
MARCIA BALL, IRMA THOMAS, TRACY NELSON : “Sing I t !”
Rounder CD2152 with a running time of 42.31 over 13 tracks.
You can just tell these girls enjoyed themselves making this record and they tell you so in
the sleeve notes !
Confessed fans of each others music. They produce a mix of R&B, funk, Southern Soul and
fuse it with sheer enthusiasm. Blues Revue’s Hal Horowitz loved it and called it a stunning
album, it clearly blew him away (and indeed B.R. feature Marcia Ball in their May issue).
We liked it too. Occasionally a bit too much gospel (“Yield Not To Temptation”). “People
Will Be People” grooves along, “Sing It !” kicks off the album with all three together and
they follow up with “I Want To Do Everything For You” the album gives each a chance to
take the lead with them coming back together and putting out a fine collaborative recording.
There’s a religious feel running through this CD, a good feel, one to make you sing i t ! too.
wouldn’t go as far as stunning but very enjoyable indeed...................
4

g p GROUNDHOGS
^ “ L iv e !”
11 classic tracks over
59.48 on Eagle EAB
CD 087. (The Masters)
From the 1987 line up
of the Groundhogs
featuring the timeless
Tony McPhee, Dave
Anderson (Amon Duu!
il) and Mick Jones
I (Hawkwind). This set
gives us a taste of their
live exploits yet is not
long enough for a live
I set. Another 30 minutes
or so would have
j been good measure
and related more to a
| performance length.
| Listening to this makes
me realise just how
long I have admired
the guitar work of
T ,S ,’ and just
how many times
I’d wished he
played more
’L . t H ^ yoU blues and
' « * * * .
* *
less rock.
Nevertheless
a reasonable
set of tracks at a good
price tracks include
: Express Man,
Strange Town, Eccentric
Man, Back Against
The Wall, Split Pt.4,
Garden, Waiting In
The Shadows, Light
My Light, Me And The
Devil, Mistreated and
Cherry Red ...concise
sleeve notes that don’t
even tell you where
the set was recorded
or if it is a compiation
of odd tracks...would
be good to know.
Favourite tracks here -
“Me and The Devil"
and “Express Man”.
I
^J^GROUNDHOGS
“ Hog’s In
W o lfs C lothing”
15 tracks over 56.59
on HTD CD 81.
This time with Eric j
Chipulina and Pete |
Correa as the Hogs
playing his favourite
Howlin W olf songs.
Tony’s distinctive
sounds are here along
with that sometimes
chilling voice, solid
backing of bass and
drums on which he
layers his guitar work.
In the notes T.S. recollects
his first meeting
with the Wolf
Tracks include
Smokestack Lightnin’,
Forty Four, No Place
To Go, Sittin’ On Top
Of The World
(complete with false
start), Shake For Me,
Wang Dang Doodle,
Nature and Down In
The Bottom.........
Nice one Tony and
HTD....thanks.
and the third from the
Hogs 1
1970-1972 ON AIR
8 B C ) 7 3 . 2 6
over 12 tracks on
Strange Fruit
"B L U E S M A T T E R S !"
SFRSCD053.
Tracks : Garden, Eccentric
Man, Split Pt. 1
& 2, Mistreated, I Love
You Miss Ogyny, You
Had A Lesson, Earth
Shanty, 3744 James
Road, Sad Is The
Hunter, Split Pt.4 and
Cherry Red.
More 'authentic' early
Hogs here with T.S.
and Pete Cruikshank
on all tracks, Ken
Pustelnick on 1-5 and
Clive Brooks on 6-12
all from the corridors of
the BBC over four live
sessions between
21/7/70 and 7/12/72.
This set is more live’
and natural than the
first review here and
we preferred the feel of
this although the
sound quality of “Live”
was better.
It’s nice to see that
there is such a selection
on offer but try
finding them in your
local record store. I
went on a search ( to
verify Shakedown
prices are OK) and
had a list of albums to
check and only found
the HTD release in one
store, and it wasn't a
HMV or a Virgin where
the blues racks seem
to shrink by the week I

B L U E S M A T T E R S
...more from Strange
Fruit....
.ggjlfrSTONE THE
CROWS
“The BBC Sessions
Voi 1 1969-1970”
That tells me there’s
more to come...great!
Here we have one of
Britain’s best female
voices ever who is still
out there (recently
heard on Knights Of
The Blues Table from
Viceroy Records). I saw
Maggie Bell a couple of
years ago touring with
Chris Farlowe and what
a great night that was.
60.48 over 9 tracks
from 4 different sessions
between 24/11/69
- 28/10/70. here on
SFRSCD054.
Songs : Raining In Your
Heart, Touch Of Your
Loving Hand, Freedom
Road (10.30), Hollis
BLUES MATTERS t
- are pleased to
support and
welcome
the new
International
review magazine
6

From one great British
guitar player to another
who has remained in
the ‘spotlight’ despite
not playing for years -
MAC
"London Live *68”
49.20 over 10 tracks on
Eagle EAB CD 091
(The Masters Series)
A ‘hollow’ / echoey
sound on this release
from Mac but the shrill
sound of the guitar is
good to hear. Recorded
at the Polytechnic of
Central London on
? it doesn’t say in the
brief notes As the
notes say : “The attraction
of this CD is not
hi-fi sound but the opportunity
to hear the
band at their performing
peak, attacking at least
five songs you can’t
hear them play anywhere
else”.
Tracks : Got To Move, I
Held My Baby Last
Night, My Baby’s A
Good ‘Un, Don’t know
Which Way To Go,
Buzz Me, Worried
Dream, The World
Keeps On Turning, How
Blue Can You Get and
Bleeding Heart.
We loved the guitar
playing and the music
was taking us back in
time, it would have been
tremendous to hear this
from modern live recording
techniques. A must
for all Mac fans we’d
say....and only budget
price !
we have another Mac
album for y o u :
The
FLEETWOOD MAC
Family Album”
52.54 over 16 tracks on
Connoisseur VSOP CD
222.
Interesting one this -
and very listenable too !
A selection of tracks
through from Cheynes
(“Respectable”), Peter
B’s Looners (“If you
wanna be happy” - Peter
Green’s first ever
recording), John Mayall
(“ Double Trouble”)
Jeremy Spencer,
Chicken Shack, Tramp
(featuring the fine fine
voice of Jo-Ann Kelly),
Bob Welch, John Stewart,
John McVie, Danny
Kirwan a ‘family’ album.
Super fold out
sleeve notes by Michael
Heatley including an updated
family tree from
Pete Frame.
7
"BLUES MATTERS !"
Listening to the music is
like opening up your
photograph album, it’s
full of songs you know
from the past but haven’t
heard for ages....
Well worth popping in
your collection for a snap
journey through some of
the band’s history a
musical Journal.........
ROGER CHAPMAN and
the SHORTLIST : “Riff
Burglar”
39.52 over 12 tracks on
TKO/Magnum CDTB
188.
An album recorded in
1981 that kicks off with a
party atmosphere in
“Free, Single and Disengaged”,
rocks into “Can’t
Stand It” the voice is
totally recognisable as
you would expect. “Bring
It On Home” slows the
proceedings down before
the band liven up
“Srange Brew” then
Roger howls us into
“Slowdown”. BAck to
party time in “5,10,15,20
Part 1” (Part 2 ends the
album). “Havana Moon2,
Wang Dang Doodle”, Big
Roll Daddy”,’’Big Legged
Woman” and “Down
Bound Train” see off this
album that is competent
without getting you over
excited. It is always good
to hear Roger’s distinctive
voice and it was that
which we missed on
some of the tracks which
could have made this a
better album...........

b u ie s m a t t e r s
“Roadcases” on
Plum 56282 (USA
only) 76.12 over 12
tracks.
“How do you feel about
getting back together
and going on the road
again, we’ve rested up
for a while and I feel
like giving our fans
something to shout
about again...” said
one Roadcase to the
other three Roadcases.
They all agreed
and here we have the
recorded result titled
very
aptly
“ROADCASES”
A band clearly having
a great time here,
some good guitar
work from Rod Price
and Lonesome Dave
very dependably
backed by Tony
Stevens and Roger
Earl. Remember when
Foghat were the third
highest attended tourers
in USA to Led Zep
and The Who ? Well
they can still knock it
out and get you rock­
ing along with some
great riffs and catchy
hooks.
Tracks . I Just Wanna
Make Love To You,
Drivin' Wheel,
Chevrolet, Soakin’
The Bone, Sweet
Home Chicago, Rock
Your House, It Hurts
Me Too, Bad Bad
Lovin’, Fool For The
City, Slow Ride and
two bonus studio
tracks in Angel Of
Mercy and Tear Youo
Down.
All very agreeable to
the ear and to your
fe e t!!
&
T A J MAHAL :
“Phantom Blues”
BMG 01005 82139 2
47.51 overi 4 tracks
An easy intro with
“Lovin’ in my baby’s
eyes” lets you into an
enjoyable album of
varied pace and
styles. The man uses
his voice well to ease
you or menace you i n
turn but there’s always
the hint of enjoyment
in there too.
“Here in the Dark”,
“Fanning the Flames”
were our favourite
tracks while some of
the others seemed to
suffer because there
was too much variety
in there. Don’t get me
wrong this is a good
album but it moved
away from the blues
’feel’ too many times.
Maybe that’s got
something to do with
the title ?
A good album
nonetheless.
“Lonely Avenue)
featured on this album
also appears
on “SALT CITY
BLUES Vol V
which we recom-i
mend to you.
Check
out
the
BLUE
WAVE
label
far
some
stunning
artists
SALT CITY BLUES Vol 1 : various artists from the Blue Wave label.
13 tracks over 57.37 on Blue Wave CD #108 (USA only).
There are some names here that you really should become familiar with. Sadly the first act -
THE KINGSNAKES - are no more but they leave behind three fine albums and here kick off
proceedings with a super vesion of “Duck Divin’ Blues” and later add “What Have I Done
Wrong” and “Cadillac Woman”. DR.BLUE proclaim “I’ll Be Your 44” (nice feel here) along
with “Watch Out”, “You Were Wrong” and “If I Ever Get Lucky”, then BACKBONE SLIP tell
you “I’m Gonna Move To The Outskirts Of Town” with the stunning guitar work of Mark Doyle
screaming at you for 8.55 ! They add “Lonely Avenue” (again with scorchingf guitar and - I’m
sorry - this version leaves Taj Mahal’s behind) and “Johnny Lee’s Mood”. “Too Much Blood In
My Alcohol System" is a catchy song by COLD SHOT (you must listen for the fun in the lyrics)
who also add “Gotta Jones” and “Other Side Of The tracks”. An excellent compilation from this
New York label. More on them later and listen out for Miss Kim Lembo later too !
8

