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Editor-in-Chief

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'D'

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©2009 Blues Matters!

Alan ‘D’ Pearce t/a Blues Matters! Original material in this magazine

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Whilst reasonable care is taken in accepting advertisements, if in

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Office Opening Hours are:

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n interesting train of

thought – and something

for us devotees

to cling onto, at least

– is that the current

economic downturn

will be good for

Blues music!

After all, who isn’t going to get the

Blues? Distrust of governments and

national institutions fuelled by mass

debts, loss of homes, unemployment,

depleting resources, catastrophes

caused by climate change… there’s certainly enough to

inspire lyrically, and there’ll surely be much less in future to force

a more stripped-back and direct delivery…

However, if these desolate times are going to spoil us musically,

2009 still has quite a year to live up to…

Major players, including Gary Moore, Taj Mahal, Dr John and

Solomon Burke, produced collections to rival their career best in

2008, whilst former chart-toppers Mick Hucknall and Dion

astounded many in paying homage to Bobby “Blue” Bland and

Skip James respectively.

Blues inspired women continued to attract the headlines, with

Adele and Duffy living up to early-year predictions to dominate

the airwaves, whilst the much-touted Dani Wilde impressed many

with her Ruf Records debut.

Jeff Healey’s return to the Blues with “Mess Of Blues” sadly

turned out to be a fitting posthumous release; Chris Rea pulled

out all the stops on the staggering “The Return Of The Fabulous

Hofner Bluenotes” opus; and Pinetop Perkins pulled in a number

of heavyweights for his “…And Friends” collection.

Nugene Records were able to give Ian Siegal and Matt

Schofield the year off, with commended releases from Simon

McBride and T-99, whilst Bronzeart got over the loss of Seasick

Steve thanks to Congregation and Gemma Ray.

Even John Mayer took time out of wooing celebrity beauties to

release a live collection, the only surprise being he didn’t appear

on the star-studded Little Feat recording.

Sonny Landreth, James Hunter, Homemade Jamz Blues Band,

North Mississippi Allstars, Bob Brozman, Lurrie Bell… yes, none

of these acts were able to make your Best Blues countdown!

Given the acts that couldn’t even break into our top-50, perhaps

we can do without the recession after all!

DARREN HOWELLS Editor-in-Chief

Blues Matters! 5

13 BLUES NEWS

Eric Lindell, Saffire, Matt Schofield, Lynyrd Skynyrd,

Dan Auerbach, Ramblin’ Jack Elliot, Dave Arcari, Guy

Davis, Watermelon Slim, Black Lips, Gomez, Oli Brown,

John Lee Hooker, B.B. King, Aynsley Lister, Jeff Beck,

Julian Sas, Seth Walker, John Mayer, Seasick Steve

37 SUBSCRIBE TO WIN

Peter Green box set, Conil CDs, Catfish Haven CDs

134 DVD REVIEWS

Traffic, Johnny Winter, Joe Cocker, The Groundhogs,

Norah Jones, John Mayall, Bob Dylan, The Yardbirds

140 FESTIVAL FEVER

Orkney Blues, London Rhythm ‘N Roots, Tenby Blues

146 GOT LIVE

Mick Fleetwood Band, John Martyn, Harper, Funkydory,

Nick Cave And The Bad Seeds, Ian Siegal, Sherman

Robertson, Blues Caravan, Kyla Brox, The Blues Band

157 MEMBERS’ COMPETITIONS

Bob Dylan DVDs, Greg Zlap CDs, King Clarentz CDs

20 INTERVIEWS

Steve Winwood, Kings Of Leon, Deborah Bonham, Queen +

Paul Rodgers, T-Model Ford, Joe Bonamassa, Walter Trout...

76 BEST BLUES 2008

The best of last year’s album releases.

81 EASE THOSE BLUES

With “Bone Machine”.

82 GETTIN' THE BLUES

Derrin Nauendorf gets the Blues!

132 BLUE BLOOD

Jack Blackman, The Dirty Robbers...

158 NEVER FORGET

Odetta, Delaney Bramlett, Nathaniel Mayer...

160 NOW, BEFORE WE FORGET…

T-Bone Walker.

Ian Siegal, JW-Jones, Katie Melua,

Ron Hacker, AC/DC, Freddie King,

Elvin Bishop, Conil, Little Richards,

The Doors, Spencer Davis, ZZ Top,

Mike Sanchez, Jimmy Thackery

And The Drivers, The Hoax, Nina

Simone, Boo Boo Davis, Maggie

Bell, Aretha Franklin, Willie Dixon,

Dave Gross, Bob Meyer, Johnny

Cash, Ten Years After, The Jeff

Healey Band, Holly Golightly And

The Brokeoffs, Ray LaMontagne...

Blues Matters! 6

34 PAUL RODGERS

Who would have predicted arguably the UK’s

most over-the-top band of all-time would

have produced a dignified Blues-rock collection

in 2008? But it in the meeting of Paul

Rodgers with Phil May and Roger Taylor, the

former FREE frontman’s musical philosophy

clearly won through. “I think I’ve given them

an injection of the Blues, really, because I’ve

done a Blues infusion... Queen are capable

of not just the flamboyant kind of mega music

- they are also capable of beautiful music. It’s

great to hear them let loose on a jam.”

photo: Jill Furmanovsky

photo: Jo McCaughey

photo: Alison Wonderland

A FAIR QUESTION

Thank you for the renewal issues of Blues Matters! It is

a very superior magazine.

It was good to see an article on Jimmy Hall (issue 44)

because he was one of the first-rate acts my wife and I

saw on the Delbert McClinton Sandy Beaches Cruise in

January (2008). It was good to read about his past.

Also, having seen Andy Fairweather Low many times,

I was pleased to read an article on him. However, there

are a couple of questions I would love to have him

answer. One is that I’m sure I read somewhere that he

had a throat problem and had to give up singing, thus

his move to the front as a guitarist, so I assume the

problem is cured because he had a great

Blues-shouter voice.

Is Holly Golightly big

enough for BM!?

The second is that I think I saw him many years ago

(possibly in the mid-80s) playing at the Dublin Castle in

Camden with Geraint Watkins (a great version of ‘The

Weight’, I remember), but Andy played brilliantly lefthanded

(right-hand tuning, guitar upside down). Did he

relearn the guitar right-handed, or am I mistaken?

David Parker

Aylesbury, Bucks

Andy Fairweather Low says: I did have trouble with

my singing in the ‘70s. I saw a specialist, in fact I

saw two, and they told me not to sing the way I was

singing - good advice which I decided to ignore! I

did not actually give up singing - I couldn’t get a

record deal! I got work anyway I could, and, yes, I

did play Dublin Castle with Geraint in the early-80s.

I also produced an album with Geraint.

I do not play left-handed. Geraint did have

another guitar player who played lefthanded

(much as I would like someone

to think I played so brilliantly!). If the

guy played left-handed brilliantly then it

was Ed Dean.

PULLING POWER

I really enjoy the magazine; the live reviews

and news are great, but my one suggestion

would be to look for bigger cover stars. Holly

Golightly isn’t particularly well known in either

Blues or other musical circles at present. While I

appreciate that you wish to champion new acts,

and particularly younger/female ones, I'm not

sure if they are ready yet to feature on the cover.

I feel artists such as Joe Bonamassa, Seasick

Steve, John Mayer etc. would help get a little

more of a crossover interest.

Lynn Beattie

Brownrigg Loaning, Dumfries

BM! Says: Whilst the temptation would be to

feature high-profile acts every issue, the reality

is these acts are covered elsewhere, and we

want to offer an alternative to music fans, as

well as showcase how contemporary/popular

acts are adopting the Blues. For example, issue

44 featured Solomon Burke, who has enjoyed a

long and enduring career; issue 45 featured Beth

Rowley, who burst onto the scene in 2008 and

generated a lot of early buzz; and then issue 46

featured Holly, who may not have the profile of

either of the previous two acts, but has enjoyed a

long and varied career. This issue we have Queen –

well, we don’t want to become predictable!

The Stumble were the best!

YOU’RE THE BEST!

It was great to see the wonderful

Boogaloo weekends mentioned

in the article on Sam

Kelly. My wife and I travel to all

these weekends, and subscribe

to this and other Blues publications,

and have never come

across a comment on the lineups

as “uninspired.”

In 2008, youth was represented

by Five Field Holler and Rollo

Markee. Women in the Blues

featured from Never The Bride

and Kyla Brox to Connie Lush.

Class acts from the USA included

Eugene Bridges and Marcus

Malone. Europe provided Family Style, Big Dez and Robi Zonca. Differing takes on the Blues from Chicken

Legs Weaver to Jeremiah Marques. Musical virtuosity from Station House, Sean Webster and Otis Grand.

Vocal virtuosity from The Blues Pack, Giles Hedley and the incomparable Nicky Moore. Hottest live band this

year were the fabulous Stumble. Quality acts from Papa George to The Spikedrivers and the legendary Chris

Farlowe. Acoustic sets and the midnight jams. Venues from palatial stately homes to chalets by the sea. Social

and musical interaction between musicians and fans. These weekends are, on the contrary, fairly inspired and,

indeed, as good as the Blues life gets!

Well done, Monica Madgwick!

Robert Chaffey

Plymouth

BM! Says: Feedback from attendees to the Boogaloo weekends has been positive. It’s a shame Monica

has announced there will be fewer events staged in 2009.

photo: Tony Winfield (bluespics.co.uk)

SHOW SOME RESPECT

The current issue of BM! (issue 44) was barely in my

hands five minutes when I was incensed to read the

nasty comments of Anthony Yost from London, about

Mick Hucknall and Jools Holland.

Mick Hucknall may well be a “faded” pop star, but to

call him “laughable” is gratuitously insulting. And why

should Hucknall’s recording of an album of Bobby

“Blue” Bland covers say that this music is no longer

relevant? Hucknall was, and still is, blessed with one

of soul music’s wonderful voices and if he wants to pay

tribute to a true great of Blues and soul, then more

power to him. I am quite certain that Bobby “Blue”

Bland was very happy to have someone of Hucknall’s

fame record his music in 2007. I have only heard a

couple of tracks from Hucknall’s album while in a local

record shop, but they sure sounded good to me.

As if dumping on Mick Hucknall wasn’t enough, Mr.

Yost then proceeds to insult Jools Holland and those,

like myself, who buy the music of such “equally insipid

artists.” I can think of many adjectives to describe

Jools Holland, but “insipid” (meaning to lack flavour or

taste) would certainly not be one of them. Is Mr. Yost

having a laugh? I have been to many great Blues (and

rock) gigs in my time, but one of the very best and

least “insipid” of them all was by Jools Holland and his

Rhythm & Blues Orchestra, who totally rocked the

house and left everyone screaming for more.

Dara MacGreevy

Brussels, Belgium

BM! Says: The likes of Mick Hucknall and Jools

This issue Robert will

receive a copy of “The

Anthology” box-set. The

4CD set features the best of

Peter Green’s music over

all stages of his career,

including the likes of ‘Man

Of The World’, ‘Albatross’

and ‘The Stumble’.

Blues Matters! 9

Is Dani Wilde still having

to fight prejudice?

Holland do tend to attract negative comments, but

likewise they remain two very popular acts, so we’re

sure they aren’t duly concerned.

FEMALE EQUALITY

I was livid at the comments about Dani Wilde and, if it

comes to that, Oli Brown in the latest issue (46).

I was sick of the modern day commercial slush being

pushed down my throat and the ‘Y-Factor’ (yawn factor),

"Play it again, Sam!" music of the ‘60s generation on

constant repeat. Then I read an article by a then little

known young musician, Joe Bonamassa, about the

Blues in my husband's Blues Matters!, saying how

important it was to retain that root in modern music.

Knowing its importance to the ‘60s, I decided to start

helping to restore and nurture that root for successive

generations. I had gained a wealth of knowledge from

my connection to Macari's music shop in London's Tin

Pan Alley, which I believed I could put to good use.

Having taught about slavery and oppression over more

years than I care to remember, I could also empathise

with the emotive basis of that root.

On my first assignment for Blues

Matters!, I stumbled across this attitude to

female musicians in the Blues when talking

to Joan Armatrading. After this, a pattern

developed with every female musician I

met. They greeted me with the same comment,

"Oh, at last a woman music writer in

the Blues to talk to!" I found this so strange,

as a woman myself coming from a profession

where sexes are almost equal. I knew

about the struggle of ‘60s female musicians

to get accepted - the criteria not being

about talent but a pretty face - but I expected,

in the modern day, a different outlook.

It does though seem if, like Dani, you are

talented and pretty, not so. I've been monitoring

this young lady's progress for over a

year, along with a number of other young

musicians, and I have watched Dani go

from strength to strength musically.

The attitude expressed by Howard Sim’s

letter in issue 46 is an opinion he is entitled

to but it means, in music, 50% of the potential

talent available - past and present - is

written off, and we truly deserve the music

we get on our media today, as a narrow

minded genre of music, if we, too, take this

attitude. I walked out on ‘60s rock’n’roll

because of its “there can never be a better

era than the ‘60s” attitude, to come to Blues

because of its influence on the young ‘60s generation. I

had the hope that by the very nature of the Blues origins

in the struggle against one form of prejudice, I would

find a more open-minded group.

Musical development is a path the Blues has always

taken since its inception, and to stick the Blues in a box

and let it collect dust in some museum is an insult.

Those old Bluesmen and women gave us this musical

gift out of the pain and suffering of prejudice. That music

went on to produce new decades, genres, talented

musicians and pleasure out of that pain. Don’t let us kill

it by the very things the Blues was born from.

The Blues is a broad church with room for all, and if

we don't like some of it, we don't have to buy it. The

Blues is something worthy to give to future generations,

and if we don't encourage them, we too will be another

cracked 45 genre - collecting dust!

Carol Borrington

Nottingham

BM! Says: As our Best Blues countdown will testify,

Blues fans, and certainly fans that read our magazine,

are fairly open-minded to modern progressions.

When you've finished reading this issue, why not send us a letter to let us know your thoughts? E-mail your

views on anything related to the mag, or the Blues scene in general, to: mail@bluesmatters.com. We also

except mail the old-fashioned way, so scribble down your thoughts (well, neat enough so we can read them!)

and post them to: PO Box 18, Bridgend, CF33 6YW, UK. Remember, you could win great Blues prizes!

Blues Matters! 11

WOMEN UP AND LEAVE

But label quickly moves on

Alligator Records has announced that Eric Lindell (pictured

below) will release his new album, “Gulf Coast

Highway”, on 24th March 2009. Comparing the “soul-infused,

roots music anthems” featured to the likes of Van Morrison, the

press release stated the collection was “full of righteous

grooves and punchy guitar fuelled R&B rave-ups, heartfelt ballads

and funky second-line rhythms.” Alongside originals that

saw Eric “reaching new songwriting peaks,” the album features

“frisky” versions of songs by Buck Owens, Delbert McClinton

and Willie Nelson. Should it live up to the label’s billing, “Gulf

Coast Highway” should see Eric build significantly on the

29,000 units he’s shifted for Alligator already. In other news for

the label, Saffire released their final album, “Havin’ The Last

Word”, at the end of January 2009. One of the

label’s biggest-selling outfits,

“the uppity Blues

women” will take their

final album – described

as “their most infectious

collection yet of passionate,

funny, rollickingly

soulful Blues” – on

a farewell tour of the US

in 2009. The label has

moved fast to fill the void

left by their departure,

however, signing Tommy

Castro and Buckwheat

Zydeco, with new albums

planned for 2009. Popular

Blues-rocker Tommy definitely

sees joining the label

as a highpoint in his career.