PETE BROWN & PHIL RYAN : "The
Land That Cream Forgot”
73.52 over 15 tracks on VIN8031-2
Nostalgia simply oozes through the name associated
with Cream. One of the great British song
writers. Pete has recently been associated with
the excellent ‘Rattlesnake Guitar” double CD and
the “Knights of the Blues Table” Vol 1 & 2 from
the Viceroy label
The tracks here are from the albums “Coals to
Jerusalem” and “Ardours of the Lost Rake" and
the package is dedicated to the memory of
Vivian Stanshall (no doubt still looning about up
I there !) Interesting, varied and well produced with
a host of guest musicians including Dick
Heckstali-Smith on four tracks. ! quote Pete from
the sleeve notes : “Phil and i came from R & B via
Jazz and a few excursions into other stranger
territories, but we are heading back towards it
again, as you can hear in most of this record You
may detect in these tracks the influences of
Screamin’ Jay Hawkins, Eddie Harris, Stax, Hi
Rhythym, Alan Toussaint, Ray Charles and Otis
Rush, not to leave out Graham Bond, Jack Bruce,
Joe Cocker and Randy Newman ’’
An album to make you listen and be intrigued
while the enjoyment creeps up on you..............
EUGENE ‘HIDEAWAY’ BRIDGES :
’ Born to be Blue”
58.28 over 12 tracks on Blueside WESF105.
One of our members reports that Eugene was
one of the big hits at the recent Bishopstock
Festival in Dorset where John Mayali and Walter
Trout were headlining.
On the strength of this album that is not surprising.
There’s a lot of soul in here ~
Eugene says “I always love to sing any of Sam
Cooke's songs Forever and a day !” and it
shows throughout this album in the vocal style
We liked “Tears of a Fool" and “Born to be Blue”
“Aching Heart” was our stand out song. The rest
was easy going but despite some admirable playing
throughout we found the album a bit
lightweight and lacking in intensity compared to
his live playing
This one didn’t grab our attention and in trying to
; find a word to define it we came up with a
'sociable’ album.
Hi t hSM A't lKRS :
And from a new label called BLUETRACK
RECORDS we have
T.W.HENDERSON & The Blues Of Cain :
“ The W ilderness Years” .
67.36 over 11 tracks BRCD001
You want intensity ? Then give yourself a
listen to T.W. Henderson Hailing from
Texas but now living in Oxford the new
Bluetrack label have come up trumps from;
the start with their first album.
A bass’n’how! intro lead into the swing of
“Song For My Father” with it’s neat bass;
lines. The edgy voice greets you in a song:
dedicated to his father about the last conversation
they had before he died
You don’t get lyrics with this CD but you do
get damn good sleeve notes that tell you
the stories behind the original songs and
an introduction of how T.W. came this far.
THIS IS THE BLUES I and it feels good f
There are too many good songs here
Just the right guitar intro to “Don’t Deny Me
Baby”, lasting for 9.42 this is admirable and
lets you get your teeth into the song and
solos. You have to read the notes to “In-
City Blues” yourself The fact that you?
WILL enjoy the music is not in doubt. !
There’s a funk about “Texas Special" with
its piano heckling throughout, “There Must'
Be Something In The Water” has a busy
backing and reflects on— ” ■ ■ ■
the way people act. “It
Wasn’t Me Who Brought
The Tears” carries emotional
vocal and striking
piano before we wind up
with “How! Into The
Night”.
Superb album !
T.W.
Henderson~
a name to
listen out for
I f he's at
your
local dub
GOAND
SEE HIM!
tU
then
BUY THE
ALBUM!
you
won't be
sorry -
we promise
you :
9

BLU ES M A T T ER S
B U K K A
,WHITE
“Shake 'em on
Down”
56.34 over 20 tracks
(collected from between
1930-1940) on Catfish
| KATCD 106.
F o u
| pages ot
! informa-
| t i v
sleev
| notes b>
| P a u
Swintonl
I give yoi
j a con-
| d e n s e d ’
story of Booker T. Washington
W hite renamed
I ‘Bukka’ White for a
| sion in 1937.
Bukka’s most famous
| track and the often
j recorded “Shake 'em on
! Down” here was
| recorded on 2nd
j September 1937 along
with “Pinebluff Arkansas”
I just before the session
was cut short by a Sherriffs
visit and his arrest
; for skipping bail to attend
j the session. Two other
j songs were recorded
while a ‘guest’ at Parchment
Farm.
Taking you back to country
blues roots. Washboard
Sam features on a
good number of the
tracks and Miss Minnie
(suspected Memphis
Minnie) also appears.
An intense set of passionate
songs about
death and incarceration
in the main documenting
one of Mississippi’s
greatest blues artists.
the ‘harp legends’ series
from CATFISH bring you :
Vol.1 Walter Horton & Cary
Bell.
67.58 over 12 tracks on katcd
105.
Vol.2 - Charlie Musslewhite,
Sonny Boy Williamson,
Louisiana Red, Billy Boy Arnold, Paul Lamb, Jimmy Reed, j
Lester Davenport, King Biscuit Boy and more...73.36 over 22 j
tracks on katcd 105.
OK the harp and blues were made for each other and there’s
nothing better than a song with a good guitar and a decent :
measure of harp over a steady, biting back drop of bass and
drums ah the essential mix ! Like pouring your favourite Bour- !
right amount of ice and then savouring every
Barkeeper for a while and pour you some
Both albums come with ample sleeve notes by Michael Heatley - j
5 pages in Vol.1 and 6 pages Vol.2.
Vol.1 tracks are split 6 by each artist and include “Walter’s
Shuffle”, “85%", “Crosscut Saw” by Horton and “I Cry For You”<
“Second Hand Man" , “Walter's Swing” and “Last Night” by Bell, i
There’s a generous helping here of two of the influential harp
players that will defy you not to enjoy i t !
Vol.2 carries 17 different acts with Big Walter 'Shakey’ Horton
featuring on 3 tracks, Paul DeLay Band and King Biscuit Boy on 2
tracks. The album features some items noted as previously
un-released, with some not released in UK before and others not
on CD before.
The prev.un-released include : Carey Bell & Willie Williams
“Alcoholic Man” with boogie piano, shrill harp and boozy lyric,
Sonny Blake & Mose Vinson on “When You Get Rid Of My Mule’’,
a bright and bouncy track, Little Walter with Hound Dog Taylor on
“Mean Old World” with its good ‘old’ sound that ambles along at a
slow pace and Billy Boy Arnold with Martin Stone with “It Ain’t
right” - this one an upbeat near frantic rendering, (can this be Lthe’
Martin Stone (once of Savoy Brown) who has been venturing in
and near recording studios for a while now and coming up with
country feeling sounds and an independant US release).
We listened and decided that these were two worthwhile releases
for harp enthusiasts or beginners and show a good range of
styles and feels to please most blues lovers.
Added bonus is that they are both at a budget price.
to

OUT NOW ON ffglS RECORDS
8Iu8S Band Of The Year 1997 & 1998
I il/ IU IilG
AUGUST
1998 TOUR
28 Aiig Fn The Hakes Hefei-Biackpooi--UK
29 Aug Sat Rehearsals at Coine Sues Fssnva;
30 Auq Su/v COine Blues Festive.!
SEPTEMBER
feat Pinetoo Perkins & Charlie Chalmers
1 Sept Tuss Toe j&zz Cafe. Camden Town Loudoa UK
2 Seot Weds The Reece & Fir«n. 6nsio!/UK
3 Sep? Tnuis The Boat Race Cambndge/UK
4 Sept Fn The Lanterns'Asbbu!cn: Devon/UK
5 Sept Sat I B C
6 Sept Sun Kent Bottleneck Fes.hvai/Sevenoaks Kent UK
7 Sept Mon "he Pheasant-Sneftieid/UK
8 Sept Tues The Adeiphi/Huk-UK
9 Sept W m s Tne Liquid Rooms. fcdinbujgh/Scotsand
10 Sept Thurs T3A (Scotland!
British Biues Connection
Guitarist Of The Year 1997
Guitarist Of The Year 1998
The debut album from the
King Snakes guitarist
JOHNNY WHITEHILL
OiUITAK SUN&i&K.
IGOXCD 509
Hear him in session on Paul Jones
BBC Radio 2 show 9pm 13 August
J0HI\i HENRY JUMPS (N
CAT. N O . IG O X C D 5 1 2
~ ] n gsKCI
11 Sept Fn The Lemon Tree.-Aberdeen/Scotland
f2 Sect Sat the C»tade!.'St Helens. Merseyside.UK
13 Sept Sun ! he t.imeiKjht'Drewe. UK
’he Official Paul Lamo 3 T*e King Snakes home page
http’.-mim&eis ao} eom.hiepie. Diues-nnoex.htm
She's A Kiiler Shitting Into Gear Fine Condition
IGOXCD 503 IGOXCD 504 IGOCD 2019
Album Of The Year 1997 Album Of The Year 1996
Fred fames
J O
d u s t e r b e n n e t t
I rh C hoose o n c n TV, To
Sing The Biues
Life Is Hard
UK TOUR
AUGUST
I G O X C D 3 1 5 Z
iG O C D 209? Z
The Essential Recordings of
Blues Standards
iGOCO 2079 2
1942-45 The R&B Hits
Stan Kenton
Artistry In Progressive Jazz
igocd zoas z
Lennie Tristano
Out On A Limb
IGOCD 2086 2
Charlie Parker
At 'Jazz A t The Philharmonic'
G O O D 808? t
Various artists
Ooi Ya-Koo Bebop Vocalists
iGOCD 2038 7
Duke Ellington/Various
Greatest Ellington Small Groups
'SOCO2089 z
Various artists
The Art Of The Sax Ballad
IGOCO 2090 Z
30 Ai«<j San Coins Slues Fesraai
31 Aug Mon Tho RoMiv-Sumttsiand
SEPTEMBER
I Sect Weds The pneasari Sneffieid
3 Sept Thors SfooVSoutNimpioft
j Sept rn Worcester fan. CliiB. Worcester Paik
<" Sep! Mon World's tndiondor,
3 Sept Tues Jajz At Tns S u m 'A s c o t
1946 The R&B Hits
ISO C O 2060
1947 The R&B Hits
Released 24th August
CARMEL
Live At Ronnie Scott’s
IGOXCD 513 Z
Released 21st September
Fem ale Vocalist 199?
Female Vocalist 1998
RUBY TURNER
Sensational new album
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IG O X C D 5 1 1 Z
■WafiaWff frrjm a!i yood record snaim. Ask ,'our tieaiei ro cid e r from Direct OsstisbutSon Tel-. O i 'i 231 3465 t o u O w i 28'- 5675 For funner ■
indigo Records, c o Trojan Sates Regent House * Prat* Mews. London N W i CAC. FAX. 0 i7 i 267
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BLUES M A T T E R S !
Heckfield Place. 5 3 0 Fulham Road. London. SW 6 SNR
tel. OT71-731.8551
ta x : 0 1 7 1 - 7 3 1 .8 5 4 5
o-maih diarmimi@mrib.demon.oo.uk
CANNED HEAT :
“Blues Band”
Mystic Records
MYSCD120 running time
50.06.
Now this is a sad one
j: because of the death of
I Henry “The Sunflower”
Vestine two weeks after
j the release of this CD.
j This is a new recording
with the Heat aiming
i squarely at the blues and
boogie and hitting right
dead centre. I was surprised
at this one being
such an instant winner
with me because I have
I found the Heat hard to
accept at times. This is a
winner and sadly Henry
will only be here in spirit
to enjoy it's success. I several line ups, a top
From the slide laden first: 30 album and a top ten
track of “Stranger” right) single before splitting up
through the plea for a) (over simplified by a
“Quiet Woman”, “See: long way) this is the
These tears” to track 12 original line -up of Dave
“Gorgo Boogie” via an Arbus, Ron Caines and
acoustic re-working of Geoff Nicholson.
“Goin’ Up The Country”: Dave Arbus was
(which has taken some inspired’ by Jean-Luc
criticism from other re- Ponty and if you rememviewers)
this is a crackin’ ber East Of Eden then
CD that stands repeated you’ll know what to explaying
without loosing pect, if not give yourself
it’s effect on you What a treat and listen up to
more can I say get some fine playing, good
one I ^ ! rhythms and some
I mood music with a light’
feel. It’s heady yet
East OF Eden :! strangely relaxing (I
“KALIPSE” ! found). This combina-
HTDCD80. Running time: tion of alto sax - electric
55.29 over 10 tracks of violin, guitars and drums
‘take me back in time') is a winner again after
music that lilts along sol all these years - weismoothly
you could ai-j come back, (try this on
most spread i t ! I headphones !)
The first, title, track is so
good to hear and it’s a
YES THEY’RE BACK f " H ®
L..THIS IS EAST OF j "
f W \
12
Cheek it
o u t-
Canned
Heat
same

-.we should
hear more o f
THREE
STATE
BLUESL.a
fin e debut album!!
T H R E E
S T A T E
BLUES
"Emotional Honesty”
12 tracks over 46.08
on Locomoto Records
LCMTCD1.
We had trouble reviewing
this CD. Not because
of any musical
hitch but simply because
when it arrived
at the office
and it was first
played someone
‘borrowed’ it. The
CD was then
passed from one to
another before I
had to demand it
came back for review.
It was certainly
a hit with our
crew.
Three State Blues are
an impressive rock /
blues power trio playing
neat hooks with smouldering
vocals that remind
you now and again
of the great early Free
sound. Mix in slight tastes
of Black Crows and Hendrix
too and you’re forming
an idea of the sound
and power here. The
whole album is a compelling
mix of lightning
riffs and sumptuous bass
patterns underpinned by
crisp rythmic drumming.
Songs include: the opening
rocker and title track
followed by a great chunk
of “Live With That”, a
heavy riffy number with a
simple message. “Yes It
Is” is fresh and quirky,
“Could Do Worse” is a
super slow blues,
“Following George To
Devonshire” is just an
amazing title and a rush
of a number too boot,
loved it ! “Settle Up” has
a neat groove that
catches you up, a heavier
feel to “Still Gonna Let
You In”, there’s the near
frantic “Your Way, No
"BLUES MATTERS!"
Way” before “Back
Down The Alley” rocks
us into the thumping
start of “Recovery”.
“Mighrt As Well” slows
us down with solid playing
and good feeling
guitar/bass stride
through this one leading
us to close with the
instrumental “Three
State Blues”
There’s a live feel in the
recording, it’s not 'over
produced’ and ....hell it
just feels damn good to
listen to....
....now where can I file
it so it doesn’t disappear
again....
o £ OjcCAs CLX2. ~ v o .c ^ / t o c / W
-V O tLxa. c
U io u -t 'CLaaaW O O O L ^ ( s e ,
‘W M Compdm ents
333 LATIMER ROAD, LONDON W10 6RA
TEL- 0181 964 9544 . FAX: 0161964 5460 . EMAIL: Strtnfle-Frult-Muste.co.uk
13

BLU ES M A T T E R S
W i t h C o m p l i m e n t s
P E T E R
S m P g R E E N with
Nigel Watson “ The
Robert Johnson Songbook”
16 tracks over 53.17 on
SARCD002 an Artisan
recording.
confidence on stage i thenticity and a natural
A m ust fo r
wondered if this was lay- j feel, “If I had Possesing
himself too bare too sion Over judgement
P eter Green
soon. Would that ‘oh so Day” carried well.....
fa n s
distinctive voice and,
what used to be, often Some of the songs it am only
chilling guitar sound’ be come over well and as getbetter!!
enough. But that voice is a tribute it’s fine but
still fragile, but on stage you can’t beat
I picked this one up with he is getting stronger. the real thing.
suspicion. Having re- j There are some good This made me
cently seen Peter on moments here get out my j f e
stage with the Splinter j “Terrapiane Blues” be- Robert John-
Group and being I in9 one of the best in- sons again and w d jw a *
pleased at the strides he strumentally, “Last Fair it was, as alhas
made in the last year ! Deal Gone Down” car- ways a thrill to
in his ‘presnece’ and [ ries spirit, “Me and The hear the origi-
Devil Blues” had au- nals d lm K L
V o n lt fo r g e t th a t “BLUES MATTERS ! ” h a y Cfiy owns m a il
o rd e r to - makes IcfE e a y ier to - obta in s thes CVy yous reads
a b o u t here. Somes yous w ills n ev er fin d s Cns t h r zhopy ! O u r
u n lefy Ct a b y olu tely fbuilz to y d t o r iy d eleted : I f wo haves
lim Cteds ytocky we- w ill te lly o tu Otherwises we o rd e r when/
yous ord er. A y wes g ro w we w ill bes a b le ' to - a c c e p t VC&as
pa ym en ty b u t n o ty e t mo I ’ms o f f aids Ct'y ch equ ey / cheeky/
I.M .O .y o r POSTAL ORDERS f o r now to - the ' addreyy a t f r o n t
p a gey

Paid Raymond
is
back in the
UK, hack in
UFO..
.b a t
h e has
m o re to o ffe r
than that!
l
PAUL
RAYMOND
PROJECT:
“ Raw Material”
My big question after
hearing this and reading
the sleeve was
“how can t get this ?”
The UFO sleeve on
“Walk On Water”
states from Nice Noise
Music but not
where they are !!
Just a point as this
CD is privately
pressed. ! know
that there aren’t
many left and it is
unlikely to be repressed
as Paui
wants to get on
with his new CD
when returning
from the UFO tour.
— “ (our MAIL ORDER
have taken the liberty
of putting a few copies
away for you I).
54.49 over 15 tracks
here
Paul has a long and
varied history : Plastic
Penny, Chicken Shack
Savoy Brown Danny
Kirwan, MSG and of
course UFO A songwriter
of some proficiency
he has returned
to the UK after
living for a good spell
in Japan...he’s back !
This album was
recorded between
1990-94 in Japan. The
band members : Aki
Fukasawa - who
walked up to Paul
(pictured below) in a
club one night and
asked “do you need a
singer ?” - and got the
job ! (vocals), Reibun
Ohtani - HM guitarist
of Marino and S O N
(lead & rhythm guitars),
Hideaki Nakama
one of Japans loudest
HM guitarists (guitar -
lead breaks on Bitter
Blue and Hero To
Zero) and Paui Keyboard/
lead & rhythm
guitars/bass/drum format/lead
& backing
vocals
Savoy Brown fans will
love the version of
“Hero To Zero” from
their “Wire Fire” album
A batch of good
" B U tiS MATTERS I"
material deserving
wider recognition
Some of the songs
could have been chart
ones if Rod Stewart
had gotten hold of
them I’m sure ! We
preferred this to UFO’s
album (sorry) more
imaginative while not
so much in your face I
It’s loose, fun, early
Faces like in places
and generally a good
time listen ~ recommended.....
Looking forward to
your next one Paul !
w e lc o m e “ BLUES M ATTERS !"
and
v e ry good lu c k
W E L fK E YOUR S T Y LE !