“I feel I'm making a major

step forward,” insisted the

2008 Blues Music Award

winner. “I'm excited about

the new release and grateful

for the opportunity to record

Eric Lindell helps ease the loss.

for a label with such a rich

history.” alligator.com

Duluth, Minnesota-based Bluesman

Charlie Parr releases his seventh album,

“Roustabout”, through Misplaced Music in

the UK on 17th February 2009.

myspace.com/charlieparrduluth

Legendary southern rock band, Lynyrd

Skynyrd will tour the UK in May 2009 -

their first UK shows for six years. The band,

who are currently writing the follow-up to

2003’s “Vicious Cycle”, have been confirmed

to play: Glasgow Clyde Auditorium (27th),

Birmingham Nia Academy (28th), Manchester

Apollo (30th) and London Brixton Academy

(31st). lynyrdskynyrd.com Matt

Schofield will release his new

album at the end of March

2009. Again released on

Nugene Records, the new

album is described as “more

Blues-centric,” and heralds a

four piece line-up with Jeff

“The Funk” Walker on bass

joining Jonny Henderson on

keys and Frenchman Alain

Baudret on drums.

mattschofield.com

Popular festival outfit,

3AM have split. Trev Turley,

who has since formed

Bare Bones Boogie Band

with previous 3AM members

Helen and Iain, said:

“Let’s just say it was the

old adage ‘musical difficulties’

which prompted

the drummer to leave.”

Going on to talk about

the new outfit, Trev

promised “a more

trimmed down band,

featuring more of Helen

- at least she can get to

sing the songs she

wants to now. We are

leaning back more to

our Bluesy/boogie/

rocky side. Think

Janis Joplin, Maggie

Bell, Connie Lush.”

Blues Matters! 13

All by himself: Dan Auerbach.

TWO BECOME ONE

Guitarist takes complete control over surprise new album

Black Keys singer and guitarist Dan Auerbach (pictured above) releases his debut solo album,

“Keep It Hid”, on 23rd February 2009 via V2/Cooperative Music. Recorded and engineered by

Auerbach at his Akron Analog studio - “I wanted a live, organic sound. Nothing was too plotted or

planned, just a lot of spontaneity,” revealed the guitarist - The Black Keys frontman played all instruments

on an album said to reveal his range and versatility as a songwriter. “This record is a mixture of

things I like to listen to,” stated Dan. “Psychedelia, soul music, country harmonies” However, a prerelease

promotional copy, received by the magazine as issue 47 headed to press, confirmed

Auerbach hasn’t moved too far away from his Blues-rock roots. myspace.com/danauerbachmusic

STRUGGLES ON NEW ALBUM

Legendary folk singer suffers from depression

Ramblin’ Jack Elliott will release the follow-up to his 2006 ANTI- Record debut, “I Stand Alone”,

on 6th April 2009, entitled “A Stranger Here”. The new collection sees the 77-year-old

country/folk troubadour explore Depression-era Blues classics with producer Joe Henry (Bettye

LaVette, Solomon Burke). From the liner notes of “A Stranger Here”, Henry writes: “I pitched the

idea that he interpret country Blues music from the Depression-era of his birth - songs as dark,

funny and strange as is he and the times that produced them, and also ones that still resonate in

these turbulent days; songs from the Blues masters Jack had known during their latter-day resurgence

- and his own ascension - in the early-60s (Son House, Mississippi John Hurt, Rev. Gary

Davis); songs that share shape and subject with many folk songs of the same period but speak with

a particular poetry to struggle, love, justice and mortality. I needn’t have pitched so hard; Jack

seemed intrigued by the notion from the start, and had no trouble reading the songs as pertinent to

him. He pounced on each one as it came up during the four days of recording in my basement studio,

gave each a face of suave cunning, and was as unexpectedly arch as Bob Hope might’ve

seemed strolling through a Fellini tableau.” ramblinjack.com

Blues Matters! 14

Early recognition for the

Homemade Jamz Band.

photo: Ebet Roberts

ROCKIN’ THE BOAT

Awards ceremony given shake-up

Mississippi-based Homemade Jamz Blues Band (pictured

above) are the youngest nominees - at 9, 14, and

16 years of age – at the 30th Annual Blues Music Awards,

which has been confirmed for 7th May in Memphis,

Tennessee, and which, for the first time, features a Rock

Blues category (Gary Moore, Walter Trout and, posthumously,

Jeff Healey are amongst the nominees). West coast-based

group The Mannish Boys head the nominations with six

(including Band, Traditional Album and Album Of The Year).

Tied with four nominations each are Elvin Bishop, Eden

Brent, Janiva Magness, Curtis Salgado and Watermelon

Slim. Buddy Guy and Magic Slim are nominated for three

awards, whilst B.B. King and Lurrie Bell will have to be content

with two nods apiece. Performers have not yet been confirmed

for the 2009 show at the Cook Convention Center. The

Blues Music Awards, which will be broadcast live by Sirius XM

Satellite Radio's B.B. King's Bluesville channel, will be shot

in HD for a DVD to be released later in 2009. blues.org

BOTCHED OPERATION

Popular alt.Blues outfit flatline

Blues Matters! favourites, The Surgens announced on

their website that they have split-up after four years. The

band, who attracted attention from industry big-hitters like Mark

Lamaar, cited difficulties in getting everyone together as a primary

reason for the split. Kevin Murphy (aka Hanky Dog) told

us: “We are all really proud of what we achieved and produced

with The Surgens, and don’t really have any real regrets...

We’ll have to see how well the music stands the test of time.

I don’t think we could ever quite work out if it was ahead or

behind it’s time.” Kevin, has already begun work with his

new outfit The Malingerers, “a really stripped down acoustic

country Blues band,” featuring fellow Surgens Craig

Murphy and Donny (Black Dixon). thesurgens.co.uk

Dave Arcari (pictured below) has

announced that his new album, “Got Me

Electric”, is set for release on 2nd March

2009 on Buzz Records. The album features

ten original compositions alongside Frankie

Miller, Blind Willie Johnson and Robert

Johnson covers. davearcari.com Red

House Records has announced new releases

from Guy Davis and Jorma Kaukonen

for 10th February 2009. Guy Davis’

“Sweetheart Like You” is described as “a

classic mix of acoustic Blues and soulful

originals,” whilst Jorma Kaukonen’s “River

Of Time” mixes “original tunes with Blues

and country covers.” Mary Coughlan

releases “The House Of Ill Repute” on 9th

March 2009 on Rubyworks. “She has cast

her meditative eye over songs of joy, sadness,

mischief and melancholy; and has

delivered each one with a voice that effortlessly

straddles jazz, Blues, chanson and

pop. marycoughlanmusic.com

Following 2007’s breakthrough with “Good

Bad Not Evil”, Atlanta quartet Black Lips

return with new album “200 Million

Thousand” on 16th March 2009. The collection

has been described as “a snotty fourteen-track

celebration of unadorned rock-

’n’roll and no-bulls**t songwriting.” blacklips.com.

NorthernBlues Music have

informed Blues Matters! that Watermelon

Slim’s new album, "Escape from the Chick

Coop", will see the former trucker move into

country territory, having recorded the album

in Nashville “with the best session players

you can hire.” watermelonslim.com

Dave Arcari promises

electrifying new album.

Blues Matters! 15

photo: Tanya Simpson

PUSHING AHEAD

British outfit adapt to circumstances

Gomez (pictured

right) have confirmed

details of their

sixth studio album, the

follow-up to 2006’s

acclaimed “How We

Operate”. Released

on 30th March 2009,

via ATO Records, “A

New Tide” is

described as “their

most adventurous

and ambitious work

to date,” with

flavours of Delta

Blues, psychedelia

and Krautrock

incorporated into

the band’s “matchless

musical brew.” With members

of the band now based in America, early tracks were written

and recorded individually and then merged online - a process the

band describe as an “open and adaptive songwriting approach” -

before they convened with producer Brian Deck (Counting

Crows) in studios in Chicago and Charlottesville, VA. Songs

highlighted include ‘Win Park Slope’ and ‘Airstream Driver’ –

“evincing a spirit born of boundless imagination.” Drummer

Oliver Peacock said the album’s recording was “fuelled by

bellies full of ale, whiskey and hot dogs.” gomez.co.uk

PURISTS BEWARE!

New outfit blur the boundaries

The Reverend Peyton's Big Damn Band – described

as “too Blues for Nashville and too country for the

Mississippi Delta,” will release their debut album 'The Whole

Fam Damily” on 16th March 2009 on Sideonedummy Records

in the UK. Each song is “a straight-talking slice of Family life,”

with songs like 'Walmart Killed The Country Store', ‘Can’t Pay

The Bills’, 'Why Is Everybody Getting Paid But Me' and 'Your

Cousins On Cops' (written after the Reverend caught Breezy’s

cousin in an episode of an American reality police chase

show). “Maybe if I played a different genre of music I’d feel like

I could get away with making stuff up, but this style of music is

too honest; you can’t lie to people because they’ll see right

through it,” said Peyton, who cites legends like Son House,

Charley Patton and Furry Lewis as influences. The group, comprising

of Reverend Peyton (a genuine Reverend) on guitar and

vocals, his wife Breezy Peyton on washboard and his brother

Jayme Peyton on drums, are expected to tour the UK during

May 2009. myspace.com/therevpeytonsbigdamnband

Blues Matters! 16

Gomez use their imaginations

to record new album

Matt Andersen follows up

2008’s “Something In Between”,

with the release of his second fulllength

album “Second Time

Around” on 2nd February 2009,

supported by a UK tour. stubbyfingers.ca

Oli Brown already has

his own "Signature" guitar, which is

being marketed by Vanquish. Oli’s

father/manager, Graham enthused

that “the instruments are 100%

made in the UK!”

oliselectricblues.co.uk Jim

Suhler & Monkey Beat release

“Tijuana Bible” on 17th February 2009

on Underworld Records. “Tijuana

Bible is powered by thirteen original

songs, plus unique takes on Elvin

Bishop’s “Drunken Hearted Boy” (with

Bishop as special guest on slide guitar),

Rory Gallagher’s “I Could’ve Had

Religion” and AC/DC’s “Up to My Neck

in You.” jimsuhler.com Shout!

Factory will release “50 Years: John Lee

Hooker Anthology” on 17th February 2009.

This new 2-CD anthology covers John Lee

Hooker’s career from the very beginning up

through his last recordings, and features

guests such as Carlos Santana, Bonnie

Raitt, Robert Cray and Van Morrison.

shoutfactory.com The Baddest Blues

Band (Ever!) headed to the studio to record

second album “Heartbreak Tears” in

January 2009. Most of the tracks will be

originals penned by vocalist Zoë Schwarz

and guitarist Rob Koral. Zoë said ahead of

the band’s recording, “Lyrics for the Blues

should not be contrived and over intellectualised

but should connect to the man on the

street.” myspace.com/thebaddestbluesbandever

SPV’s Blue label continues its

programme of the classic Columbia

Records’ series Roots N Blues with the

release of Shuggie Otis’ “Boogie – Shuggie

Otis Plays The Blues”. The set has been

digitally remastered and includes two bonus

tracks. spv.de Aynsley Lister will

release a new album via Manhaton Records

on 16th March 2009. No other details were

available as Blues Matters! went to press.

aynsleylister.co.uk Wienerworld will

release “B.B. King Live In Africa ‘74” on

17th Februrary 2009. The DVD offers “an

extremely rare, intimate view of B.B. King

in concert,” with the footage taken from a

lead-up concert to the famous “Rumble In

The Jungle” match between George

Foreman and Muhammad Ali. bbking.com

Matt Taylor has told Blues Matters! he is

working on a new Blues project with the guitarist

Snowy White of Thin Lizzy and Pink

Floyd fame. myspace.com/matttaylorband

Harvey Goldsmith (left) will manage

affairs for Jeff Beck (right).

BECK IN STYLE.

Influential guitarist gets his due…again!

Jeff Beck has joined forces with legendary promoter Harvey Goldsmith (both pictured above) to

capitalise on his induction into Rock and Roll Hall of Fame in Cleveland on 4th April 2009. Beck

has already been inducted as a member of The Yardbirds, but the new induction will recognise a forty

year-plus career, which has seen the guitarist admired by the likes of Eric Clapton (who he will perform

with at Japan’s Saitama Super Arena in February) and, more recently, Morrisey, on whose new album

Beck appears - The Jeff Beck Group are also credited as laying the blueprint for Led Zeppelin. On the

union with Harvey, Jeff said: “It’s a great team and we have big plans, including new material and more

performances.” Harvey was equally enthusiastic. “I have always thought that Jeff is an incredible musician,”

insisted the promoter. “He is raring to go and his band are incredible, just brilliant. There should

be a new album by the end of the year and who knows where we can go with that.” jeffbeck.com

LIVE AND DIE BY THE AXE

Dutch Blues-rocker gives it his all

Guitarist Julian Sas releases new DVD and 2CD set “Wandering Between Worlds” on 9th

February 2009. The new album sees the Blues-rocker return to the CoraZong Records label, and

is the first release - recorded in concert on 26th September 2008, at a sold out De Boerderij in

Zoetermeer, The Netherlands - to show the latest Julian Sas Band line-up, featuring Julian Sas (guitar/vocals),

Tenny Tahamata (bass) and Rob 'the beast' Heijne (drums). The show features staples

from the Sas repertoire, plus four brand-new compositions (the DVD version comes with a bonus CD of

acoustic recordings. including a fifth new composition). “The night that we recorded our new DVD/CD

still sticks firmly in my mind,” said Sas. “It says everything I felt that moment and everything I live for.”

Going on to talk about the new songs, the guitarist enthused, “’The Way It Goes’ has a great boogie feel

and a rocking bridge. I play slide on this track and sing about being on the road, which seems to be

never ending.” Expect to see the band performing in the UK at some point in 2009. juliansas.com

Blues Matters! 18

THEN AND NOW

An alternative view of rock’n’rollers

Proud Camden will launch their “AC/DC: Let There Be

Rock” exhibition on 4th February 2009, which will run

until 31st May 2009. The exhibition – focussing on the band’s

early years - will take place to coincide with the UK culmination

of the group’s arena tour, and marks the anniversary of

original singer Bon Scott’s untimely death. “Shot through the

lens of celebrated rock photographer Philip Morris, this collection

shines new light on members of the original line-up,

including unseen images of the late Bon Scott alongside his

iconic band mates.” This will be the first time these images

have been showcased in the UK. proud.co.uk

AC/DC: “Jailbreak” session. After

a few drinks, Sydney, 1976

A NEW BELIEF

Will you follow R&B sensation?

Hyena Records will release the new collection, “Leap Of

Faith”, from Seth Walker on 3rd March 2009. Recorded in

Nashville, and produced by GRAMMY Award-winning producer

Gary Nicholson, the twelve-track collection showcases “Walker's

impressive command of modern rhythm and Blues, as it calls to

mind artists like James Hunter, Robert Cray and Susan

Tedeschi.” The young Austin, Texas-based songwriter, singer

and guitarist has combined “soul-stirring originals,” alongside

interpretations of songs by the likes of Nick Lowe (‘Lately I've

Let Things Slide’). Delbert McClinton, who lent his vocals to

the track ‘Something Fast’, enthused, "The first time I heard

Seth Walker at a small club in Nashville I was impressed like

I haven't been impressed in thirty years." sethwalker.com

Already a five-time GRAMMY winner,

John Mayer (pictured below) received a

further five nominations (including Best

Male Pop Vocal Performance) for the 51st

annual GRAMMY Awards, staged on 8th

February 2009. The shortlist for Best

Traditional Blues Album included Elvin

Bishop’s “The Blues Rolls On” and Buddy

Guy’s “Skin Deep”, whilst the likes of Marcia

Ball (“Peace, Love & BBQ”) and Solomon

Burke (“Like A Fire”) will battle it out for the

Best Contemporary Blues Album accolade.

grammy.com Harrogate's Blues Bar

has put together three compilation CDs to

celebrate their twenty-one years in business.