"BUL KS MATTERS!
f ^ p L B A C K B O N E work,.
LSSamm SLIP : “ Avenue There are some fine origi-
Breakdown”
nals here too like the
12 tracks over 54.11 on lovely “Brigittes Blues"
Blue Wave CD 122. which is one of the finest
I furst heard this band on I instrumentals I’ve heard,
the sampler CD “Blue :ln all fairness there’s a lot
Wave 10th Anniversary” to admire about this
and they blew me side- band. There’s fine slide
ways ! The excellent gui- ! on “Ramblin”’ and the altar
work of Mark Doyle I bum ends with a fine tribwas
the first thing that ; ute to Frank Zappa with
grabbed me. I just had to ;“Trouble Everyday”, a
hear “...Avenue”, and the ; great number
rest as they say is a \ More sleeve notes would
slow, Slow' drink of Jack ! have been welcome.
Daniels
jjfe
This is New York biues ; rW
at its bast 1 it contains
some great covers in- y g t w aapa •
eluding the outstanding
Ray Charles number “A f l H ^
Fool For You", the Joe
Williams’ “Big Legged
Woman" - great R & B
with superb Doyle guitar i ___
work and Joe Whiting on j
maybe a new
terrific vocals Jimmy one on you
Reeds’ “Bright Lights, i here : THE BUILT FOR
Big City” is another bel- COMFORT BLUES
ter with an almost Chris j BAND :
Youlden type vocal and, Highballin’ 43.31 on the
again, fine Doyle fret- Blue Wave label and a
CD thoroughly enjoyed
here at Biues Matters !
This has guts, bounce,
fun, cheek, great guitar,
rough vocals, nice back
beat, harp it’s such
a good album and it
won’t let you stop tapping
your feet ! The
acoustic “Easy Ride”
and “Settin’ Sun” are
compulsive. “You
Burned Me" is good
slow blues and
“Highballin’ “ just sizzles
what more can
I say if I start i’ll go on
about this one get
one and see what i
mean - you’ll love it I
(US only release but
SHAKEDOWN have it
for you).
It'S
those
guys
a t
BLUE
WAVE
again
pulling
out
the
goodies
fo r
you
^ —^ J ^ BIG TOWN PLAYBOYS : “ O ff The Clock” . This double CD set is now available on
Eagle Records EDGCDQG7 Available for a while as a private pressing. A slight
alteration of the packaging is for the better. If you haven’t seen the band live then this is an
essential purchase. As one of Britains’ leading rhythm and blues bands it was about time a live
set came out but they didn’t just leave it there they release a double CD for good measure.
Running at 48.42 and 53.28 you get terrific value in more than one sense. Recorded at the
Robin Hood Club (UK) the guys lead us through good swinging rhythm and blues : Deep In The
Heart Of Texas, Lights Out, Roomin’ House Boogie, Don’t Lie To Me, Bop Sit-in Blues and
Glamour Girl included on disc one and Hey Mama Keep Your Big Mouth Shut, Companion
Blues, Poor Boy, Ginhouse, Red Hot Mama and She’s Tough included on disc two
If you’ve seen the band live you'll know just what to expect; an enjoyable, rounded, lively, pacey
set that is enjoyed by crowd and band together a nice feeling. There’s no soaring solos
here, no heavy rock influence, but you’ve got the horn section blowing and good rhythm. Just
good times laid down for you to take home and re-live the evening. If you haven’t seen them live
then you’ll just have to plat these two CDs and close your eyes and imagine them up there
playing for y o u ................ that’ll do the trick allright!

"BLUES MATTERS !"
B e il i£>laben
fjas been a torittr of ‘note’ for man? pears, be tjasf also
probuteb some tine albums in \)i$ time. He toas inbolbeb
in ttje Hritist) blues scene in it’s infancp....anb tje’s still
bere. Jletl torites tor some of tbe big magazines, boes
sleebe notes for albums, re-masters & compiles albums
for our pleasure__
14is my pleasure to have met and get to know Neil (as much as he lets you) and
chat from time to time. We are pleased to bring you the first printed ‘interview5with
him which will continue into several issues of “Blues Matters !”
We thought about questions to ask Neii and
considered his deep knowledge and love of
music, especially the blues. We ended up with
ten questions and nervously offered these to
him. At one point I didn’t think Neil would go for
it as he’d said to me ...”who'd want to read
about an opinionated b*****d like me ?...” He
read the questions and was interested and in
starting to respond felt himself drawn into the
past, he did not answer the questions as such
but gave us a narrative that tells it’s own story
better than any interview could do. So we have
left out the questions and decided to run as it
was writ’........
So here is Neil’s first ‘chapter’........
“ A R E M I N I S C E N C E . . . . ”
I was born in Caterham, Surrey in August 1944
and lived there for the next 20 years. I remember
early on there was a piano in the house
and at some stage a junior violin arrived but I
made iittie progress on either of them. My
mother and I were the idiots of the family
and my father was the silent presence that sat
engrossed in the daily paper while we howled
with laughter at ‘The Goons’. I still do.
Music wasn't an essential part of home life but
the radio was always on. It was a revolution of
some sort when ‘Uncle Mac’s Children's
Favourites’ was replaced with ‘Saturday
Club’, I can tell you.
By then I’d already bought my first record
(for my sin s): “The Story of My Life 5by
Michael Holliday, a dwarf Bing Crosby
clone who subsequently killed himself for
those very reasons. A year or two later,
there was some voucher in a newspaper to
enable you to buy six 45’s of your choice;
five of mine were “Tom Dooley” by the
Kingston Trio, “It’s Only Make Believe” by
Conway Twitty, “Nothin’ Shakin" by Eddie
Fontaine (great stuff), “Big Blon’ Baby” by
Jerry Lee Lewis and “Weekend” by The
Kingsmen (The Comets without Bill Haley)
which means it was 1958.
That was also the year I saw Buddy Holly
and The Crickets at the Davis Theatre,
Croydon. Don’t ask me, all I remember is
sitting in the topmost balcony staring down
at these animated matchsticks on the
stage. Needless to say, I was shattered
when he, the Big Bopper and Richie
Valens died in the plane crash. More Holly
records came out after his death but these
were the Shadows years. Not for me but
for my lunatic mate Mick Dilley. We’d wander
the streets of Croydon on a Saturday
morning belching loudly as nuns walked
i7

"B L U ES M A T T E R S !"
(Continued from page 17)
by, on our way to the music shop at West
Croydon where he kept up with the Shads and
I searched out records like “Poor Boy” by
The Royaitones and later “Green Onions”.
Somewhere around here, I must have started
getting into blues. I know I bought Big Bill
Broonzy’s “Guitar Shuffle” on a Vogue 45 and
a couple of Muddy’s 78’s on the same label
(they’re long gone). Then EPs on Melodise by
Leadbelly and Big Joe Williams on Collector.
Most impressive was the Blind Willie Johnson
EP on Fontana; how could you not be
moved by “Dark Was The Night” ? I was at
Purley County Grammar School for Boys in
Old Couldson where the fifth forms were split
into arts and sciences.
I’d been
persuaded to go
for sciences but I
didn’t like it. However
I did meet
Mike Vernon,
who'd opted for
arts, and an American,
Steve
Lawrence. Steve
was all cool American
superiority but
he went home every
summer and
brought back bundles
of 45s by people
that we’d never
heard of. One time
round at his house,
he said, “listen to
this. This guy was
thrown off the1958
Newport Jazz Festival and they put Chuck
Berry on instead”.
“Hush Your Mouth” by Bo Diddley changed my
spotty little teenage life. I had to have every
record I could find. At the time, that amounted
to one London label EP, still the only time the
complete tapes of “Bo Diddley”, “I’m A Man"
and “Pretty Thing” were issued, and singles of
“Crackin Up” and “Say Man”. Meanwhile, Mike
and I had formed a Blues
Society at school and
once a week we’d set a
record player up and
earnestly listen to our
pitiful little hoard of
records. He says I
turned him on t
Howlin’ Wolf and Little
Walter. That may be, but I also remember
Steve telling me that Muddy Waters was
too bluesy for me !
I was one of the intrepid fools that took
a coach to see the first Folk I Blues
Festival at The Free Trade Hall. Again,
(Continued on page 19)
N eil Slaven and your Editor pictured
above. We ca n t remember what was
said to cause such merth but if you’d
like to put a caption to the picture
we’ll p ick the best and send the
winner three CDs and publish the
winning caption in the next edition.
Just send entries to the P.O. Box
address.

I
(Continued from page 18)
not much recalled from that, except rushing up
to be first to get to John Lee Hooker’s auto- I
graph and waiting patiently for him to finish it.
By then I was working in an architect's office, a
great laugh but there was no way I was going \
to become one I Not only that, Mike had gone j
straight from Art College to Decca and I sud- |
deniy discovered that I wanted to be in the
music business too I
“ I was
nineteen
when I
went to
iv o rk fir
Esquire
I was nineteen when I went to
work for Esquire Records, run by
Carlo Krahmer. Esquire was then
largely confined to licensing Jazz
from Prestige and blues from Delmark.
Carlo had been part of the
late forties London Jazz scene
and used to regale me with tales
from those days. Occasionally,
I’d be introduced to musicians
like Eric Dolphy who then meant nothing
records~
to me. He was responsible for me meeting Bo
Diddley for the first time in September 1963,
an event which I was far too timorous to set up
for myself. Later, Mike and I found ourselves
backstage at the New Victoria in Bo’s
dressing room when some scruffs calling
them selves The Rolling Stones shuffled
reverently into Bo’s presence.
Somehow or other that summer, Mike and I
had got involved with ‘Rhythm and Biues
Gazette’, a flimsy magazine that only lasted a
few issues. In October the second Folk Blues
Festival, with among others Big Joe Williams,
Sonny Boy Williamson, Muddy Waters and
Otis Spann played the Fairfield Hall, Croydon.
Whatever the date, the gig was on a Friday
night and the following night we went to the
Star Hotel at Broad Green, Croydon to see a
new R & B group called The Yardbirds. Imagine
our delight when we discovered that Sonny
Boy Williamson was in the audience.
As I’ve written elsewhere, watching Eric Clapton
play that night convinced me that i’d
never be able to play that well ! Mike and II
had got together with Steve Lawrence and a
drummer named Vaughan Rees. He had a
1 9
"BLUES MATTKRS!"
nine year old sister named Angharad
Mike seems to remember us as
the Mojo Men (Does any body remember
seeing them play ? - we’d like to know
about it if you do- please write to the
editorial address) but I thought we called
ourselves The Nighthawks. Maybe I
wanted to call us The Nighthawks. i’m not
sure but I think by the time we saw The
Yardbirds we’d got, or had another acoustic
band together with Steve’s younger
brother Jeff on harmonica.
Neil against the wall we pinned him to in his home
! town. ..looks like any other wall....but he s not like
any other wall i
\ We only had a couple of pints - honest!
Both Mike and I burned with a missionary
zeal when it came to blues and R & B The
first Blues Unlimited’ had appeared that
autumn but since it only dealt with American
blues, we began to mull over the idea
of starting our own magazine which would
also document English bands. To cut a
lengthening story short, in February 1964
we began ‘R&B Monthly*, i suggested
as a way of selling the 100 copies that
were hand cranked off a Roneo machine
that I should interview the various mem-

Montinued from page IM) ;. ■' ‘ *' r l >i
bers of The Yardbirds and we could sell R &
6M at the bands’ gigs Eric's interview appeared
in the April edition. That got us
started. M
In the January 1965 editorial, Mike asked
“How many people would be willing to pay
10/- {50p to you, nipper /) for a single of
Hubert Sumlin ?” Thus was Blue Horizon
b o m : the label was Mike’s idea, the naming
mine. (Should have copyrighted it too).
Later, there would also be Purdah (for white
artists doing black blues, geddit ?) and
Outa-site for soul and R & B There were a
few issues on the latter and of course the
most well-known Purdah single 'was “45-
3502” by John Mayall and Eric Clapton cut
on one microphone in a small studio in Old
Compton Street in London.
...... , R & BM finished with
glues
issue 24. Mike’s produccatneo^°utaSfthe
tion work was getting
liredresU^ busier and since I’ve
Purdah
never been a worka-
* * | the thought of tak-
■*" 1 ' tug over editorship never arose.
Not only that, we both started writing for
Jazzbeat, the 'official journal’ of the National
Jazz Federation We pontificated in alternate
issues on records and concerts, dispensing
our blinkered views. Sometimes
Paul Oliver would write something far more
tolerant and far sighted.
“ Blues Breakers” came about as a direct
result o f the Purdah single and i got to
hang out at some of the sessions and I even
managed to convince John to let me write
the sleevenotes, blowing my own trumpet
about how good I thought Eric was At one
stage in the mixing sessions, engineer Gus
Dudgeon asked me to “hit start” on one of
the tape machines. As my finger plunged
towards the record button, he leapt from a
sitting position across the room to prevent
me. Everyone was impressed with his agility.
Soon after that, I got a job at Decca myself,
working as the sieeve co-ordinator for their
art department This involved setting up and
attending photo shoots, getting together
with artists and their management to discuss
ideas for cover artwork and arranging
for, or writing sleevenotes. That’s how i got
to hang out at the studios at Savoy
Brown and Ten Years After sessions
It sounds romantic now but it was bloody
hard work at the iime - and some of the
managers had god-awful taste !
I’ll tell you more next time
Thcvvikfr N eil:
"BLUES MATTERS r
(MAIL ORDER)
TOP TEN
ALBUMS....SO FAR..
1) BLUE WAVE 10th Anniversary
(various)
2) SOLITAIRE - Kim Stmmonds
3) BLUES DEMON - Ronnie D
4) FULL MOON ON BROADWAY -
Steve Williams
5) ARCHIVE ALIVE at the Record
Plant 1975 - Savoy Brown
6) BLUES BAND - Canned Heat
7) MAMA LION - Kim Lembo
8) RAW MATERIAL - Paul Raymond
9) BRING IT HOME - Savoy £
10) PIN-BOARD WIZARDS - « »
Jackie Lynton
&

Deanna Bogart : “NEW ADDRESS”
on Viceroots VCR 8034-2 from USA.
Running time 46.52 over 12 tracks of which 9
are originals.
This lady sings, plays no
mean piano and even!
contributes some sax I
playing along the way. 1
Overall this has a nice
feel to it, it’s a comfortable
album to slip into,
like a warm coat and it
jfits a lot of moods too.
' Kicking off with “Checks
and Love Letters”, which is a good intro,
before proclaiming “Alright” with gospel style
backing vocals then slipping into “Boogie
Woogie Baby”. The smooth “Said it Would
Rain”, the easy swing and humour of “if I Get
Old” right through to the last track “Can’t Get
Enough Of You" Deanna plays her way
through a variety of styles with ease and
confidence and I was ready for more at the
end, just had to plat it again. I look forward to
more from this iady in the future......
workout on this one (6.13), “Homesick!
Blues” and “47 Pontiac” lead us to “Y our|
Turn Will Come One Day” (5.58), a sad / I
bitter song - nice guitar break, lyrics to cut 1
yourself on ! Then of course there’s the |
final “Take me Home” an easy song that |
you want to sing along to. Now there’s a J
way to end end an album, leaving you with
that feeling like you get at the end of a
movie when the good guys
win.................cheers I
BLUES CORPORATION
“ Take Me Home” (Private pressing)
1002BC. Running time 56.22 over 11 tracks of
which 9 are band or Nicky Moore (pictured
below) originals.
We kick off with 5.30 of “What Can A Poor
Boy Do” which is a rollicking good start to this
album, nice guitar hooks you in, cruising
rhythm and vocals that soak it all up and pour
it all out again, yep ! like this one, a good
driving tune and great groove
On “Leland Mississippi Blues” you’d swear
Nicky was going to tear his throat out but
no, just a bit of exercise there to clear himself
for a steady song. Nice guitar from Richard
Studholme. The hypnotic “Bar Room Life” follows
and steadies us and warns about that
drinking.. .cheers, “Let Sleeping Dogs Lie" is
an easy / lazy excursion, you know that feeling
when you having a good stretch, yep this
is it. Then it’s “Gonna Be Your Man’’, the
gentle “Sea Of Blues", can’t help but tap your
feet to this one, “Heartbreak Hotel” I’m told
was played first off as a fun thing but has
become very popular as a live number, some
John Mayall:
l2 b mar “th e b e s t o f....”
Deram 844 785-2. 66 minutes 55 over 20 f
great tracks
What can you say about John Mayall that
hasn’t already been printed ? A satisfying
album lovingly re-mastered by John himself.
it was nice to hear some of these
tracks without all the crackling on my worn
long players and very good to read the fold
out sleeve notes and all coming in a blue
tinted case. This takes me back to first
discovering the blues, sitting on the floor
with a bottle of beer and reading some
analytical approach to the artist and the
reason for the song that just detracted from
what it’s all about - the feel I “All Your
Love” still makes me shiver.
2 i

“Life is just a slow train crawling up a hili”
^ ‘ - f c M says the first track
lops may
John’s frair go slow
the hill of life so
jH 'w e have onger to
/ t !B con !rii:e t0 enjoy
« his mus'c an<^ ^)is
j essential feel’
-i Too many great
tracks here and if I
start to discuss one more this review will go
on for pages. Just buy the album.
A job well done John ..... thankyou
~ We have a copy o f this CD to give away
courtesy o f Polygram, all you have to do
is write to us about yo u r best John Mayall
memory and send it to our editorial
address. The winning story / article w ill be
published in a future edition o f “BLUES
MATTERS !” and the writer w ill receive
the CD....easy eh ?
UFO ; “Walk on Water”
64.57 over 13 tracks on Eagle EAGCD 009 §
The European edition carries three bonus f
tracks from members’ respective solo albums §
: Mogg/Way, Michael Schenker Group and 1
The Paul Raymond Project (reviewed later) 1
The CD carries a good 12 page booklet with I
lyrics and individual photographs. The clat
sic UFO line-up return to give more of their |
chord heavy rock in good size portions, j
UFO certainly put on a show that was thoroughly
enjoyed in Newport recently before f
resting and taking off to Japan and Aus-f
traiia. . 1
New versions of the evergreen "Doctor, j f
Doctor’1and “Lights Out” come in at tracks 9 1
and 10. Phil Mogg is in good voice and;1:
throws you straight into the deep end with 1
“Self Made Man” as the first track that just |
thumps along with it’s heavy riff, best played §
loud ! “Venus” kicks off with gentle Ray-1
mond organ then ~ wallop ! - heavy chord <
and 12 string acoustic stride through your?
speakers, “Pushed To The Limit" has yo u f
leaping from your seat if you were still |
there ! Then the album strides along at a I
good lick “Dreaming Of Summer” varies the |
pace for us before we hit the new version of I
“Doctor, Doctor” with it’s ’easy’ introduction f
building to thumping drums and then fasten |
seat belts we’re off “Lights Out” next |
then to the three ‘solo’ tracks I half ex-1
pected some relief but got none until Paul f
Raymonds’ Project track right at the end. I
The chords weren’t quite so heavy and ?
there was more variation to his track and a ?
fine feel (see page 15 for Paul Raymond’s f
solo review)
STONE THE CROWS “ The
BBC Sessions Vof 2 1971-
1972”
10 tracks over 50.25 on SFRSCD068.
i said earlier on page 6 that i couldn't wait
for volume 2 to arrive, and finally it has.
Couldn’t you just squeeze that Maggie Bel!
and hug her for that voice It has always
struck me as a great shame that Scottish TV
never release the theme to TAGGART (for
those of you not in the UK that is a TV
detective / police series we have) Maggie
sang the song featured at the beginnning
and end of the show and it’s chilling The
years have not worn away the gravel in her
voice and she still has that special stage
presence