All proceeds will be donated to

Oxfam. bluesbar.org.uk/oxjam2008.html

One-man-band, Bob Log III releases

new album “My Shit Is Perfect” – “the onset

of another slew of adventures” – in early-

2009 via Birdman Records. “Geography be

damned, Bob Log III intends to take his

unique slide guitar party to the good people

of the world.” boblog111.com Seasick

Steve’s nomination for International Male

Solo Artist made him the oldest Brit nominee

in history. The Bluesman will be competing

against the likes of Kanye West at

the award ceremony held at Earls Court on

18th February 2009. seasicksteve.com

Jake Lear will release his second album,

“Lost Time Blues”, on 20th February 2009.

The guitarist, who has drawn comparison to

Stevie Ray Vaughan, said “Lost Time Blues”

is a Blues album with “the strong presence

of country and folk mixed in.” jakelear.com

Underworld Records announced a 17th

March 2009 release date for “Free Your

Mind”, the new CD from Seattle-based Too

Slim And The Taildraggers. “The new CD

takes the group’s Blues-based music to new

heights, adding rock and Americana influences

that make the disc a joyous listen.”

underworldindierecords.com

John Mayer could double

his GRAMMY haul.

photo: Mark Seli

Blues Matters! 19

ou could understand if Steve

Winwood feels slightly aggrieved

with his standing in the pantheon

of British music.

Rarely does his name feature

when the British music industry

offloads its lifetime achievement

awards – even Tom Jones has an

Outstanding Contribution To

Music Award… crikey, even The

Spice Girls do! – or in nostalgic

music documentaries on the seminal

era for popular music, or when the majors rearrange

their all-time greatest album/artist polls…

Winwood’s influence on modern day rock/pop music is

inestimable (today, appearing on songs from Christina

Aguilera to DJ Eric Prydz), yet, as a musician, he’s never

received the same level of hero worship as his good

friend Eric Clapton; as a songwriter, his efforts have

always been overshadowed by the likes of Richards &

Jagger, McCartney & Lennon and the Davies brothers;

and as a vocalist, singers such as Eric Burdon had the

power and presence to attract more attention. However,

his collective talents far surpassed any of the aforementioned

British legends, and his contribution to ‘60s

British R&B and popular music was at least their equal…

Like so many musicians of the time, Winwood’s schooling

came via backing legendary Bluesman touring the UK in

the early-60s. As a teenager, on Hammond B-3 organ

and guitar, the Birmingham singer/songwriter worked

with the likes of Muddy Waters, Howlin’ Wolf and John

Lee Hooker, but he’d been performing in his father’s jazz

outfit since the age of 8, before becoming a member of

the Spencer Davis Group at just 15.

Steve immediately attracted attention for his soulful

vocal (likened to his hero Ray Charles) and playing ability –

both beyond his years – whilst his songwriting credentials

were confirmed on two of the eras most memorable hits –

‘I’m A Man’ and ‘Gimme Some Lovin’’.

With the band now set at the front of the British Blues

invasion, Steve formed a friendship with one of the few

artists who could more than match the levels of adulation

he was experiencing – God!

“I first came down to London as a youngster of about 15

or 16, I think,” recalled Steve. “Eric took me under his wing.

“Eric (Clapton) was a couple of years older and introduced

me to some of his friends. We would listen to

music and share music, and discuss and play a bit,

although we were both playing with different bands - he

was playing with John Mayall at the time.”

Fans would have to wait a few years from this bonding

period before they would hear the collective talents of

Messrs Winwood and Clapton (although, they did record

several unreleased tracks together as the Powerhouse

project), as Steve’s next project would see him break

free of the three-minute pop single limitations, which

had born such fruits as ‘Keep On Running’ with the

Spencer Davis Group.

With Dave Mason, Chris Wood and Jim Capaldi, Steve

would use Traffic to bring together his already extensive

varied musical experiences and influences, before sending

them off again in unexpected directions.

“We used to jam a lot and our writing came out of a

necessity,” said the recently turned 60-year-old. “Jim and I,

and Chris Wood to a certain extent, never set out to be

songwriters, we were musicians foremost – Jim was a

drummer and Chris played, and we used to like to jam, to

just sit down, play and improvise.”

The group would ultimately rival The Beatles for late-60s

innovation, and their “Mr. Fantasy” and self-titled 1968

classic continues to influence the likes of Paul Weller, and

countless international outfits.

“I think there are a lot of bands, modern bands today,

echoing earlier music,” agreed Steve, “whether it be

Zeppelin or Traffic or The Stones. In fact, talking to youngsters

about it, to my own children, for example; my boy

loves music of the ‘60s. He loves Zeppelin, Cream…

Blues Matters! 20

“I think there are a lot of bands, modern

bands today, echoing earlier music.”

Blues Matters! 21

“So, I think, because they love that music, it will find

its way through to music that’s happening today.”

Although he had enjoyed huge success with the

Spencer Davis Group and Traffic at such a young

age, “teenage stardom” was far removed from what

Steve sees in the industry today.

“When I started, there wasn’t the instantaneous

fame or stardom that there is now,” insisted Winwood,

“because a lot of media and things happen much more

quickly (today).

“In my day, it meant more work, more sitting

in the back of a van travelling from one

place to another. Actually, a great measure

of success in those days was actually

doing two gigs in night rather than one, so

I mean that’s completely different from

what it’s like now.

“So, it’s not surprising that, especially

with the backgrounds that some of the

new artists come from, it just completely

throws them into another world.

I don’t think I was thrown into the

world quite in the way that youngsters

are today, so I think they have to be

doubly careful or doubly clever to be

able to deal with everything that is

thrown at them.”

With inner conflicts (notably creative

differences with Mason), Winwood disbanded

Traffic in 1969 (although they

would reform a year later with the

acclaimed and top-5 US album “John

Barleycorn Must Die”) to form Blind Faith

with Eric Clapton, who had himself

recently left another pioneering outfit.

“Eric and I always had it in our minds, I

for my part that I’d love to play with Eric,”

claimed Steve. “It was only when he brokeup

with Cream, or that Cream broke-up,

that we decided we would get together.”

With Ginger Baker and Ric Grech on board,

anticipation was enormous for the band – who had

struck on their name after concert promoters were

willing to book the outfit before any material had

actually been recorded – and whilst critical and public

adoration continued for Steve, the outfit never

lived up to its potential.

“Blind Faith was very short-lived and, I think, at the

time I didn’t really know where I was going musically,”

admitted Steve, “and I don’t think Eric did either, so it

was kind of experimental.

“We did some great shows. I think the album was a

possibly a little more studied, but I think it stands up very

well against the test of time.

“Although it’s a very short-lived group, I think the album

had something very specific for those times.”

Following his success in the late-60s/early-70s, it was

surprising that his solo career would be slow off the

ground – even if his now synthesized sound was initially

well received – taking until 1986’s “Back In The High

Life” for Winwood to finally breakthrough as a blue-eyed

soul singer topping the charts with ‘Higher Love’ and selling

millions of albums.

However, Winwood’s new AOR sound had aligned him

Blues Matters! 22

“When I started, there wasn’t

the instantaneous fame or

stardom that there is now.”

Whilst it’s seldom you’ll see Winwood come in for any worship

from the majors in this country, Rolling Stone recently charted

the British singer/songwriter at number 33 in their 100 Great

Singers Of All Time poll – ahead of the more obvious names

of Whitney Houston, Rod Stewart, Roger Daltrey, Dolly Parton,

Mariah Carey and Solomon Burke.

“Well, the voice is an instrument,” pondered Steve,

“but it probably conveys the emotion better and then, of

course, enables you to put words to music, so it takes on

another element.”

Steve went on to recall: “A great hero of mine was Ray

Charles back in the early-60s and late-50s,” and it was

Charles to whom he was compared to in those early days as

a prodigal teenager with the Spencer Davis Group.

As Winwood’s career has developed, and his music has

branched off into many interesting directions, to varying

degrees of critical and commercial success, one area of

excellence has remained – the star’s delivery. Even if it

doesn’t sound quite the same as it did in those early years.

Winwood began to educate: “(The voice) it’s made out of

a muscle and, as we all know, the things that we can do

at 20 years old, we can’t do at 60 years old – the voice is

no different to that. Some of the agility does go out of it,

but then it also depends because, as you know, people of

An idol: Ray Charles.

advancing years can be just as graceful, but they don’t

try and do things that 20 year olds can do, if they are sensible.”

Even if he doesn’t push his vocals these days, on “Nine Lives”, however, Steve has proven, creatively, he can

match anything he did forty years ago. DH

photo: courtesy Atlantic Records

with the likes of Huey Lewis and Phil Collins, and whilst

chart success continued with 1988’s “Roll With It”, he had

lost credibility, which his relatively inactive future would

struggle to claw back. No longer the ground-breaking wideeyed

youngster, an older Winwood’s now formulaic sound

– far removed from his original Traffic philosophy – sounded

calculated for chart-success.

When sales followed the critical nosedive, it was unsurprising

when Winwood returned to his roots, and reunited

with Capaldi for Traffic’s 1994 album “Far From Home”.

His early ideals also began to resurface on his solo output,

freed from major label demands, 2003’s “Out Of

Time” proved to be his most assured offering for over three

decades, and predated Traffic’s induction into the Rock

And Roll Hall Of Fame a year later. 2008’s “Nine Lives”

also brought to mind earlier successes.

“It does hark back to my own beginnings with the

Spencer Davis Group,” acknowledged Steve, “where I

was listening to a lot of Blues – folk Blues, country

Blues and urban Blues – and this obviously was a big

influence on me.”

The album even recalled the recording process adopted

on Traffic’s debut, with Winwood decamping to the idyllic

Cotswold Hills in the English midlands – recording at the

studio he had converted from a country barn.

But any suggestions that the album’s title is any reference

to his turbulent career are quickly fired down.

“‘Nine Lives’ is quite simply my ninth album, and there

are nine songs,” stated Winwood, “so it’s really no more

complicated, or no simpler than that.”

And what of that unfinished business with Clapton? The

duo performed together at Clapton’s Crossroads Guitar

Festival in July 2007, playing Blind Faith favourites, the

success of which led to a three night sold-out run at

Madison Square Garden in February 2008.

This turnout proved Steve’s standing remained high in

the US, at least, and he subsequently headed out onto the

road with Tom Petty and received an Honorary Doctor of

Music Degree at Berklee’s Commencement in Boston, MA.

“Nine Lives” also debuted at number 12 on the Billboard

album chart – his highest US debut to date, and was largely

critically well-received, with the Clapton collaboration –

‘Dirty City’ – singled out for particular praise.

“The thing that amazes me with each Winwood release

is his varied use of instrumentation, tempo and feel, yet

always maintaining his own stamp of quality over the

whole,” affirmed our reviewer.

The opening ‘I’m Not Drowning’ brought to the fore

Winwood’s early country Blues influences, whilst the guitar

work on ‘Dirty City’ was reminiscent of his best work with

Traffic, but the album also combined elements of African,

Latin and Brazilian music.

“Nine Lives” proved that Steve, now in his twilight years,

is back to the Blues and is back to his adventurous and

visionary best - but he won’t expect his homeland to recognise

that fact anytime soon. DH

Blues Matters! 23

“Once we went back home, and got

back around our people, it was amazing

how Southern we became.”

photo: James Minchin III

hen the Ramones

travelled to England in

1976, they were met

as conquistadors and

as Gods. Paul

Simonon and Joe

Strummer being lifted

through backstage

windows while the

Pistols’ Rotten trembled

with fear at the

very thought of starting

off on the wrong foot with the ruff kids of the Bronx;

only fuelled the Ramones legend. Their 4th July performance

at London’s Roundhouse became part rock’n’roll

folklore, and solidified their place in the hearts of

England’s disenfranchised youth.

After a short string of shows, the Ramones returned back

to the United States. Back to the hell of CBGBs, back to

heroin-laced dysfunction that plagued Manhattan’s Lower

East Side, and thrown violently back from the heavens.

The Ramones were never as popular as they were in

England. Now, thirty-two years later, that same English

stigma of unconditionally embracing greatness remains.

Since the turn of the century, The White Stripes and The

Strokes have been lifted upon their shoulders in a gesture

of unhinged praise…

Comparable with the Ramones, there is another band in the

modern era that are treated like English royalty when they

arrive on European soil, only to be slung back to the United

States in a battle of struggling anonymity and the stench of

dingy ballrooms. They are banded together as preacher’s

children who, since the release of “Youth And Young

Manhood” (2003), have captivated a generation of kids desperately

searching for their new heroes of rock’n’roll.

Tennessee’s reigning sons, The Kings Of Leon have been

plugging away relentlessly since their RCA Records debut,

even though the hysteria didn’t follow them back home to

America. It is just business as usual; record an album, tour

mercilessly, and clown car as many ladies in the back of

the tour bus as physically possible.

With the release of “Only By The Night” in September of

2008, the Kings forth full-length LP, it is obvious that the

mindset propelling the band onto the scene as a Southern,

moustache riding, spitfire is changing. The record is a bombastic

sonic assault that pushes the band’s creative envelope

of studio experimentation to its brink. It is a sharp contrast

to the Kings Of Leon that grew out of the raw

American South with the grit of a stiff lip and a cocky drawl.

Blues Matters! 24

The doubts critics had to the musical potential and

direction of the Followill family vision, after the release of

“Because Of The Times” (2007), have been squashed.

“Only By The Night” is a brutal tonal punch that combines

the hook appeal of lasting melodies infused with the bombastic

sonic nature of full-blown rock’n’roll. But to understand

why the shift from rural country bad ass’s to

European arena rock icons is one of natural progression,

and not greed, means attention must be paid to their

humble beginnings.

HOLY ROLLER NOVOCAINE

“We were just kids scared shitless,” says drummer Nathan

Followill, while reminiscing about the debut sessions for

RCA Records back in 2002. “Next thing we knew we were in

Los Angeles with microphones all around us and the engineer

was asking us if, ‘we were ready to lay tape?’ We were

just four kids from Tennessee who never had a passport!

“I have loved music ever since I was 7 years old,” says

Followill. “I started playing drums in church. I was a hyper

kid and my parents’ best baby sitter quickly became a

drum set,” he jokes. “I never imagined I would make a

career out of it.

“Then all of sudden all of these comparisons were being

made to Lynyrd Skynyrd and The Allman Brothers Band. I

swear to you we couldn’t name one Allman Brothers song

back then, except for the obvious. It was one thing talking

about making a record; it was another thing actually doing

it. That sound that you hear on ‘Youth And Young

Manhood’ was just four guys playing. Whatever came out

in that studio was what the record was going to be.

“We toured non-stop on the heels of that release. It is

easy to be influenced by things other than rural Tennessee

when you are in a different country every week. We lived,

toured, and created in cites.

“It is like anything,” Followill explains, “no matter where

you are from. Once we went back home, and got back

around our people, it was amazing how Southern we

became. We’d hang with our cousins out in the barn, play

horseshoes, or ride four wheelers and stuff like that.