"BLUES MATTERS!"
(Continued from page 22)
This CD kicks in more powerfully than Vol 1
with “Faces”. “Big Jim Salter” is here, “Going
Down”, “On The Highway'1(6.15 version), “Mr.
Wizard”, “Good Time Girl”, “Penicillin Blues"
and we close with “Highway Blues” (7.23 version).
The sound quality is good. The performances
are good, you almost feel like you're
there, perhaps some audience participation
would have been good to hear If you are
already a Stone The Crows fan then these are
a must, if you are going to find out what you
missed - be warned you will find that you
must have both CDs which-ever one you buy
first !!!!
B u rn s id e
Records
BCD0026-
2
Our good
old British
B iu e s e rs
here. Hard
w o r k in g ,
h e a v y
touring,
serious
MICK CLARKE AND
LOU MARTIN : "Happy Home’
playing, under rewarded.............
Now this is a nice story. Through Mick
Clarke I have got to talk to Terry Currier at
Burnside Records in USA and there’s a
bond here straight away - British Blues !
Terry remembered Mick and Lou from days
gone by and the bands they had been in like
Killing Floor and Rory Gallagher
Terry’s own sleeve notes say : “Mick and
Lou went into a London studio and here are
the results. Two musical friends playing
different styles of blues. Some written by
themselves. Some just favourite songs they
like by others. Mick himself says : “ It’s kind
of a Otis Spann / Big Bill Broonzy type
project”.
It is clear that here is a true musical collaboration
from all sides. It reflects in the relaxed
performance and easy going, foot tapping
blues that you will enjoy. It’s not heavy, it
features just guitar, piano and voice and it
will leave you smiling with satisfaction, i’m
not going to pick out any tracks for special
mention, this is just one smooth album....
Now we have the contacts we shall carry a
feature on Mick Clarke with an interview in
a future edition of “ BLUES MATTERS I”
RECONSIDER :
“leaving bourbon street”
A private pressing
RECONCD0001. 14 tracks lasting for an
enjoyable 69.08
Reconsider are a classy six piece (three
of them brothers) outfit from Portsmouth.
This is their first album and what a good
start. Not an album to blow you away with
volume and heavy chords, this is subtle,
mellow, seductive, swinging, soothing, well
written (all by band members Fiiss Dowling
and Mick Downs). There’s a definite ‘jazz’
feel to vocalist Fliss’ voice that would Inevitably
come over better live, she sounds a
bit restrained here but has a fine edge
“Front Page Blues” has considered lyrics on
the state of the Earth and the damage we
are doing to ourselves. “The Shower’s Drippin’
(But Your Hair Ain ‘t Wet) has that jazzy
(Continued on page 24)

(Continued from page 23)
swing. “Cold Heart” is a stand out track,
“Boogie Time At The El Mocambo” allows Mick |
Downs to fly on the guitar, “Keep On Believing” |
set us on fire in the office and the album swings f
to a close with “Love Train”.
'BLUES MATTERS!
his solo efforts “Nowhere Road”, “City Child” §
and “Second Sight” which came along after |
a considerable gap. Chris has written new f
material for an album and is waiting to get I
the musicians together for the recording for 1
a^relase that^shouldbe out early in 1999 I
above L to R : back - Tim Downs, Fliss
Dowling, Rich Ashmore, front - Andy FUtcroft,
Mick Downs and Jerry Downs who make up
REONSIDER - a band to watch out for. See
them at the Colne Festival, and watch out for
two tracks by them on the Festival sampler CD.
I note that this album was recorded at one Bob
Ross’ studio (who also engineered, mixed and
co-produced with the band). (Bob was largely
responsible for an unreleased CD by ex-Savoy
Brown singer Chris Youlden titled “Matico”-
a neat link to our next album......
CHRIS YOULDEN “Matico”
Midnight Records (it says so on the I
label but this label does not exist ) - 1
This was a pressing that never saw release or 1
the light of day except at the all too few gigs §
that Chris performs these days. 51.31 over 11 I
deliciously slick tracks. 8 pages of dark, arty j
sleeve notes with full lyrics accompany this I
moody and highly recommended CD. You will 1
not get this in the shops but we do have a good I
supply here at “BLUES MATTERS I”.
Musicians include Gary Shaw (all Guitars), Matt |
Little (piano, organ Fender Rhodes), B.A.Fox f
(drums), and Bob Ross (bass, keyboards, programming.
percussion / effects).
Recorded in 1993 this is a vital missing item
from the collections of the many Chris Youlden |
fans who remember him from Savoy Brown and f
mentation and effects - and good use of the \
stereo imagery. On “Who Needs Enemies” §
we have Chris moving from deep to smooth I
vocal with ease and a grooving swagger to |
the song. A teasing intro to “Just A Dream”, p
a guitar that just bubbles along and super S
Youlden vocal. “Killing Time” will make you §
sad, but the groove “Out Of Sight, Out O ff
Mind” lifts you back up again “The Good
Times” ambles along with a shuffling rythm f
and the closing track, u Our Good Thing Is j
Through”, is just terrific. Soothing Youlden |
vocals over a crisp background with mean- f
dering guitar and piano let you out sadly, |
but everyone has a little work out just before I
the closing fade and you’re left with a satis-1
fied feeling that you’ve just listened to a f
deserving album.
This deserves your attention !
f
ALVIN YOUNGBLOOD HART :
" S m f “Territory”.
Hannibal HNCD 1431. 46.34 over 11 tracks.
This is a journey through the years of blues
styles. Alvin certainly takes you back to the
likes of Leadbeily right through to Frank
Zappa I
Taj Mahal said of Alvin : “Boy got thunder in
his hands !”
This album grips you from the first old time 2
fingerpicking and steel opener, f
“Tallacatcha”, (reminded me of old west ?
songs) and mesmerises you through some
(Continued on page 25) $

(Continued from page 24)
simpiy simple styles to wanderings
with violins, guitars interplaying
and paints rich patterns
that conjour up joyful and sad
thoughts.
Alvin has
’ hung out
1 ° n
I f f M a x w e ll
I s t r e e t ,
| tra v e lle d
I b e tw e e n
' California,
Ohio and
Illinois. Winner of the 1997
W.C.Handy Best Newcomer
Award.
Alvin has come up with a mystical
approach to the blues,
“Countrycide” is etherial, “ice
Rose” (Beefheart) is hypnotising,
nice slide on “Mama Don’t
Allow”, “Just About To Go”
pops up with a surprising reggae
beat just before the closing,
and oh so soothing, track
“Underway At Seven”. There
are piaces where you have to
think of Ry Cooder on this album
but it’s ail fascinatingly
Aivin Youngblood Hart.
BOB HALL :
“ A t The W indow”
an album of 'blues and boogie
woogie’, sleeve notes by our
‘friend’ Roy Bainton that are
headed
Bob Hall : A very
im portant piano...” Roy’s
notes cover quotes from Jazz
Rag Review "...the best
since Otis Spann....as a blues
player, he cannot be bettered
” and speak of the long,
long pedigree from the British
biues boom of the 60’s and
accompanying the likes of
ns&mssmmm
Howlin’ Wolf, John Lee
Hooker and Chuck Berry
along with his time with Savoy
Brown, The Groundhogs,
Rocket ‘88 right through to his
current activities and well regarded
forays with The Blues
Band, Dave Kelly and many,
many album appearances.
On this album we have Bob
having a good time along with
BOB HALL
Dave Peabody, Top Topham
and Robert Bond (one-time
drummer with Bo Diddley and
The Drifters) and giving you
one too ! There are 13 tracks
‘spanning 47.13 amongst
which we have originals
(“Beehive Blues”, She’s
Gone”, “Axel’s Wheel”, “Gone
Fishing”, “Somebody Watching
Me”), co-written numbers
(“All I Got Is You” with Dennis
Cotton) Trad, arrangement
(“Red River Boogie”) and
numbers written by Leroy
Carr (“How Long Blues”) and
“Blues Before Sunrise”), Montana
Taylor (“Detroit Rocks”),
Freddie Shayne (“Mr. Freddie
Blues”), Jimmy Vancey (“At
The Window”) and James
Oden (“Going Down Slow”).
You can’t pick out any one
mmmmmmmmmmmmamsmmat
2 5
"BLUES MATTERS
track form this set for spe-§
cial praise because they’re i:
all infectious in their own 1
ways but if I really had to go
for one it would be the original
“Beehive Blues”.
Francis Wilford-Smith (a
leading authority on biues
and gospel) is quoted in
writing about Bob, as say-1
ing that he is “long a major 1
pianist in the British, and \
indeed International blues
scene, impresses more I
with every year that §
passes”.
I
&
If you like your blues I
pianoed’ you cannot do |
better than Bob Hail.
LES WILSON &
THE M iG HTYf
HOUSEROCKERS : “ O n |
The Road” .
RLCD 0097. 72.41 over 13 I
tracks.
These guys tear straight at |
you from the off with Fred-1
die Kings’ “In The Open” j
then Les introduces the |
band before his own com -1
position “How Many |
Tears” quoted as one
of the finest acts at (U K)f
Colne’s 1997 festival and
as one of Britains’ finest |
slide players you begin to 1
find out why here. On this f
album Les decided to air I
some of the bands old |
stage material after giving 1
vent to his own songs on 1
his previous (1997) album f
“ On The Loose” . You get
generous helpings of fast ?
paced electric biues. One '
writer verifies “..it is such a ;
(Continued on page 26) |