Then we would get a phone call from the press for an

interview and would have to tone it down a bit,” he says

before another candid burst of laughter. “You don’t want

to sound like Jed Clampett!

“A lot of people, especially now, as a result of ‘Because

Of The Times’, ask us, ‘Why has your sound

has changed?’ They

think it was intentional,

but it couldn’t be

further from the truth.

This is just the four of

us growing musically.

This is the first and

only band that we’ve

been in. Each record,

we are getting a little

more comfortable with

our instruments and

ourselves. We are feeling

increasingly free to

experiment with sounds.”

The sonic experimentation

that was present on

Blues Matters! 26

Jacquire King pulls the strings.

On 3rd December 2008, the nominations for the

American GRAMMY’s were announced in a sweeping

stroke of unexpected relevance. My Morning Jacket,

Daft Punk and Kings Of Leon all made the list in a

bold move recognizing the musical underground.

For producer Jacquire King, he again finds himself

popping a bubbling bottle of champagne in Nashville,

Tennessee, with three nominations for his work on

Kings Of Leon’s “Only By The Night”.

Without Jacquire King, Kings Of Leon might not have

the chance to bask in the glory of acclaim from the highest

order. His techniques of capturing live sound brought

the rumble out of “Ah Ha Shake Heartbreak”, and put

the band on the map as a clear force of nature.

“They began with a production aesthetic that was

very simple. It was straight performance based, and it

was live,” says Jacquire King. “By the third record

(“Because Of The Times”), the band had grown and

wanted to experiment more with production. They

wanted to take a little bit more time in the studio.

They wanted to have an opportunity to layer on some

things and do some editing of arrangements after the

recording. The role of the studio was changing, as

well. It became more than just a place to document; it

became a place to experiment.

“Most of Caleb’s vocals on the first three recordings

were sung as part of the basic tracks,” continues King.

“He is an incredible singer, but one of the things we

wanted to explore on this last record was being able to

fine tune and finesse his vocals over the basic track a

little bit more. Everything was going down at once and,

in hindsight, Caleb wished they happened a little different.

To correct that, on these sessions, we didn’t

record any vocal more than three times, and what it

then came down to was what take we wanted to use.

“The growth you are seeing is the band wanting an

opportunity to experiment on this record,” King offers.

“They are becoming sonically

adventurous and I

think their best work is

still in them. Based on

their track record, for

the past four albums, I

feel they are in a position

to take a big step

after this record. I have

seen them grow. They

just keep finding new

things within themselves.

All of that rings

true. Kings Of Leon

have greater records

to make,” he concludes.

MH

photo: LEGO

“Because Of The Times” didn’t arrive immediately. The

band’s sophomore effort “Ah Ha Shake Heartbreak” was

still raw to the bone, what was added to the equation was

an extended stint of travelling and a new engineer,

Jacquire King. King came to notoriety for his craft of liveperformance

based records with credits that included Tom

Waits, Modest Mouse, Buddy Guy, and the Parlor Mob. It

was a perfect match between production mojo and artist.

When King was brought in, alongside producer Angelo

Petraglia, to work on “Ah Ha Shake Heartbreak”, the mixture

exploded in tonal bliss.

A TENNESSEE NATIVE

The world was getting to know the Kings Of Leon and what

they were experiencing on wax was simple. They were a

band that walked into a studio, plugged in their instruments

and hit record - what you heard is what you got. To

intensify that philosophy, RCA Records agreed to hire the

producer/engineer who built his twenty year career on capturing

this type of live sound, a Tennessee native by the

name of Jacquire King. Nathan Followill shares their early

interactions with the man that would be sitting behind the

recording console, and at the helm of the rumble.

“Jacquire King engineered ‘Ah Ha Shake Heartbreak’, our

second record, and he was just amazing,” offers Followill.

“Jacquire is a really cool and laid-back guy that lives in

Tennessee, which made us all like him right off the bat. I

can still remember one of the first days we were in the studio

together and he got a FedEx package in the mail.

Anytime somebody gets something like that you curiosity

takes over. ‘What do you got there? Let’s go open it,’ we

asked. He really didn’t say anything and put it on the shelf

behind him and just kind of left it sitting there all day long.

“By the end of the day, the suspense was killing all of us. I

mean, ‘f**k it - open the stupid package already!’ It turns

out,” as Followill reveals, “inside was a GRAMMY that he won

while working on a Buddy Guy record. He knew the whole

time what was in there. He was just letting it eat away at us.

“This guy opened the tape, took out the GRAMMY –

looked at it – said, ‘Oh a GRAMMY,’ and put it back in

the box and just kept on working.

“For us, it was a hilarious and a stunning moment of,

‘Do you believe this guy?!” shares Followill before adding

his own two cents with a moment of comic relief. “I mean

what a fu**king a**hole!”

“Still, to this day, I think sonically that is my favourite

sounding record. Jacquire is real big on getting good drum

sounds and I’m a drummer…so, naturally.”

Jacquire King truly is a fine man, living with his family

in Nashville, and is a key component to Kings Of Leon’s

most cherished work. But as a result of label decisions

and creative direction choices he was absent for

“Because Of The Times”.

THE BLACKBIRD SESSIONS

Followill leads, “The first two records were completely live

but, for “Because Of The Times”, we thought we would

change it up a bit. We wanted to take our time with a

record. The label gave us enough money to spend three

weeks in the studio. It was about six days a week at five

Blues Matters! 27

photo: LEGO

“The atmosphere of this

record was fun,” Followill

offers. “There was no pressure.

We were doing at home

in Nashville, where we were

getting to sleep in our own

beds and rub on our girlfriends

every night.

“The sessions were coming

to an end and Jacquire asked

if anyone had anymore ideas.

The thought behind it was for

nothing else then to just go

ahead and lay some stuff

down that would be the first

ideas towards the next record.

We came back in the next day

for sequencing and quickly

realized that we needed

another song to fill out the

album. Jacquire suggested

‘Cold Desert’. We all looked at

each other - shrugged - and

said, ‘Cold Desert? I guess we

hours a day. We still ended up doing 80% of it

live but we said then that the next record,”

being “Only By The Night”, “we would try and

push the envelope.”

Recorded in Blackbird Studios, in the southern

heart of Nashville, the “Only By The Night”

sessions included the missing link for

“Because Of The Times” - Jacquire King.

“I have no idea why we decided not to use

Jacquire King on ‘Because Of The Times,’” responds Followill.

“Ethan Johns wanted to produce it and we never thought of

Jacquire in a producer’s role. When it came time to do ‘Only

By The Night’, we chose Jacquire to see what would come of

it. I know there was a lot of pressure on Angelo and Jacquire

during the sessions for ‘Ah Ha Shake Heartbreak’ to not only

perform but also make a better record than our debut. Every

band wants their records to be better, every show you play

you strive to make it better. The chemistry between Angelo,

Jacquire, and us was electric.

“Every record you make has a stigma. You have your

whole life to write your first record, so it better be amazing,”

as Followill takes in a deep breathe. “You only have six

months to write your second record, so it better be amazing.

Oh, and by the way, the third record is your make or

break, so we were reminded to try and make it amazing,”

as laughter follows. “Once you get to your forth record,

there really isn’t a stigma attached to it because the general

attitude is, ‘Holy shit, we are making our forth record!’

Especially in this day and age where most bands are lucky

to make two records.”

could go in a try and to record a song with that title but we

don’t know how it is going to sound.’

“Jacquire looked at us like we were all crazy. ‘No, you

guys recorded it last night,’ he said before rolling over to

the recording console to play it back for us.”

It seemed like a final discovery that was right at home

for a record of charm and free wheeling chemistry.

“We were intoxicated for 98% percent of it,” chimes in

Followill. “We were all gone, every single one of us. Imagine

hearing a song played back for you that you don’t even

remember recording. Caleb’s lyrics are adlibbed, every single

one, and he has no idea where they came from.

“We approached this record with an attitude of - if it flops

we still have enough songs to release a greatest hits!”

“Only By The Night” stands as the band’s finest work to

date. Tone, lyrics and melody all geld together to form solid

compositions of timeless character. The themes expresses

are that of sexual fire, self-discovery and revelation.

Tracks like ‘Closer’, ‘Sex On Fire’, ‘Revelry’, and ‘Be

Somebody’ start a new chapter in the ongoing debauchery,

which is the story of the Kings Of Leon. What meaning it

will have, and where it will lead, only time will tell. MH

Blues Matters! 29

rowing up with her brother, John,

a member of the mighty Led

Zeppelin, it was perhaps

inevitable Deborah would follow

the celebrated late-drummer –

whether he liked it or not - into

the music business, and

inevitable also that close proximity

to such a colossal outfit would

indelibly engrain the same musical

ethos into her own psyche…

Whilst carrying on the Bonham

family legacy, Deborah is also breaking down barriers. Not

adhering to the industry’s usual requirements for waif,

pretty young things, Deborah’s career has gathered

momentum post forties, with 2008 seeing the approaching

50 singer/songwriter signing to Warner subsidiary

Rhino Records and releasing her first album Stateside…

Perhaps the Bonham name does allow for exceptions

not afforded elsewhere, but Deborah is serving as an

inspiration to many female singers past 30 - and told past

it - that there’s still an audience for performers that don’t

fit the pop starlet mould…

BM: You have a new CD called “Duchess”. Why the title?

Deborah: We always named my mum ‘The Duchess’. I made

a little dedication to her on the album, she’s the original!

The title track, called ‘Duchess And The Sufflemeister’, is

about my two dogs! I’ve been told by my producer not to

say this story! He’s said, "It’ so not rock’n’roll. You’ve got to

find something better than, ‘Yes, I wrote this nice little

song about my two dogs!" The one dog - she’s a lurcher -

she’s so lovely that my keyboard player named her ‘The

Blues Matters! 30

Duchess’. Sufflemeister was my Cocker Spaniel. When we

were recording the album, we had this wooden floor; he

shuffled across the floor, with this incredible rhythm that

completely reminded us of Ritchie Haywood. There’s a

song, we are all big Little Feat fans, called ‘Rock And Roll

Doctor’, and the lyrics go: “If you like the sound of shuffling

feet.” We didn’t think about it like that, it was a bit subliminal.

My keyboard player just looked at my dog and said,

‘Boo, you’re The Shufflemeister!’ I wish I could tell you its

all about sex, drugs and rock’n’roll, but it’s about Cocker

Spaniels. He died last year; it’s a bit of a tribute to him!

Would you like to tell us about the CD?

I’ve been with my band, primarily Peter Bullick on guitar,

Ian Rowley on bass, Gerard Louis on keyboards and Jerry

Shirley on drums, for twenty odd years! Peter’s my husband;

we’ve been together eighteen years. So, we’ve just

always been together, but this is the first time we have

really started writing together. It was sort of a natural progression

from the last album, ”The Old Hyde”, which I pretty

much wrote myself. I was the predominant writer on this

but I just wanted to put it to the band and have more of a

band feel. I think you can hear all of our influences, such

as Little Feat, you can hear Zeppelin in there, country, and

all sorts of stuff. It’s a collective.

We just had a ball writing the CD. If you stick with people

that long, it’s never a hardship. We are the closest of

friends. It’s like family, it was great. It was predominately

me, Gerard and Ian, though. Then Jerry came to me with a

song he’d co-written with Steve Marriott. I got involved with

that, which was an absolute honour to have written something

with Steve Marriott and Gerry. It was an organic

thing, a natural progression from where I was before.

"I wish I could tell you its all

about sex, drugs and rock’n’roll,

but it’s about Cocker Spaniels."

photos: Christina Jansen

Blues Matters! 31

Paul Rodgers is on the CD, of course. What do think you’ve

learned from this collaboration?

I’ve learnt from Paul Rodgers all my life, not just from this

collaboration. I've been listening to him since I was a

teenager. From the minute I heard Paul Rodgers sing, I was

captivated. He is one of the all-time greatest male vocalists.

I guess, I’ve learnt professionalism from him. He’s the

ultimate professional. He makes every word that he sings

count. There are no throwaways! That’s what I’ve tried to

do! I’ve learnt from him to make your vocal, your singing

mean something - to move people. If I’ve managed to do

half of what he does, I’ll be happy!

It was like all my Christmas’ and birthdays came together

when I got the support tour. I did that tour with him, just

watching him live, although I’ve been watching old footages

and DVDs forever. I always watched his mic technique -

copied that an awful lot. The way he controls his voice, and

then goes for it! I’ve really studied this man’s voice - not

just studied it, I’ve played it like second nature. So, when I

got the tour, I could actually watch him close-up and live.

It was a fantastic tour. We were going down a storm with

his audience. He came, stood at the side of the stage and

watched me, which was lovely. On the last night, his tour

manager, Brad Gregory, came up and said, “Paul wants to

know if you want to get up and sing with him tonight?” My

legs went! I said, “Oh, my God, I haven’t brushed my hair

or put lipstick on. I’ve just woken up off the bus, I’ve got to

make myself look lovely for Paul Rodgers!” I went

up on the stage and Paul said “Do you want to do

‘Can’t Get Enough’? Do you know it?” I said,

“You’re kidding! I know it in Swahili. I know these

words inside out!” He said, “I’m going to sing the

first verse, I am going to turn round and say, ‘Miss

Deborah Bonham!’ You’re going to sing the second

verse and we are going to sing the chorus’ together.”

I was shaking! I was backstage trying to copy

him, throwing the mic up in the air, but I couldn’t

catch it! We went on; it went down an absolute

storm! I just came off and I couldn’t imagine any

drug that could have been better than that

moment! After that, that’s when he said, ”If you’re

recording, I’ll do something with you.” It was just

like a blinking dream come true.

Tell us about the song you recorded together...

‘Hold On’ is a very poignant song about what happened

in my life. After John, I lost my other brother

and my father died. I had quite a bit of tragedy for

a long time. As we were making this album, I found

a new strength, it was about moving on. Really,

knowing your past is there, you are moving more

forward rather than living in that past. That’s what

‘Hold On’ was about. Hold on to what you’ve got

and really look at what is going on in your life now.

I sent him a few songs and he came back said, “I

really like this one. We’ll do this together.” I was

just absolutely in awe. I’d done it as a demo vocal

and sent it to him. Of course, he sang it and, when

it came back, I said, “I’ve got to re-sing it!”

How do you assess your brother’s role in your career?

Oh, absolutely huge! It’s the reason why I’m in it,

totally. When I was 6 years old, John joined Led

Zeppelin. I’ve never known a life without Zeppelin

Blues Matters! 32

or the music of my brother. I grew up there at the house, at

the Old Hyde. We lived in the cottage behind the main

house. John had a kit set-up in the corner. It was a very

gregarious family. There were quite a few family parties,

they were fantastic. John would have kit, a big jukebox,

and be forever playing.

There was always music in the family! My mum and dad

started it because they were fans of the big bands. That’s

what John really got into; you can hear it in his drumming, the

sort of jazz feel to it that he adapted into rock drumming.

Personally, he didn’t want me to do it at all! He hated the

idea of me singing. He just thought the music industry was

nowhere for his little sister to be! I was going to university,

there’s no choice about that. “No, your going to school,

you’re not singing in rock bands, that’s a man’s thing!”

The music business is historically male dominated. Do you

feel that female musicians get too easily stereotyped?

Without a doubt! You’ve got your pioneers, your Janis

Joplin’s. With Janis, her vulnerability was so abused; she

ended up with drugs and death! Which was, funnily

enough, what my brother thought!

I think, without a doubt, more so over the past ten years,

it’s increasingly difficult if you’re over 50 and the other side

of a size 8 - even the age of 25! It’s very much led by looks,

age and size. You get people like me and Bonnie Raitt, people

who are out there trying to do great music! Bonnie’s

“If there was ever a time to

read an awful lot, it is now!”

Even if you missed the surname, it would be impossible to ignore the Zeppelin association on listening to any of

Deborah’s albums. However, you didn’t have to grow up with the band’s drummer to have an alliance with their sound.

“Their contribution to music is huge,” declared the powerful vocalist. “I just don’t know many bands that don’t

knick a bit of Zeppelin, or don’t cite Zeppelin as being mentors.”

Their contribution to this genre’s continued relevance is inestimable, as, for many, it’s bands like Zeppelin that

are responsible for their introduction to Blues music.

“They took the Blues, like Leadbelly, and all the old Blues, and turned it around into rock,” continued

Deborah. “They made American Black Blues into English Blues, and made it

acceptable… They took that when pretty much

people weren’t picking up on it.

“Black Blues was doing better here in

Father figures: Led Zeppelin.

England, because of bands like Zeppelin, than in

America. America wasn’t really interested in it.

Zeppelin took that, and they became the innovators

of that style of rock.”

Even with alt. Blues acts, who have been keen

to position themselves away from the ‘60s Brit.

Blues and showy ‘70/80s Strat Blues acts

whose sound is so prevalent in modern Bluesrock,

Zeppelin have remained an accepted and

noticeable influence - few can dismiss the

band’s increasing influence on the White Stripes’

output, for example.

“They are ‘the fathers’ really,” said Deborah.

“They paved the way for bands to go in that direction.

They made the Blues accessible to kids; they

made it accessible to a whole new generation. They

made that style of music live on.” DB

photo: Globe Photos/Rex Features

done great music but she’s been there an

awful long time. It was far more accepted

back in the ‘70s than it is anywhere now. We

had a more great female vocalists.

It’s a hard one, you have to keep persevering

and pushing through. There are people

out there that ‘get it’ and understand. There

are a lot of men out there that understand, but

everything is a commodity nowadays. It’s all

about celebrity. You have to have very little talent.

You’ve seen it with TV - it’s dismal. If there

was ever a time to read an awful lot, it is now!

Which women in musical history standout?

Janis Joplin - Janis had something! When I’ve

watched her live; it’s just vulnerability and

incredible presence on stage. Aretha Franklin -

again her singing is second to none. Maggie

Bell, she is one of my all time female vocalists. I

love Maggie because she had that black soul in

her; she had the Janis vibe but a black soul. I’ve

done a track from “Suicide Bell” on “Duchess”

called ‘Chains’, which I dedicated to her.

What would you like to see as your legacy?

I honestly don’t know! I don’t think I’m pioneering.

I like my world that I’m in. I would like to

think, vocally, one day, somebody might say,

“You know what, she kept that going!” It’s a

style of music that I

do. I like to think of it as I’m very much in the past as

my musical heritage, but I very much have my eye on the

future. So, I'm trying to use all those old influences, all that

great music, to bring it into today.

I want to say, if you like me, listen to Joni Mitchell,

Fleetwood Mac, Led Zeppelin, Steve Winwood... That’s what I

want to tell people, especially the kids! Listen to the old stuff;

don’t just get stuck with these bands today. It is all so pigeonholed

- every band sounds the same. What I loved about the

old bands, especially Zeppelin, when they did an album,

every track was different. I don’t know how many bands

today you could say that about! Record companies have to

take responsibility for that! They can’t take a bit a rock, country,

Blues - it’s just not accepted; you’ve got to be down and

out rock, country, Blues... A couple of Blues festivals have

turned us down because we’re not Blues enough! I said to

them, “Come on, are you going to say Led Zeppelin were not

Blues enough because they did heavy rock songs as well, or

they did folk?” At the end of the day, it’s all about the music

and the passion of what you do. If the only reason to do it is

to get record sales, I think that is sad, because that is where

the passion is lost, and the commitment and the belief! CB

Blues Matters! 33

photos: Jill Furmanovsky

aul Rodgers Blues appreciation is

well documented and proven, yet his

love of music in general has seen

him traverse many genres, always

experimenting and innovating, leading

to the unlikely collaboration with

theatrical stadium rockers Queen.

Whilst the collaboration on studio

album “The Cosmos Rocks” left many

critics cold in 2008, perhaps unable

to comprehended a less bombastic

approach from one of the UK’s biggest

ever bands, the marrying of Rodgers’ unique writing style with

that of Brian May and Roger Taylor’s certainly impressed Blues

fans, who hailed the album as one of the year’s more interesting

Blues-rock collections, and didn’t harm ticket sales, as the

group continued to pack arenas across Europe.

It seems for all the sniping, the Queen + Paul

Rodgers/Rock + Blues equation can only = a longer creative

partnership then many would have predicted…

Blues Matters! 34

BM: You released the CD with Queen called “The Cosmos

Rocks”. What was the thinking behind the title?

Paul: We had a song, actually one of Roger’s songs, called

‘Whole House Rockin’. It’s an incredible song, it’s the

opening track. We played around with it and it become bigger.

It went from the ‘Whole House Rockin’ to the ‘Whole

World Rockin’, from the ‘Cosmos Rockin’ to the ‘Universe

Rockin’’! We thought, “Well, we can’t get any bigger than

that!” We changed the title of it and that really inspired the

title of the album.

When were presented with some beautiful artwork by

Edger, it tied in so beautifully because of this ‘cosmic’

approach. There is so much that was cosmic - if I dare to

use the words, it’s so ‘out there’. A lot of people have said

to me, “Well, how the heck did this happen?” and I’ve said,

“I don’t know either!” It happened because I think we

clicked musically. There was a lot of synchronicity in our

coming together at this time.

Can you give us an insight into the CD?

Well, the CD came together in much the same way that we

came together, very naturally. When we first came together,

we didn’t have a plan, like first we’ll do a world tour,

then we’ll follow that up with the album, then we’ll do

another album… It was not like that at all. It started, let’s

do a couple of dates together, just for fun, because we

enjoy playing together so much. That developed into a

full-scale European tour, which went on to South Africa –

no, we did South Africa first and then the European tour.

Then that developed into a world tour of its own volition.

The last show we did was superb, it was probably the

best show, and we felt we couldn’t really leave it there.

The only next step was to walk in the studio and see

what would happen if we did that. We had no plans, we

‘stepped into the void’ - as they say - to see what would

happen, and just started playing around. We all brought

idea and songs in. I think it’s fair to say most musicians

have their heads full of ideas - the question always

becomes will your ideas click together. We did start to

generate stuff that was making us go, “Wow, that would

be quite be cool.” So, it was a very natural thing.

You released the track ‘C-lebrity’ as a single. I believe this

is a Queen parody on today’s celebrity culture. What motivated

the band to write this track?

Again, that’s Roger’s take on things - that thing Andy

Warhol thing of fifteen minutes of fame! When I heard the

demo he had, that’s the way I took it, then we switched it

around a little bit - I switched some of the lyrics a bit. It’s

basically the thrust of it, every time you switch on the TV;

the thing is celebrity for its own sake. There are a lot of

Blues Matters! 36

celebrity that is motivated by fame and nothing else. You

have to wonder, “Why is this person there anyway?”

Obviously, because they are famous! You have to start

wondering what it is all about. It is a little tongue-in cheek!

I have to say, the last thing I personally want to be is a

celebrity, I’m first and foremost a singer and musician. I

could see the humour in it, and I enjoyed delivering that!

On tour with Queen, how important do you feel it is for you

and Queen to establish new material, especially for a band

that could easily coast on its laurels and play the hits?

I personally beg to differ. I don’t think we could coast along

on our past hits for too long. On the initial surge around

the world that we did, there was a certain amount of, “Can

they do it?” “What’s this all about?” There was a novelty

value about it, and I don’t think you can do that twice, really.

If we hadn’t have done this album, and felt how we do

feel about it, I don’t think there would be any further tours.

It would need to go to the next step, which would need to

have new material in the set that actually works with all of

those classic hits - both theirs and mine. Fingers crossed, I

think we may well have that.

Beyond that, it’s an open book and we’ll see how it

goes. So, we are not really trying to prove anything. We’re

trying to have fun making music, which is something that

I’ve always endeavoured to do, which I’ve pretty much

succeeded in doing.

One of the things about this, I think I’ve given them an

injection of the Blues, really, because I’ve done a Blues

infusion. There’s a song called ‘Voodoo’ - we took that in

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Blues Matters! 37

one take! It’s very simple, so everyone could just fall in on

it and they did. It was exactly as we recorded. We said,

“Look we are not going to touch that. We aren’t going to

produce it, put lots of harmonies and millions of this that

and the other on it.” That’s exactly as it, and it’s very

Bluesy. I believe that Queen are very capable of not

just the huge flamboyant, very

produced kind of mega music -

they are also capable of beautiful

music and vision. It’s great to hear

them simply let loose on a jam.

The CD is all self-penned by you and

Queen. How did you go about the

songwriting process for this album?

The songwriting process was something

where we all came with different

ideas and song structures.

What we decided to do was something

that Queen had done in the

past, just to simply share all the

songwriting credits. There are actually

different songwriters in the mix,

contributions from all three of us.

You can probably hear the different styles going on. I think

it was a fair way of doing it, we all contributed to each

other’s songs and it works.

When taking on the position of Queen’s lead singer, how

did you go about tackling this role?

I don’t think it would be a very good thing for anyone to try

and imitate. Imitation is the highest form of flattery, blah,

blah, blah. I am influenced by so many people, so much; I

mentioned the Blues genre and soul, as well.

I did a solo show recently down in Seattle and I had a

guest friend of mine called Sam Hoare from Sam & Dave.

He did couple of hits – ‘Hold On, I’m Coming’ and

‘Goldmine’. He just lit-up the place - it was beautiful! He’s

72, but he’s still got it going, and the crowd loved him. He

came back on the stage for ‘Alright Now’, we changed

lines, and we took the music down and got into this gospel

exchange of licks, if you like. It went on and on, and I forgot

we were doing ‘Alright Now’ - it became like he was

teaching me and I was learning.

I think being myself with Queen was the only way I could

take it. I think, and I’ve said this before, if anyone had

called me out of the blue and said would you like to join

Queen as the lead singer, I’d have said, “I don’t see it actually.”

The fact is we had actually played together on a TV

show in London. We did a deal; Brian said to me, “Look, I

tell you what, we’ll be your backing band for ‘Alright Now’

and you be our singer for ‘We Will Rock You’ and ‘We Are

The Champions”. I said, “That sounds like a good deal!”

We did that and both kinds of music fitted together so

seamlessly. It was very exciting what we did. We sort of

took it from there; it developed from actually playing

together rather than on paper, if you like. You know, they

do play my songs incredibly well!

A Blues purist might suggest that you sold-out your Blues

heritage by joining Queen. What would you’re reply be?

My reply would be, I’m a Blues purist, too, and I’m much

more a Blues purist than you are! (Laughs wickedly) No, I’m

just kidding! I don’t love everything that’s Blues. What I say,

when I talk about the Blues, is that it has been a strong

Blues Matters! 38

Although our reviewer was “rather

impressed” by the union of Queen

+ Paul Rodgers, and our readers

voted the album into our Best

Blues countdown, “The Cosmos

Rocks” was arguably the most

roundly critically panned mainstream

release of 2008.

Whilst Mojo mustered faint

praise - “with Rogers imperious,

Queen's second coming is vindicated”

– and Uncut

described Rodger’s vocal on

‘Some Things That Glitter’ as

his “finest performance since

his FREE heyday,” they ultimately

took greater pleasure in putting the boot in, describing

the “rebirth, fronted by the defiantly ungay, unIndian

and uneccentric Paul Rodgers,” as “ill-fitting,” with the

album made up of either “workmanlike pub-rock exercises,

or humourless Led Zep-ish ethno rock stompers.”

Whilst the album charted well internationally (number

5 in the UK), and the band played to audiences of

up to 350,000 in 2008, the critical mauling continued

in the broadsheets - The Guardian arguing that the

songs “might have sounded less awful if they were

delivered with a certain knowing camp,” whilst the

Observer announced “Queen's star is dead.”

It wasn’t only British critics left cold, Rolling Stone

mocked lyrics like “music makes the world go

'round’,” and Blender felt the “mismatched combo”

only brought “out the best in each other on the

refreshingly lightweight ‘Call Me’.”

Of course, even when the mercurial Freddy Mercury

was at the helm, in the band’s heyday, they were generally

reviled by the music media. Then, it didn’t stop

the band selling million of records and establishing

themselves as one of the biggest live drawers on the

planet. And it seems a change of frontman and

change of musical direction hasn’t altered anything

on either score. DH

influence on me. I’m talking about the classics, like Elmore

James, Howlin’ Wolf, Muddy Waters, B.B. King, Hubert

Sumlin - who I met… He was the guitar player with Howlin’

Wolf and Muddy Waters -switched from one band to another.

He tells amazing stories about how his mum used to

make sure he went to church and only listened to church

music! Not that “devil’s music” - he didn’t know what devil’s

music was. He found this broken record, put it on and it

was Howlin’ Wolf. He put it on a turntable, and it went

round once before the needle fell into this piece of s**t

that was missing. All it did was “woo, woo,” and he said,

“That was it; I was totally hooked on the devil’s music.”

Queen + Paul Rodgers: (from left) Paul Rodgers, Roger Taylor and Brian May.

I think I’m infusing Queen with Blues slowly. My thing is

spreading the beauty of the Blues. I talked to Marie Dixon.

I was doing an interview for the radio and a lady called up

she said, “My name is Marie Dixon,” and I thought “Dixon?

That rings a bell!” She said, “I like the way you play my

husband music.” Willie Dixon’s wife, you know. She’s such

a lovely lady. She has the Blues Heaven Foundation in

Chicago and it’s in the original Chess building. That’s the

original Chess building where they did all those original

great recordings. She has a museum there and I recommend

anyone to go there if they are in Chicago because

she is such a great lady and it’s such a great place!

You’ve done a duet with Deborah Bonham called ‘Hold

On’. What drove you do this recording?

Debbie played on my solo tour, when I recorded “Live In

Glasgow”. She so knocked me out! I always thought she

had a great voice, and one of the things that really made

me smile was when I was watching from the side of stage

and she picked up a tambourine. I could see that Bonham

thing - she so nailed the beat - it made me smile so... It was

a touch of John! She’s such a great person, and I loved the

song and I thought I’d be honoured to do a duet with her.

I’ve heard many musicians say you were their influence,

but who were Paul Rodgers’ influences?

Oh, Lord, so many! Otis Redding, Wilson Pickett, James Brown,

Little Richard… I’ve mentioned Howlin’ Wolf and all the Blues

guys. Sam Moore, Aretha Franklin, Ray Charles... Actually, they

are all black! It’s just those were the people who reached out

and blow me away. Rod Stewart’s a great singer, too.

How do you assess the role of the ‘60s British Blues and

rock scene in the history of the Blues, looking back now

after nearly fifty years?

Gosh! It’s a good question! It’s not one you can just rattle

an answer off to that one! It’s a large question and

you’re talking about a lot of years! One of the things is

that things have changed so much. Technology has

exploded and almost everybody can make their own CD

now. We talked about celebrity, so everybody’s on the TV,

as well, for their fifteen seconds! It seems that way, anyway.

There are cameras everywhere and we are all being

watched, it’s like, “Wow, technology is everywhere.” So,

looking back at the ‘60s, it almost seems quite quaint. It

so high powered nowadays.