"RMJES MATTERS
(Continued front page 25j
shame that such music is lost on the Oasis
generation”. “I’ll Play The Blues For You” has
a great guitar intro and sound throughout
with a back drop that just spurs everything
along. “Houserockers Boogie Woogie” simply
belts along before another slow blues
“Ain’t Nobody's Business”. Les lets rip on
slide to Elmore James’ “Madison Blues” and
sounds like he’s on fire. So to cool down he
plays a Hendrix set of “Voodoo Chile”, Star
Spangled Banner" and “Purple
Haze” Ooh Aah....Les is touted as better
than The Hamsters doing Hendrix material
Jimi would approve ! This set ends
with “Get A Haircut” a workout that ends the
night satisfactorily and shows off more of the
slide work. Good backing and bubbling piano
throughout make this a fine example of The
Houserockers live act and well worth investigating.
Having backed Louisiana Red on UK tour
Red says of Les - “This Man is a great
guitarist”.
The bands’ third album “ On The
Loose” was released in 1997 and
carries some fine Wilson compositions. 14
tracks spanning 66.46 again on Red Lightnin’.
Skills honed for the last 25 years of I
playing the blues pour out on this album. “Fly |
Like The Wind” has a neat intro that sucks
you in to the song with a nice easy feel,
“Checkin’ Out (of your life)” kicks in with a
bass intro and burst of sax before it settles
into it’s groove. The more you listen the more
you can see why U P.Wilson and Louisiana
Red chose the band to back them on UK
tours and why they’ve lasted so long. The
slow “Lonely Nights” just coasts along on
vocal and backing with nice guitar bursts.
“Got The Hots For You Tonight” rocks along
and must be a crowd pleaser. “I Wanna
Dance” has plenty of slide to please and the
final track “I’m A Rocker, i’m A Roller I” has
Les going solo on acoustic guitar to ease you
out of a neat album.
“BEG, BORROW OR STEAL the origins, music and influences of ROBERT
JOHNSON. Limited edition 3 CD box set from Catfish KATCD 107 61 tracks in total
of which 29 are on CD 2 which is all Robert Johnson and therefore speaks for itself I An
ambitious box set with 8 pages of sleeve notes by Keith Briggs. With all the artists involved
it would have been easy to incorporate a book but sadly CD packaging won’t allow such
volume.
CD 1 is the origins and includes : Charlie Patton (Tom Rushen’s Blues),
The Mississippi Shieks (Sittin’ On Top Of The World), Son House
(Preachin’ Blues), Scrapper Blackwell (Kokomo Blues), Skip James
(22-20 Blues), Kokomo Arnold (Milkcow Blues) and more of fine old
blues to wet your appetite for CD 2. I don’t think we need to discuss
Johnson here as there can’t be many biues households that don’t have
his collection already. CD 3 kicks off with Johnny Winter on “Come On In
My Kitchen" live with spoken introduction and fine slide work (of course),
Johnny also closes this CD with “Kind Hearted Woman Blues”. Alexis
Korner pumps energy into “Hellhound On My Trail”. Homesick James
slides through “Crossroads”, Canned Heat work through “Rollin’ and
Tumblin”’, Peter Green & Splinter Group crop up on “Travelling Riverside
Blues” and “From 4 ‘till Late”, David Hay has “32-20 Blues” and “the
excellent “Me & The Devil”, Tony McPhee stamps his mark on “Love In
Vain”. We also have Muddy Waters, King Biscuit Boy, Sonny Boy
Williamson, Joe Carter, Elmore James and Johnny Shines here.
The music here speaks for itself. The artists speak for themselves. It
would be great if Robert Johnson could speak for himself and let us know what his reaction
over the years has been to the vastly different interpretations of his songs. This is a good set
for those who don’t have much music by, or influenced by, Johnson. The price is very
attractive. I would have preferred a plastic case for filing reasons. An interesting box set.
2 6

”BI.l:KS MATTERS P
A FEW SHORT REVIEWS TO END THIS ISSUE :
ROBIN TROWER : Anthology VSOP CD 197. 77.17 over 16 tracks of guitar slinger
extraordinaire. If you like Trower but don’t have many of his albums, or couldn’t take a whole
album at one go GET THIS ONE ! - a usful collection.
JEFFERSON AIRPLANE : Crown of Creation ND83797, SURREALISTIC PILLOW
ND83738, VOLUNTEERS ND83867 ; It’s nice to be taken back in time with these classics,
re-mastered and enjoyable.
EAGLE RECORDS have a neat series called 'THE MASTERS’ which come in at a very good
budget price and that serve as a good introduction to artists best o f bits to tempt you further
into their catalogue. At a damnfine price too ! Artists included are - SAMSON on a double CD
of good material (23 tracks over 104.50) which will be especially relevant to fans and the
label if they manage to sign Paul Samson now he is re-forming the original line-up of the
heavy rockers SAMSON. This show cases some fine moments in their career. ALEXIS
KORNER (17 tracks over 75.32) this live set recorded in 1984 is just Alexis (guitar) and
bassist Colin Hodgkinson (who shares vocals) and an occasional piano. An interesting set
and much enjoyed here. More information of the session in the sleeve notes would have
been appreciated. A good listen. CANNED HEAT have 13 classic tracks of blues ‘standards’
lasting 58.40. This is OK but Heat’s BLUES BAND is much better SONNY TERRY &
BROWNIE McGHEE 16 classic tracks. I love these guys, they enjoy it so much and just ooze
that ‘right feeling’. Peter Gamble says in his sleeve notes “Open your ears and experience
one of the most uplifting sounds the blues has yet offered”. And yes we loved this one
LIGHNIN’ HOPKINS again 16 classic tracks lasting 73.23 kicks off with a story that has the
audience laughing. These tracks from the 60s show his distinctive style well. An enjoyable
album but again more about the compilation and why would be better. SONNY BOY
WILLIAMSON, 18 classic tracks over 52.11. The playing is raw harp, the tracks follow well
but again more info on the compilation tracks would have been useful especially for a new
comer. This is a useful series that Eagle have issued and the price makes them good buys.
There are many more CDs we have recieved we haven’t been able to review this time to
meet our deadline, but with another edition coming around October you won’t have to wait
too long to read about them and don't forget that much o f our aim is to review the music
you can’t / won’t find reviewed elsewhere. So help us make “BLUES MATTERS !” grow.
Anyone prepared to distribute fliers whether in your local record shop, festival, club, pub,
work - where-ever you think it will do the cause good - please let us know.
We hope you have enjoyed our efforts. Next issue will see the start o f a readers page so
letters welcome PS - there’s no index on purpose, so you read all the reviews /
We want to make things easier for blues, blues /rock fans and so , as you will have realised
we have oor own MAIL ORDER facility that we are putting together.
We aim for a simple pricing structure, in whole £ / $ and no funny bits. CDs will be priced in
three tiers as follows : £9 / $20 for budget, £12 / $25 for full price and for anything different a
price will be quoted along side the album in question there that’s easy !
Now for our first listing. Our list will grow but space will dictate although we will be able to
supply everything we review and will only cease to supply if deleted or the item simply
doesn’t sell, even then we will usually be able to go back and get some for you.....
right, eyes down look in for your first order from “BLUES MATTERS !”
ALL PRICES INCLUDE P & P. Allow up to 30 days for delivery (but this won’t happen very
often and we’ll let you know if there’s any delay). We can’t accept visa payments yet so
cheques/money orders payable to SHAKEDOWN-BLUES MATTERS ! please, and send to
the PO BOX address happy listening.
2 7

"SLUES M ATTERS!"
BLUES MATTERS i I SHAKEDOWN PRICE LIST
BLUES MATTERS ! / SKAKEDOWN CATALOGUE
IfS t
ARTIST TITLE PRICE m
ALEXIS KORNER THE MASTERS 08/14
ALVIN YOUNGBLOOD HART TERRITORY 12/22
ARTHUR BROWN & JIMMY CARL BLACK BROWN, BLACK & BLUE 12/22
BACKBONE SLIP
AVENUE BREAKDOWN 12/22
BIG JIM SULLIVAN
BIG JIMS BACK / TIGER 12/22
BIG TOWN PLAYBOYS OFF THE CLOCK - LIVE 12/22
BLACK WIDOW BLACK WIDOW IV 12/22
IV 12/22
BLIND LEMON JEFFERSON SQUEEZE MY LEMON 10/22
BOB HALL AT THE WINDOW 12/22
BOB HALL ALONE WITH THE BLUES 12/22
BOBBYT SMITH WOOF 12/22
BREAKERS (THE)
MILAN (featuring Ian Ellis & Ric Lee -TYA]
‘ a;
5
§
1
12/22
BRIAN CONNOLLY’S SWEET
THE MASTERS
08/14
BUGS HENDERSON HAVE BLUES. ..MUST ROCK 12/22
BUILT FOR COMFORT BLUES BAND HIGHBALLIN’
12/22
BUKKA WHITE
SHAKE ’EM ON DOWN
10/18
BUTTERFIELD BLUES BAND KEEP ON MOVING 10/18
CANNED HEAT THE MASTERS 08/14
CANNED HEAT BLUES BAND CANNED HEAT BLUES BAND 12/22
CHAMPION JACK DUPREE GET BACK JACK, DO IT AGAIN 10/18
CHARLIE MUSSLEWHITE BLUES BAND TENNESSEE WOMAN 10/18
CHRIS YOULDEN
MAT1CO (unreleased album - limited supp
12/22
12/22
CLOUDS
SCRAPBOOK/WATERCOLOUR DAYS
CONNIE LUSH BLUES SHOUTER 12/22
DAVE KELLY WAITING FOR BESSIE 12/22
DEANNA BOGART NEW ADDRESS 12/22
DOGWOOD TOOTHPICK'S PILLOW 12/22
DONNIE ELBERT THE ROOTS OF.. 10/18
DOYLE AND WHITING
BURIED BONES 12/22
LOSER FOR YOU BABY 10/18
DR.JOHN
DUFFY BISHOP BAND BACK TO THE BONE 12/22
DUFFY BISHOP BAND BOTTLED ODDITIES 12/22
EAST OF EDEN KALIPSE 12/22
EDDIE HARDIN WIND IN THE WILLOWS CONCERT 12/22
ELO LIVE AT WINTERLAND 1976 10/18
ERIC BURDEN
COLLECTOR’S VOL. 1 (UNRELEASED/LI\ 10/18
ERIC BURDEN
COLLECTOR'S VOL.2 (UNRELEASED/LI\ 10/18
EUGEN 'HIDEAWAY1BRIDGES BORN TO BE BLUE 12/02
FACES (THE)
FAMILY ALBUM
08/14
FI FFTWOOD MAC
1n J C c i/\iV»ii_Y ft A M il V aAt l dRl u IM m
08/14
FLEETWOOD MAC ~ ~ LONDON LIVE ’68 (THE MASTERS) 08/14
FOGHAT
14/22
FOGHAT
RETURN OF THE BOOGIE MEN
15/25
FREDDIE KING THE ESSENTIAL COLLECTION VOL 1 10/18
GROUNDHOGS HOGS ON WOLF’S CLOTHING 12/22
GROUNDHOGS LIVE ! 12/22
GROUNDHOGS 1970-72 ON AIR 12/22
HARP LEGENDS i/OL 1 & VOL 2 10/18
HELP YOURSELF HELP YOURSELF/BEWARE THE SHADC 12/22
C U T O F THE SHADOWS
12/22
12/22
HUMBLE PIE
NATURAL BORN BOOGIE
INNES SIBUN SUPERSTITION 12/22
JACK BRUCE 3BC LIVE IN CONCERT 10/18
JACKIE LYNTON ONBOARD WIZARDS 12/22
JACKIE LYNTON \LIVE AT THE BLEAKHOUSE (DOUBLE) 15/25
JACKIE LYNTON (<3UICK AS A ROOF 12/22
28