I do think one of the things that hasn’t changed is that it

has got to come from the heart. It doesn’t matter how

great the technology is, it’s got to come from the heart,

and that’s been true since the first musical notes were

played and it is still as true today.

Is there anything you would like to say to our readers?

I love the title of your magazine, because Blues does matter

very much. I think it is so much at the heart of the rock

scene and the entire music scene. I love what it can do.

I really encourage bands that are starting out to try

playing Blues and listen to those guys I mentioned. Try

playing the Blues because it is such a great springboard.

It is the root and structure of rock. A springboard for creativity.

I often think the twelve-bar Blues is so unbelievably

versatile you can put any lyrics you want on that

structure. From there you can begin to learn how to write

lyrics and, from there, you can create your own structures

that aren’t necessarily twelve-bars! CB

Blues Matters! 39

t may be his recording and touring commitments

with Duran Duran that allows him to

pay the bills and live the ‘rock star’ lifestyle,

but Dom Brown’s far from a mere session

musician coasting along on the back of nostalgic

live spectacles of a faded-80s outfit -

his passion has always been his own material,

and a genre of music you may not have

guessed, given the overstylised chart acts

he’s generally backing…

Whilst working with the likes of Take That,

Elton John and Justin Timberlake, Dom is

constantly generating new ideas, with the recent follow-up

to 2004’s “Touch The Flames”, “Between The Lines”, combining

his early Blues influences with the contemporary

sounds he’s more commonly exposed to during his day job

– a combination of sounds that won favour with our

reviewer and readers alike…

If he’s not busy enough, Dom also gigs with his dad’s

local Blues band in London – perhaps an opportunity to

cleanse the soul after his involvement with the latest garish

pop debacle…

BM: As you won’t be familiar with many Blues listeners, could

you give us a potted history of Dom Brown’s musical life?

Dom: I started playing guitar at 14 years old. Had half a

dozen lessons from Ray Major (guitarist from British Lions)

but, apart from that, I’m self-taught. Used to jam most lunch

times in the school music rooms when I could get a turn…

First gig was age 16 in the back room of the Turks Head in

Twickenham, with my band Nexus - a prog/rock band. Was in

my first year at Richmond Adult College and managed to convince

enough fellow students, friends and family to sell out

the night. Was amazing and I never looked back! That band

lasted a couple of years, with a couple of different drummers.

It was a great experience but we had no business sense and

eventually I broke the band up as I began exploring different

kinds of music, including Blues, soul and funk.

Formed a Blues band with my father, Rob Brown, called

Brown Book and performed around the UK - he is a great

performer and an inspiration. I then went to do a Sound

Recording course at Salford Tech for two years, and used

to travel down to London at weekends to perform with my

father. It’s here where I first began singing, as I was frustrated

with not being able to gig regularly, and couldn’t find

any available singers, so took the leap. Had several

bands/projects and learned the ropes in the Manchester

clubs, bars and pubs.

My next project was an original three-piece band called

Slippery Thin. We had a good UK and European following,

especially in France, due to French management. This

band had a couple of good record deals offered but fell

through at the last hurdle, so I went to LA for a year and

formed Nu Moon Guru with local musicians. This band did

well in the short time, and we recorded an album with an

Independent label, but it was never released.

After that, I returned to London and started to write and

gig some new material, and reformed Brown Book with

myself taking lead vocals.

The last few years I have continued to write and perform and

released two solo albums. Also, over the last few years, I have

successfully developed a career as a session guitarist and am

currently towards the end of a world tour with Duran Duran.

You started playing in your early teens... What was your

main trigger? What music initially whetted your appetite?

Yeah, I began playing at 14, but I’d had loved music passionately

for at least three years. The first time I realised

music had the power to transcend was when I was 11. My

PE teacher used to play music at the beginning of the

class for us to limber up to. One day, he played ‘Welcome

To The Machine’ by Pink Floyd, and I was totally blown

away. The sound, textures and the atmosphere it created

totally moved me in a way nothing else up to this point in

my life had. I became a lifelong fan, and was then drawn to

check out Led Zeppelin, AC/DC...

Blues Matters! 40

“Technology is making it very easy for

anyone to make reasonably good

sounding recordings at little expense.”

One of the most familiar faces on the British Blues circuit is Roger Inniss, whether backing home talent or

being the session musician of choice for touring overseas artists.

“Most of my gigs come via word of mouth,” promised Roger, “or recommendations from other musicians.”

Roger’s musical education began at church, accompanying gospel singers, who would test the youngster’s versatility

through impromptu and unrehearsed outbursts. This schooling would ultimately prove priceless to his pending career,

even if it wasn’t one he’d mapped out for himself originally.

“I fell into it,” admits the musician. “I think it was from my love of many different types of music, and being excited by

the challenge of expressing myself in various ways.

“Somebody must have liked what I was doing, as the phone started ringing.”

Work with a variety of acts followed, with Roger showing his adaptability playing with everyone from Mick Taylor to

Edwin Starr, and operating within the fields of jazz, soul, rock, pop and Blues.

“One of my highlights has to be touring Japan with Chaka Khan,” said Roger. “Japan was great... Chaka was great!

“Seeing the world and meeting new people is great fun, seeing hotel rooms around the world isn’t.”

Whilst Roger is committed to the likes of John O’Leary and The Michael Roach Band, and his own outfit –

thEROGINNISSZONE – his personal preferences are usually over-ruled by harsh economics.

“It’s hard to get the balance right,” admitted Roger. “Sometimes I take a gig or session, then get offered

work with someone I would really enjoy working with, knowing that it could

just be a one time gig.

“These days, not many bands have

enough work to support musicians.

In session with Not all musicians have a day job, or

Roger Inniss. want to teach. So, being a session

musician helps you make a living.”

Whilst it’s not always easy to generate

work and Roger admits to feelings

of isolation on the road, there’s

more than enough job satisfaction.

“The best thing is the freedom to

play, enjoy and explore lots of different

types of music and musicians,”

he declared. “The challenge

of shaping my creativity to other

people’s, and the ability to trust my

instinct to play the right thing at the

right time - I don’t always get it spot

on, but it’s fun trying! DH

How did you get your start as a session musician?

A friend suggested I join some of the London session

agencies. It took awhile to get any good gigs/credits but

eventually I got heard and started to build up a good reputation.

Now most of my work is word of mouth through

friends and contacts I have developed over the years.

Obviously, as a session musician, you’ve been able to play

with many acts and tour the world. Is there anything you’ve

been hearing that we should be picking up on?

There is some great music out there, though the last artist

to truly blow me away was Jeff Buckley... I need to discover

something new that has that power and sincerity.

Can we ever see that intensity of music again? Do you see

anyone of that level of talent around today?

I would like to think we can, but am waiting.

Are you happier singing or playing, and are you more comfortable

playing your own music?

Am equally happy playing and singing, though do love it

Blues Matters! 42

when it gets to the guitar solo section!

Am very comfortable as a session musician but would

love for my own solo project to take off in a big way.

What makes a successful session musician take timeout

to create their own album?

The creative urge is always there with me. It had been a few

years since doing my debut album and a follow-up was something

I really wanted to do. It does take a lot of effort and

energy but I find it personally rewarding and well worth it.

Virtually all the musicians are friends who I have worked

with in the past. I was very fortunate to get the help from

such great players... I owe a lot of favours!

Would you describe your own music as Blues?

I think my music is very Bluesy, but soul, rock and funk

have also massively influenced my style, which I think

comes across in my playing and writing.

Although a fan, I have never been an out and out Blues

purist as a performer. I always mix it up with something

else and try and add my spin and an edge to it.

“Although a fan, I have never been an out

and out Blues purist as a performer.”

How has “Between The Lines” been received?

Very well. It’s not had a big promotional campaign behind

it, so has sold through word of mouth. Generally, the music

critics have had good things to say about it, including your

reviewer who wrote very positively.

Who is out there that you would like to play with that you

haven’t yet had the chance?

Roger Waters and Eric Clapton would be amazing. Josh

Homme from Queens Of The Stone Age would be fun also.

Duran Duran recently collaborated with Mark Ronson.

Working with him again would be interesting.

You are playing with your father in the band Blue To

Brown. What is that like?

It’s great playing with my father. I love to sing, and do sing

a couple with Blue To Brown, but having him sing frees me

up as a guitarist, and enables me to play some parts I

wouldn’t be able to if I was singing. Also, he is a very enigmatic

and charismatic performer, and I feed off him when

we perform together.

What is he like as a Blues singer?

I think he is a great Blues singer. He has a very deep and

rich voice, quite reminiscent of Howlin’ Wolf and Tom Waits.

Where do you see the Blues scene heading?

I think it is heading more towards the live show again. It’s

a good thing for the Blues scene as Blues has always done

well with a thriving live music scene.

Music has changed so much over the last few years with

digital downloading. I’m not a fan of the mp3 format,

although it is great for emailing. I think it is a shame that people

are getting used to listening in this inferior quality. If you

compare it to CD quality, there is a noticeable difference.

How much of a difference is technology making?

Technology is making it very easy for anyone to make reasonably

good sounding recordings at little expense, which is

a good thing for talented people to utilise their skills.

What guitars do you use?

I have quite a few guitars that I use for different purposes.

I have several Strats, including a 1963 sunburst that is my

favourite guitar, a couple of Les Pauls, a Tele and a 1968

Epiphone Rivera. I also have quite a few acoustics, including

Gibson, Taylor and Martin.

What is on your immediate horizons?

Work with Duran is going to be busy for the rest of the

year (2008), so I hope to fit in as many solo gigs and

Blue To Brown gigs as possible.

Have a few new song ideas for the next solo album but not

sure when realistically I can begin putting that together. AS

Blues Matters! 43

“His tone is upbeat, hopeful,

and imbued with an energy

that is almost beyond description

for a man of his age.”

y name is Martin Reinsel. In

early 2008, I was asked to

assist T-Model Ford of

Greenville, MS with a summer

tour. T-Model is more

than known to me. I’ve had

his music in my home for

over a decade. In 2005,

along with one of my musical

compatriots, I sought

out a number of Mississippi

Bluesmen for mentorship,

experience, and social connection. T-Model was one of

my main interests. Now, three years later, along with my

band GravelRoad, I’d have the opportunity to tour with

him. This is our story…

T-Model Ford lives down a typical side street off Hwy 82

that runs through the heartless strip mall shopping area

that marks the entrance to central Greenville, MS. It

appears so typical that if you’re not paying attention you’ll

miss it, like we did the first time, sending us through the

streets of this Delta city.

Greenville itself is an unusual town - not surprising that a

character like T-Model Ford calls it home. The depressedyet-trying-to-be-hopeful

city of more than 40,000 people

finds most of its residents consistently hovering around

the poverty level. During my visit in 2005, when the US

economy was still in its dubious haze of inflation and hiding

behind a veil of prosperity, Greenville still suffered. I listened

to shop keepers, I read the words of their hopeful

young mayor as she spoke of an economic and educational

revival of this Delta city, and I talked to residents who all

complained about the plight of Greenville.

Fast forward to three years later and the town reflects and

magnifies the general macrocosm of the American populace

currently. It appears very depressed. Money is leaving the

core and is most abundant and evident at the corporate

casinos on the Mississippi River’s edge, hidden in plain view

from the residents behind the foreboding concrete levee

that protects from the impending, late summer floods. All is

not peaceful here. And we are lost approaching T’s house.

Blues Matters! 44

Blues Matters! 45

If only I didn’t have a care in the world either, but that

wasn’t true. A two week tour with a man who I consider a

legend is vastly exciting to me. Furthermore, if any of the

tales of his behavior on the road would be true – pulling

knives on people, getting into fights, wild interactions with

females on the tour – I knew we’d be facing an interesting

couple of weeks. Carefree…not me! But good for T.

I was determined to listen. To shut up and be quiet. Not

to take notes and not to make assumptions about what

T-Model spoke, because his world is one vastly different

from my own, even if we were here at an intersection,

musically and personally, for the next half month. T was

going to teach me and us a few things. I knew that from

the first interaction. I didn’t quite know what, and I was

okay with not knowing. I was on tour with T-Model Ford.

School was in for us.

Our trip north together was a pleasure. Everyone wanted

time with T in the back of the van, to talk to him, and to

hear his take on music and life. All the while, it was daunting

to be in the back with him. Again, his vastly different

world of experience made for huge chasms in the shared

worlds between us. But then one would realise that he’s

human…at least we think he’s human, even though he has

no formal birth records. Come to think of it, this whole fuss

over his age is an interesting one. T-Model claims he is 88

years old. His Mississippi state identification – his driver’s

license – has him at 84 years old. His United States govphotos:

Joel Faurote

A call to T-Model’s “woman,” Stella, gets us in the right

direction. Stella and her granddaughter meet us outside

and direct us to the house where Mr. Ford sits outside

holding court amongst other grandbabies. Their house is a

simple one story building with a carport sporting two aging

vehicles and everything looking like it could use a coat of

paint. This is the ‘real deal’. T-Model lives the life a

Bluesman in a city that screams the Blues.

After pleasantries, and some business notes and clarifications,

T-Model Ford, his guitar (“Black Nanny”), his

amplifier, and a small bag of clothing are in the van and

ready for nearly two weeks together on the road. He

slides in with us, three “white boys,” including two he

does not know at all. Up the road we go. Tonight we have

to ourselves, to track some miles and to get to know

each other better. The hotel where we’ll land in Illinois,

some six-plus hours from Greenville, will be our place to

practice and connect musically. Although we’ve been

wood shedding on T-Model’s songs for weeks, we want

the chance to play with him.

“I don’t have a care in the world.” These are the words T-

Model first speaks to me in the back of the van as we turn

onto Highway 61 heading north from Greenville. I’ve pulled

out a bottle of Jack Daniels and placed it between us. We

each take a swig and T begins to talk. His tone is upbeat,

hopeful, and imbued with an energy that is almost beyond

description for a man of his age.

Blues Matters! 46

GravelRoad jumped at the chance to provide support

and backing to Ford in July 2008, given it was the

sounds of T and Fat Possum label-mates Junior

Kimbrough and RL Burnside that inspired Stefan

Zillioux and Marty Reinsel to form Death Letter at the

start of the noughties.

“I bought RL Burnside’s ‘A Ass Pocket Of Whiskey’

when it first came out,” recalled Stefan Zillioux. “The

sound was electrifying, and nearly the entire Fat

Possum roster quickly made its way into the household.

“Collectively, the sound was unlike anything else I’d

ever heard - deep, dark, ugly, beautiful, and thick with

trance and energy.”

The band honed their own sound playing every dive

they could, but things really began to take off after

bassist Jon Kirby Newman joined in 2002. Kirby’s

“low end” and a change of name – to GravelRoad -

brought them to the attention of this very magazine -

their debut EP described as “wide-eyed and paired

down, it crawls and gushes with slide-powered life.”

On Kirby’s acquisition, Stefan gushed: “He brought fullness

to the sound, and a different sense of musicality.

“It can take a while to get the off rhythms and the

feel of the Northern Mississippi sound, and where

some Blues sticks close to a very predictable progression,

we aim more for feel. Kirby gets that.”

Following the acclaim enjoyed by the band’s independent

2004 debut, the group established themselves

as major players on the alt. Blues scene, performing

at 2008’s Deep Blues Festival – “If you are

looking for endless guitar solos and watered down

beer commercial Blues, then stay away” - and signing to

Uncle Larry’s Records, who released

“Shot The Devil” to further acclaim

from this magazine.

“This Seattle based trio actually

kill the devil on the title number,

and not even Robert

Johnson could claim that!”

exclaimed our reviewer.

“This is Blues without the blinkers,

but definitely with attitude,”

and perhaps they’ve developed

more of that after their time on

the road with Mr. T!

“Playing with T-Model will certainly

have an impact on future

releases,” stated the vocalist.

“I look forward to playing

with T-Model Ford for as long

as we can. We will eventually

hope to bring him back to

Europe, health willing.” DH

ernment issued passport says his is 87. All have different

birthdates in the month of June, too. So who really knows?

No-one, not even T. But as will be the theme of the next

two weeks, I let my trust fall back to what T says. If he says

he’s 88, then he’s 88 to me.

Our first show destination is in the city of Ft. Wayne,

Indiana. Ft. Wayne is a tough town, but one made up of

musical loving and fiercely loyal individuals. GravelRoad

has friends in Ft. Wayne, namely our brother band Left

Lane Cruiser, a punk Blues band who could not be

more content to have T-Model in their hometown and on

the same bill.

The ride north to Ft. Wayne is eventful. People look at us

oddly, a motley crew I suppose, composed of the ageless

wonder Mr. Ford and three distinctly long-haired, tattooed

Caucasian rock’n’rollers, wherever we stopped. Even a

simple break for a meal or gasoline sees odd glances and

strange interactions. Everywhere he goes, T-Model acts

like everyone knows him. Inevitably, someone there does

know him and his music, or they get to him. I’m struck by

laughter at the Taco Bell, I laugh as we get ice cream at a

local mart in Middle America. Everything we do is an event

and we have not even played a show yet.

As we enter Ft. Wayne, something is seriously wrong with

the van. Our guitar player, Stefan Zillioux, is behind the

wheel. He muscles the van off the road to safety, thankfully

a short distance from the venue. Our Ft. Wayne friends

come in and save the day, allowing us to shift all instruments

and people to other vehicles and safely getting to

the venue while I take care of the van’s mechanical issues.

It’s T-Model, of course, that is the star in the van’s

diagnosis. He’s the first to see the broken belt, he’s the

first to offer up legitimate ways to trouble shoot the problems.

I love it! He’s schooling us in every way possible. At

one point during the unfortunate recurring theme of

annoying van issues, he chooses to go under the van to

have a look. Under the van! 80-something years old. Bad

hip and all. He’s a legend.

By the time I get to the venue, the van is in caring hands

and I am ready for the show. T is now holding court at the

bar. People are buying him drinks. This could get ugly. My

friends that have helped me with

advice and stewardship

prior to the tour all

warned me: T does fine

when he’s just sipping his

Jack Daniels, but when

people start buying him

drinks and wanting him to

drink heavily with him,

that’s when the problems

start. Warning to all music

fans: If you want to see an

octogenarian legend play his

best, save the drinks for

after the performance.

Ft Wayne has the feeling of

a no-holds-barred show. I

don’t know what is going to

happen and I am okay with

that. It’s mid-summer in

T-Model students. Indiana. It is very hot and

humid. The air conditioning is

out of service. The venue is

Blues Matters! 47

packed. It is sold out. The place is stifling.

The music starts a little late, but it all sounds good to

the crowd. We have our set before T’s. We’re two songs

in and T starts coming up on stage. I thought he was

going to tell us to stop and just start playing his music,

since the night is running late. I was wrong. It turns out T-

Model just wanted to sit on the stool onstage while we

played, using his cane as a guitar mimicking Stefan’s

rocker style as we went through our set. He did the same

thing for Left Lane Cruiser.

T-Model finally takes the stage, with me on drums and

Stefan adding some second guitar, about an hour and a

half after he was originally slated to play. He appears

pleasantly in the drink. He looks me in the eye and says,

“I’m not drunk.” To which I respond, “T, it doesn’t matter

right now…play the Blues like you do and we’ll be fine.”

Well, that was partly true.

T-Model was supposed to play a 45-60 minute set. At

nearly two and a half hours in, I was exhausted. My shift

soaked with sweat. I’d now done two sets, one for T and

the other for GravelRoad. I asked Brenn Beck, Left Lane

Cruiser’s drummer, to sit in for a few songs.

I go outside to speak with Joe Evans of

Left Lane Cruiser and

Blues Matters! 48

T-Model Ford plays on.

I’m under the night sky for only a few moments before I

get the call to come back into the club. Something’s happened

to T.

When I get inside, I see T-Model slumped in his chair. He

is conscious and asking to be “let down” to the stage from

his chair. Three able bodies help. The paramedics are

called by an observer. A nurse is there to assess T, too.

Portable fans are moved around to cool the area. We try to

move people out of the way. Some are still offering him

whiskey. T says. “I’m fine…just give me a minute…I can

play more.” “No, T, you’re done for the night,” I say. “No, I

can keep on going,” he says. And so begins the ongoing

issue of T going way beyond how long he should play. At

every show on the tour. 45 minute sets are lengthened to

two hours, 75 minute sets to three hours. Unbelievable,

really. He’s how old?

The paramedics give him clearance within minutes of

their being on the scene. Again, he never lost consciousness,

he was in no visible cardiac emergency, nor under

any respiratory distress, and his vital signs were stable.

The paramedics asked him to sign off, saying he did not

want to go to the hospital. T-Model is illiterate. The only

thing he knows how to write is his name, but he was hesitant.

Like most wise African-American men from his generation,

born and raised in Mississippi under the Jim

Crow laws, his is understandably suspicious to sign anything

a white person in a uniform wants him to sign.

And here, in this balmy nightclub in Ft. Wayne, IN, on

a sticky summer after midnight that T-Model Ford and

I, along with my brothers in the band, hit a turning

point. T looked at me when the paramedic spoke to

him. A police officer was over his shoulder. T knows

the police - at least the police of Greenville, MS - well

enough to have developed some Pavlovian-like suspicion

with the boys in blue.

“T, sign the paper here and we leave. T, sign the

paper and there will be NO hospital, NO police, and

NO cost to you,” I say. T signed immediately. I cannot

remember who got out of their quicker, us or

the 911 response team of Ft Wayne.

The tour continued onward from there. He

played a show the next night in Chicago. We did a

radio program while in Chicago. If you want to see

how alive the man was despite all of the complications

and mayhem of his showcases, just follow

the link here, youtube.com/user/grBlues

and check out some of the video, including the

KEXP broadcast from Chicago. In addition to

the Chicago performances, memorable shows

in Minneapolis, the Deep Blues Festival in

Lake Elmo MN, other Midwestern locales, plus

the Vancouver Folk Music Festival in

Vancouver Canada gave us unforgettable

musical experiences that were educational

and impactful. Perhaps of greater note, however,

were the life experience and the development

of the relationship between us and

T-Model Ford.

T is from a completely different set of life

circumstances. His view of the world is

unlike anyone else I know. One would

come to expect that simply from the socioeconomic

realities of our different worlds.

He is nearly three times my age and his

world experience is vastly different from mine. He’s known

struggles that I will never know due to simply our skin

tones, the educational opportunities afforded the two of us,

and the unique set of experiences that set us apart.

He has twenty-six children, or so “they” say, according to

T. I have none. T’s had five wives. I’ve had none. T’s take

on money, women, whiskey, jobs, everything for that matter

is either slightly or dramatically skewed from mine. And

here we are, traversing thousands of miles together, laughing

and having a great time.

“You’s my boys,” he said. I got the sense we were “in”

when he made the comment. It was only further reinforced

when he kept repeating basically the same thing. “If one of

you gets into a fight tonight at the club,” he’d start, “I got

your back.” He’d show us his blade in his pocket to deliver

a little extra emphasis.

It never came to that. The tour was non-violent, save for

a dent in the van not even worth explaining here. T gave

everything he had in every show. Some were better than

others, but all had a certain special quality.

The last show of the tour was in Oklahoma City. It was

right after playing perhaps our shakiest show of the tour,

Wichita, Kansas. T and I talked after the Wichita show. We

talked a lot about music throughout the tour, but something

was different in Wichita. T told me: “You take

charge.” Even though T was the boss, even though he was

the draw that people wanted to see, he wanted me to take

the helm. I’d been recovering from a head injury that,

weeks before the tour, had me wondering if I could run this

gauntlet. But with T-Model Ford sitting across from me,

defying aging and life itself, I was infused with energy. How

could I even think of my injury as this man hustled to

make a life out of working so hard for his music. I was

determined - for him and for myself.

Our Oklahoma City show was quite possibly our

strongest. I don’t think the grin could have been slapped

off my face. I trusted T to steer me right and I gave all that

I had. It was our last show on this tour and I wanted it to

end the way I’d most want. We could return him to

Greenville a success.

And sure enough, when returning to Greenville, the

grandkids were out front to greet T-Model and us.

Stella was smiling and all of Greenville looked a little

less depressed. I guess it just all comes down to our

perspectives.

Look for T-Model Ford and GravelRoad in the coming

months. First some more journeys around the US before

making our way east to Europe.

It should be noted that since the T-Model Ford and

GravelRoad tour, T-Model was fitted with a pacemaker.

It’s been over two weeks since the surgery and T is

recovering nicely under the watchful eye of Stella and

his Mississippi care providers. T says: “I’m ready to go

back out (on the road),” and we sure want him where he

wants to be. We’re just going to wait a little while until

the complete medical clearance. MR

Blues Matters! 49

Blues Matters! 50

aving spent over ten weeks atop

the US Billboard Blues chart, and

breaking into the British charts

with studio album “Sloe Gin”, Joe

Bonamassa has become one of

the few contemporary Blues-rockers

to gain broader commercial

success. Not only adored by Blues

fans for his appreciative nods, but

his lack of limitation also endearing

him to the rock fraternity, as

his heroes Rory Gallagher and

Stevie Ray Vaughan once did.

Whilst some guitarists on the Blues scene continue to

bemoan a lack of interest and support from mainstream

media, Joe Bonamassa has simply forced them to take

notice. Eight albums, including his recent live collection

“From Nowhere In Particular”, in nine years, each showcasing

a fresh appreciation of what went before and a new

vision of what’s yet to come.

It may be the likes of John Mayer who get all the headlines

for celebrity conquests, but it’s Joe whose music will

no doubt keep the Blues fires burning with future generations

of guitarists to come…

BM: You have said recently that after being given a tape of

the ‘60s band FREE you were immediately hooked? What

are your thoughts on Paul Kossoff as a guitarist?

Joe: The tape was given to me my Pete Way of UFO… Paul is

probably part of my top two or three principle influences

ever. He was one of those simple guitar players.

I wrote a review of the “Fire And Water” Deluxe Edition

reissue from FREE for Classic Rock magazine and, to me, it

was Paul Kossoff, it was the human voice quality of his guitar

that really, ultimately, I think separates him from other

guitar players. You can tell it was just him with amp and guitar.

The sound was in his hands, such raw, pure, brilliant

emotion that he was able to portray.

Paul was one of my favourite players of all time and one

the most underrated guitar players, because the kind of

riffs he wrote, you hear a lot in Jimmy Page’s playing and

Jeff Beck, and all those guys of that era.

You have spoken of Rod Stewart in other interviews. What

other vocalists do you admire or have influenced you?

Other vocalists I really admire… Definitely, Paul Rodgers!

Definitely a guy called Bob Tench, who used to sing with

The Jeff Beck Group. Singer-wise, I think guys like Robert

Cray and B.B. King are influences on me. There's a few but,

generally, it’s Rod Stewart, Paul Rodgers, Bob Tench, bit of

Warren Haynes and Greg Allman.

Your choice of guitars includes a Gigliotti, and I believe you

have your own signature series. Why this guitar in particular?

I only play this guitar once a night. It’s a wonderful guitar. I

met Patrick Gigliotti and he handed me the prototype about

five-and-a-half years ago, and I still have it. I met him on a

complete fluke and he really was just getting started in the

guitar business. That particular guitar just sounded very

human to me, very warm and honest.

Gibson’s making a Joe Bonamassa signature Les Paul

and that comes out in four or five months from now. So,

those are my two primary guitars and the Les Paul is

mostly my main guitar. I play that mostly all night, but it’s

one of those things; I’ve kinda migrated away from the

Tele and more towards the Les Paul - it just feels right

and it’s easy to play.

The latest series of top end guitars include such facilities

as automatic tuning, including automatic alternative tunings.

How do you feel about these guitars?

I like to take a regular guitar, tune up and play it…figure it

out. I don’t need the computer to do anything. Computers

“When everyone plays the victim and capitulates

to defeat then we are doomed!”

Blues Matters! 51

Keeping up his ratio of just under one album release a year, since 2000’s debut “A New Day Yesterday”, Joe

Bonamassa releases his ninth solo album, “The Ballad Of John Henry”, in March 2009.

The twelve-track collection is split between originals and interpretations of songs by the likes of Tom Waits

(‘Jockey Full Of Bourbon’) and Tony Joe White (‘As The Crow Flies’), and, once again, the new album sees

Bonamassa teaming up with renowned producer Kevin Shirley.

“Kevin Shirley, from a sonic level, has had the experience with Journey, Led Zeppelin, Iron Maiden, and many others,

and knows what sounds great,” insisted the former child prodigy. “He’s also amazing on the producer level and

can mix with amazing talent and ideas.”

Reflecting on the new album, Bonamassa enthused, “I feel this is my strongest work to date. Making the first half

of the album, I was in the happiest place I’d ever been in my life. The second half found me in completely the opposite

state. I’ve come to the conclusion that experience makes for better art. I had more to

say, and it’s the first time I’ve personally opened up the book on

my life, and expressed things I previously wouldn’t let out.”

Joe was particularly excited about the title track, “a muscular

rocker” in homage to the American icon who Bonamassa

calls “the ultimate working class hero.

“It used to be, there was dignity to being a middle class

worker, making an honest living,” considered Bonamassa. “My

mom and my dad are my heroes, working their whole life at

meaningful jobs that add to society. We need more of those

heroes these days, and that’s what this song means to me.”

The new collection is expected to debut well on release, given

the achievements of 2007’s “Sloe Gin”, which hit the top spot of

the US Billboard Blues chart, and Joe will be hoping to have emulated

the chart success that album enjoyed in the UK before his

tour reaches our shores. Forthcoming British dates are: Gateshead

The Sage (22nd April 2009), Wolverhampton The Civic (23rd),

Glasgow The Academy (27th), Sheffield City Hall (28th), Cardiff St

David's Hall (29th) and London Royal Albert Hall (4th May). DH

and digital stuff never agrees with me. I find it ultimately

more unreliable than helpful. I think it’s very helpful for a

person to be able to tune his own guitar. It think it’s also

very important because the sense of tuning and the sense

of how to tune your own personal guitar is different - you

could have the computer tune the guitar and it would still

sound out of tune but you tune it and it will sound in tune,

because you play a certain way.

Tuning a guitar is like a tempered piano, low string will be

a little flat, high string will be a little bit sharp. That to me is

critically important.

I haven’t really messed with the self-tuning guitars, so

much, it just seems very inconsistent. The digital stuff for

me, I’m an old stick-in-the-mud guy, from way back and I

don’t really mess with it - that’s for someone else!

How do you go about songwriting?

I usually start with the lyric, I just sort of go from there. I

just sort of jam along and sing along and piece it together

and all of a sudden, an hour later, it’s shaping up - maybe

sometimes two days later, it’s shaping up even more. The

best songs I’ve written took about an hour to write, you

know. It’s that clear inspiration.

Can you tell us a little about your personal work among the

young and in USA schools?