"BU.KS MATTERS
JEFFERSON AIRPLANE VOLUNTEERS 09/16
JEFFERSON AIRPLANE SURREALISTIC PILLOW 09/16
JEFFERSON AIRPLANE CROWN OF CREATION 09/16
JIM LEVERTON / GEOFF RICHARSON FOLLOW YOUR HEART 12/22
JIMMY PAGE & JOHN PAUL JONES THE MASTERS 08/14
JOE GRUSHECKY COMING HOME 10/20
JOE PERRY PERRY AIRS 12/22
JOHN HAMMOND LONG AS 1HAVE YOU 12/22
JOHN HAMMOND LONG AS 1HAVE YOU 12/22
JOHN LEE HOOKER SING BLUES 08/14
JOHN WETTON ARKANGEL 10/20
JOHNNY WINTER FIVE AFTER FOUR AM 08/14
JUMPIN’ JOE WHITING RYTHYM AND GROOVE 12/22
KIM LEMBO BLUE HEAT 12/22
KIM LEMBO MAMA LION 12/22
KIM SIMMONDS (SAVOY BROWN) SOLITAIRE 12/22
KOKOMO ARNOLD OLD ORIGINAL 10/22
LES WILSON & MIGHTY HOUSEROCKER ON THE LOOSE 12/22
LES WILSON & MIGHTY HOUSEROCKER ON THE ROAD 12/22
LIGHTNIN* HOPKINS THE MASTERS 08/14
LITTLE RICHARD & JIMI HENDRIX FRIENDS FROM THE BEGINNING 10/18
MAMA ROO MAMA ROO (feat.N.Petersort-SAVOY BRC 14/25
MARCIA BALL, IRMA THOMAS & TRACY NELSON - SING IT ! 12/22
MATT TAYLOR RADIO CITY BLUES 12/22
MICHAEL SCHENKER ANTHOLOGY 10/20
MICK ABRAHAMS (BLODWYN PIG) LIES 10/22
MICK CLARKE & LOU MARTIN HAPPY HOME 12/22
MICK CLARKE BAND ROLL AGAIN 12/22
MICK CLARKE BAND NO COMPROMISE 12/22
MICK CLARKE BAND TELL THE TRUTH 10/18
MICK CLARKE BAND STEEL & FIRE 10/18
MIGHTY BABY MIGHTY BABY 12/22
MIKE BLOOMFIELD AMERICAN HERO 10/18
MOUNTAIN MAN'S WORLD 12/22
NOEL REDDING BAND THE MISSING ALBUM 10/18
PAUL KOSSOFF LIVE AT CROYDON FAIRFIELD HALL 10/18
PAUL RAYMOND RAW MATERIAL 12/22
PETE BROWN I PHIL RYAN THE LAND THAT CREAM FORGOT 12/22
PETER GREEN & SPLINTER GROUP ROBERT JOHNSON SONGBOOK 12/22
PREACHER BOY CROW 12/22
PREACHER BOY GUTTERS AND PEWS 12/22
PREACHER BOY & THE NATURAL BLUES 12/22
RECONSIDER (sp.offer)**** LEAVING BOURBON STREET 10/20
RENNAISSANCE LIVE - KING BISCUIT FLOWER HOUR 10/18
ROBERT JOHNSON BEG .BORROW OR STEAL (3 CD SET) 15/30
ROBERT PETE WILLIAMS LOUISIANA BLUES 12/22
ROBIN TROWER ANTHOLOGY 09/16
ROGER CHAPMAN & SHORTLIST RIFF BURGLAR 10/18
RONNIE D BLUES DEMON (feat.K.Simmonds/D.OIso 12/22
SAMSON THE MASTERS (DBL) 12/22
SANTANA PERSUASSION 08/14
SAVOY BROWN SHAKEDOWN 12/22
SAVOY BROWN GETTING TO THE POINT 12/22
SAVOY BROWN BLUE MATTER 12/22
SAVOY BROWN A STEP FURTHER 12/22
SAVOY BROWN RAW SIENNA 12/22
SAVOY BROWN LOOKIN' IN 12/22
SAVOY BROWN STREET CORNER TALKING 12/22
SAVOY BROWN HELLBOUND TRAIN 12/22
SAVOY BROWN LION'S SHARE 12/22
2 9

SAVOY BROWN
:.-..
SAVOY BROWN ..
SAVOY BROWN
SAVOY BROWN
SAVOY BROWN
SAVOY BROWN
SAVOY BROWN
SAVOY BROWN
SAVOY BROWN
SAVOY BROWN
SAVOY BROWN
SAVOY BROWN
SAVOY BROWN
SAVOY BROWN
SAVOY BROWN
SHUT UP FRANK________
SONNY BOY WILLIAMSON
SONNY TERRY & BROWNIE McGHEE
STAN WEBB_______________________
STAN WEBB __________________
STAN WEBB
STONE THE CROWS
STONE THE CROWS
STRAY
T.W.HENDERSON
TARNATION
TERRY ROBB____________
THE BLUES CORPORATION
THE HOAX________________
THREE STATE BLUES
THREE STATE BLUES
THUNDER
TONY McPHEE & FRIENDS
TOO SUM & THE TAILDRAGGERS
TOO SLIM& THE TAILDRAGGERS
TRAMP
UFO
URIAH HEEP _
V a n d e r g r a f g e n e r a t o r
V a r io u s & Ro b e r t j o h n s o n
VARIOUS ARTISTS__
VARIOUS ARTISTS
VARIOUS ARTISTS (DBL)
WALTER TROUT
WILLIE CLAYTON
ZOMBIES________
JACK THE TOAD
SKIN'N'BONE
SAVAGE RETURN
ROCK’N'ROLL WARRIORS
LIVE IN CENTRAL PARK
SLOW TRAIN
MAKE ME SWEAT
BEST OF SAVOY BROWN
KINGS OF BOOGIE
LET IT RIDE
.IVE'N'KICKIN'
BRING IT HOME
THE COLLECTION / ANTHOLOGY (DOU!
COLLECTION (USA BOX OF 3 GNP ALBUMS)
ARCHIVE ALIVE-RECORD PLANT 1975 -
ALIVE!
THE MASTERS
THE MASTERS
BLACK NIGHT
WEBB'S BLUES
STAN THE MAN LIVE
THE BBC SESSIONS VOL 1
THE BBC SESSIONS VOL 2
A NEW DAWN
THE WILDERNESS YEARS
MIRADOR
STOP THIS WORLD
TAKE ME HOME
HUMDINGER
EMOTIONAL HONESTY
EMPTIONAL HONESTY
12/22
12/22
12/22
12/22
12/22
12/22
14/25
14/25
14/25
14/25
14/25
14/25
18/
12/22
10/20
08/14
08/14
12/22
12/22
12/22
10/18
10/18
12/22
12/22
12/22
12/22
12/22
12/22
12/22
12/22
LIVE . . ....__________
ME&THE DEVIL/I ASKED FOR WATER___ 12/22
SWAMO OPERA ............................ . 12/22.
BLUES FOR EB
12/22_
BRITISH BLUES GIANTS 12/22
WALK ON WATER 12/22
LIVE ON THE KING BISCUIT FLOWER HOUR
THE MASTERS L _ 08/1.4 -
BEG, BORROW OR STEAL 15/28
SALT CITY BLUES VOL 1 12/22
SLUE WAVE 10TH ANNIVERSARY SET 10/20
RATTLESNAKE GUITAR (TRIB. TO P GR 15/28
VARIOUS(JeffAirp-/J-Winter/C.Heat/Santai TIMELESS FLIGHT _ 08/14
POSITIVELY BEALE STREET 12/22
GREATEST HITS (MIDNIGHT DOCTOR) 12/22
ODESSEY & ORACLE 10/18