The Blues In The Schools thing for me is a kind of a labour

of love and, also, it’s a kind of labour of necessity. I think

Blues Matters! 52

Blues needs to be absolutely brought to a new generation

of fans and how do you do that without

MTV and VH1, and all the other stuff. To me it is

monumentally important to go into schools and

talk to kids. It’s also important for kids to understand

that if they have heard Led Zeppelin, they

have heard Blues music!

The UK government recently announced it wants

five hours of culture a week in UK schools, from

opera to hip hop. This seems to be a real opportunity

to introduce more youngsters to the Blues. Can

you suggest ways that we might bring more Blues

into British schools?

I think you guys have such a stellar legacy of Blues

and interpretation of the Blues and, arguably, the

biggest bands ever in the world came out of

England; Pink Floyd, Led Zeppelin, The Beatles...

You guys have such a rich heritage, I would start

there. Then you can go back; everyone has heard of

Led Zeppelin, everyone’s heard of Jimmy Hendrix…

So, to me, you start there and then you go back

and teach the classics like Robert Johnson and B.B.

King, and all the other stuff.

The Blues seems to be pretty poor at promoting

itself, something that you seem to have overcome.

What is your advice to young musicians just start-

ing out in this field, to get them noticed?

You just have to be yourself and get people talking about

you. With a name like Bonamassa, it’s difficult to remember

sometimes. But what happened was someone said,

have you heard of this guy Bona….? They didn’t know my

last name but, ultimately, it worked into something with

people remembering my last name.

So, you really want to be able to go out and play good

shows – honestly - and not try to follow trends. You want to

make it so people bring their friends. If a hundred people

show up then next time two-hundred-and-fifty people show

up and so on and so….then it grows and grows. That’s how

I did it, but it takes a lot of work, a lot of dedication, perseverance

- and worrying!

“I’m an old stick-in-the-mud guy.”

Why am I still doing this? All of a sudden you get a couple

of records that click and you’re selling and you just play better.

We played that place on Saturday (Hammersmith),

that’s a big deal for me and the culmination of a lot of hard

work. We started in London about twenty minutes from that

place, at the Borderline, with three-hundred seats. Luckily,

we sold out London the first time in. It may have been

three-hundred seats, but it was a hard sell and we didn’t

sell-out until the day.

I’ve notice from your website the ‘street team’. Was that

your idea?

It was partly my idea and partly just what everyone does.

It’s a good way to keep track of your biggest and best fans.

There are a lot of people who are really bent on helping

you, who want to spread the word and promote

the shows, just promote you in general

and that’s a good way to keep the community

going.

There are many including yourself, who

feel that future of Blues is in danger…

There has been an upsurge in the last few

years of the genre; do you still feel that,

and what more needs to be done to promote

the Blues as a creative force once

again in 21st century music?

Yes, a lot of young kids are playing it and

that’s good. I think the artists have just as

much responsibility to the Blues as the

general people themselves. Blues artists

tend to play the victim and if it’s going to

be the Blues and nobody comes to the

shows and we don’t get enough media

attention and blah, blah, blah… Well, okay,

I am the breathing, walking example of

what can happen if you work hard enough

and you persevere…

If you go, I belong in a small club and

this is where it’s always going to be. Then

that’s where you’re going to stay. If you go;

I want to headline Madison Square

Garden or Albert Hall or something like

that, it’s manifest destiny. So, to me, if you

believe you can go there, then you will do

everything you can to strive to get there

and you fall forward. Maybe you won’t

reach that set goal, but you will come

closer than if you just capitulate like the

little pub gigs.

I think Blues had a big audience at one

time and for some artists, like B.B. King,

Buy Guy, Eric Clapton and all that have big

audiences, but now we need to take the

rank and file of Blues musicians and turn

them into household names. So, we have

to be more into it. You have people like

John Mayer playing a bit more Blues now

and that’s a good start. I think, also, that’s

really the key to it, with the artists themselves

taking responsibility for it and the

records they make. If we’re going to do

this, we can’t just capitulate to playing little

pub gigs. You know there is nothing

Blues Matters! 53

photo: Alex Deforest

see the Blues. When I see Buddy Guy, I see the

same thing… I see Robert Cray, I see the same

thing. You know, what I’m saying is that when I’m

seeing the Blues, that’s what I’m seeing. That’s

what I’m trying to change; the perception of the

Blues! People saying, “You’re a Blues singer, that’s

boring. Are you playing outside, dancing about for

nickels or something?” That’s not what it’s about.

I am here to testify that’s not what it’s about

What are your feelings about this handcuffing

musicians to one genre and not letting them

create and innovate as simply musicians who

play music?

I don’t think any artist is ever handcuffed to any

genre. I play Blues but I’ll throw in a Yes cover. I

don’t care! To me, it’s like when you play Blues,

you’re a Blues musician. I’m a Blues musician

and proud to be it, but no artist is handcuffed,

there is no law enforcement officer on the side

to say, “You can’t!”

I think people, generally, fear the reaction you

get from the audience or the fear of the reaction

from the Blues purist that get on the computer

and absolutely nail you to the wall. To me,

I don’t fear that, because they aren’t going to

come to my shows anyway or buy records or

anything. All they do is bash away. For me go

ahead, they are going to do it anyway, so I’m

wrong with playing little pub gigs but generally

you, as an artist, would want to get your

music out to a wider audience, than a couple

of hundred people. I don’t understand why

they wouldn’t and the more their music is exposed to

younger people, or more people in general, the more the

Blues is in people’s psyche. That’s where you have a movement

a real movement starting. When everyone plays the victim

and capitulates to defeat then its, well, we are doomed!

You have suggested that whatever genre of music you play;

you would always be stereotyped as Blues…

Yes! I’m absolutely proud of that, and I’m proud to be a

Blues player! There is nothing wrong with playing little pub

gigs, I don’t want people to misinterpret me, because I did

that for many, many years. I’m proud to be a Blues musician,

but what I’m hell bent to do, is to try to change the

stigma that goes with it. When you say Blues musician, they

think you have taken a vow of poverty. They think you’re a

f**king street musician and that’s what they think. To me

that really is not what the Blues is about!

When I think of Blues musicians, I think of B.B. King... I

think of beautiful old vaudevillian theatres… I think of a

man who has been successful at the top of his game for

sixty years! There is an aura of…he’s an icon! There’s an

aura of success and momentum around him, that’s were I

Blues Matters! 54

not handcuffed to anybody or any thing. To me, it’s having

that freedom; it’s very liberating, also.

Is there anything Joe Bonamassa wants to say to our readers?

Oh, this for Blues Matters!? I like Blues Matters! I would just

like to thank everybody for their support of the Blues and for

accepting our brand of it. It has been such a nice organic

build for us that has been really exciting to be part of and

see resurgence in the kinda music that I’ve loved since a

kid. To play such an itty bitty part of it, is such an honour for

me and I’m so honoured to have this opportunity to reach

out to youth of the world and kinda like say this is what the

Blues is and this is what I was into when I was your age.

I’m just really honoured that magazines like yours keep it

going. I think the only way I can sum it up is, I look at Blues,

and you have the traditional stuff - I share a birthday with

Robert Johnson and there’s no bigger fan than me. Then

you have the electric prog. side of it, which I kinda grew up

on… Then you have all points in between - it’s such a giant.

Ultimately, if we can get past the division “you’re Blues”

and “you’re not Blues,” then you have a genuine movement

and I think it’s very important to have that. CB

oe Bonamassa may only now be enjoying

the fruits of his labour, but his influence

on the Blues scene has been felt for several

years now, with the rise to prominence

of many young SRV/Hendrixinspired

guitarists.

Joining the ranks of Oli Brown, Scott

McKeon, Krissy Matthews and countless

others, as a teenage axe hero, is Ricky

Paquette, the much lauded Canadian,

who signed his record deal at just 14

years old and who had released two

albums (including a live collection and the aptly titled “Early

For The Show”) before even turning 18 in November 2008.

Whilst many will dismiss this new generation of protagonists

as lacking enough real life experience to sing the

Blues, or being overly indebted to their popular influences,

like the classic British acts Ricky favours of yesteryear,

their emergence could yet be what carries this vital form of

music on to future generations…

BM: Growing up in Gatineau, Quebec, it appears clear that

you were just destined to play guitar. However, do you

come from a family with strong ties to music?

Ricky: Not really, no-one plays music, but they all listen to

music a lot. My sister sings, but that's it. My parents are

big music fans, but they do not play or sing at all.

Who were you hearing during those very early years?

Yes, the radio was on all the time in the house - in the

backyard, in the garage... I was hearing classic rock like

Led Zeppelin, Aerosmith, Jimi Hendrix, Deep Purple,

Cream, Stevie Ray Vaughan, and many others who have

influenced me a lot. I was a big fan of classic rock before

being a Blues fan, although I love both and I play both.

Why the guitar?

Blues Matters! 56

I was really interested in playing guitar because my dad's

friend, Denis Croteau, came a lot to jam in the backyard parties,

and I was just so attracted by the way the guitar sounded.

That was the first instrument I played. After, I started playing

drums and bass. Now I'm starting to play piano a bit.

Can you remember and explain how it felt when you

picked up a guitar for the first time?

Well, I could say that the guitar felt pretty big! (Laughs) I also

knew that I had a passion for the instrument right away.

If my 10-year-old son is anything to go by, kids just want to

fool around. Was it hard for you to combine kids play and

music practice - let alone schoolwork?

Not at all, my friends liked it when I played music. I have to

say I was very fortunate that it happened like that. Some

of my friends were starting to play music as well, so that

was cool! School was never really a problem for me. It was

never hard really for me to combine both.

Have you even considered a career outside of music…

I’ve never really considered a career outside of music. If I

can't make a living out of playing music, I would probably

work in a recording studio or be a live soundman.

What do you think it was that brought you to the Blues at

such a young age?

I have no clue, really. I think it might be that I was hearing

that music since I was a baby - it was always playing

around the house and I never stopped listening to it. I just

like Blues. But what I listen to now, and what I’ve listened

to the most, is rock’n’roll with Blues influences, just like

the bands I named earlier.

Quite often young children, as you were when you started

playing, when exposed to the very adult world of Blues

music, have little in the way of personal experience that

they can use to relate to the themes or subject matter

“You can't take yourself

too seriously, but take

what you do seriously.”

Blues Matters! 57

With such strong French influences on music,

for example in New Orleans, and with fine

French players, such as Paul Personne and

Karny Moutard, creating great Blues songs in

French, do you just, at the moment, feel more

comfortable singing in English?

Yes, I do feel more comfortable in English, and

English is a more international language...but I

am not saying that I don't like French!

Including yourself, there are several young guns

on the Blues-rock block, like Andrew Goldring

down in the States, plus Scott McKeon over

here, making fresh and exciting music. How are

things in Canada; are there more young players

just off the radar that we should know about?

I personally don't really know of many young artists

in Canada, especially in Blues or rock’n’roll. But

there is Jimmy Bowskill, who I've played with at a festival

in Mont Tremblant, QC. He is very, very good!

In such a short time-scale, your profile has mostly

risen through playing festivals. Do you find the

broadcast media in Canada supportive of local talent,

live music and the Blues in particular?

Canada? Not really… Quebec has been very supportive

and still is, not just for me. But I think since I

live in Quebec, it's hard to get known in the rest of

within the songs. How did you learn to interpret and

approach these themes?

Maybe we don’t live a lot of those things, but we are not

dumb, you know what I mean? Without being rude

(laughs). We kinda know what it's about, even if we didn't

live all of those experiences.

Which guitarists inspired you to progress?

Of course, Jimi Hendrix!...and Stevie Ray Vaughan, but

there are other ones that influenced me just as much as

those. Like Jimmy Page, Eric Clapton, Duane Allman...

Studying and absorbing those techniques is one thing, but

can you tell us if you were conscious of the moment when

you were playing as Ricky Paquette and not, for example,

as a Clapton, Page or Hendrix clone?

I think kids want to be like their idols, and I surely wanted

to be like them, too, but I always wanted to sound like me -

and that is always a tough thing to do.

Would you say that you were more aligned to European

style of Blues or that of those south of the border? Indeed,

what do you see as the differences?

I am more into the English-type Blues. I also love all the

American Blues... I don't really know which one I like the

most. Probably the European style.

The English type is more on the rock-side.

Coming as you do from the French Dominion in Canada, I

assume you will be bilingual and I am curious if this

extends into your writing and performances at all?

Yes, I'm bilingual, but I rarely sing in French.

Blues Matters! 58

Canada and I think that is sad. Not just for me - there are

problems, not just in music, between French and English

people here in Canada. If you know history a bit, you know

what I am talking about. For that reason, it's hard to get

support from the rest of Canada.

I have no Idea how I could try to make it easier for me to

get into the rest of Canada. I wish I knew what to do.

There have been positive comments attributed to the

mature songwriting showcased on your debut album. Is

this a process you find quite difficult?

Writing good songs, I think, is the key to success, and is

what will eventually set me apart from other guitarists.

There are millions of good, amazing, phenomenal guitar

players in the world, and as much as I would want to be

the best, and as much as I work on it, I think what I need

to really do is write good songs. No, it's not an easy

process, but its well worth it when you see the end result!

I am currently working on a new album which will have

maybe 90% of original material, and I can't wait to put it

out. We've been playing the new songs live and we've been

getting really good feedback.

What makes a good Blues song for you?

Hard to say...good melody, good groove and good feel. Pretty

much anything if it sounds good, then its sounds good!

How easy is it for you to structure a song from scratch,

and what approach do you use when writing?

Depends on the song… Sometimes it comes easier than

others, and I don't really have any methods I use to write a

song. Sometimes the lyrics come first and then it's music.

Sometimes it's the opposite and sometimes both come at

the same time, with the melody…it's pretty free.

Was it a fairly straightforward process for you when it came

time to select songs for the album "Early For The Show"?

Pretty much…we chose songs that we liked.

How was the recording experience in the studio for you?

Amazing! I had the chance to work with professional equipment,

old pre-amps and compressors. It was a big learning

experience. People were very cool, too. They didn't mind

answering all my questions (laughs).

You had your bass player, Domenic Romanelli, as producer

on the album. How important was that to the very live

sound that has been achieved?

We really wanted to try to make the album sound like it's a

band playing, so we were a band playing! We did some

vocal overdubs, but a lot of the tracks were cut live in the

studio with the band. Domenic was very cool with the

ideas that I brought in, so I was happy for that!

Whose decision was it to release a live album from your

performance at Festival International de Jazz Montreal, for

what reason, and what were you hoping to show listeners

who had previously only heard the studio collection?

The idea of recording at the jazz festival came from the

record company. Since it was a very prestigious festival to

play at, they thought it would be a good idea to get it on

tape! And I was all for this idea! I had the same opinion on

that. The record label and I wanted to show to the people

what a Ricky Paquette show was.

It's been a couple of years now since that performance in

2006 (I understand you were just 15 at the time), do you

feel you've developed quite a lot in that time and is it

strange listening back now?

I think it was a good representation of what my show was

back then. I feel that it might not be the same now, but I'm

still proud of that album, although I personally think I have

improved and changed a lot. At the time I was 15, so two

years and bit have passed by since then and fans have

been telling us that in those two years I have really

matured and improved. It is a good sign, I believe.

I should think that at this still early stage in your career,

you have received lots of advice,

but what is the most important

thing, about live performance,

that you have learned so far?

Well, there's a couple. Firstly, not to

be afraid of just letting yourself go

and jam in the songs. Have fun!

That's a big thing. People can feel

it when you're having fun. You

can't take yourself too seriously,

but take what you do seriously.

Much has been made of your

axe-prowess, which is demonstrated

on the live collection...

What do you say to people who

criticise modern Blues acts

who they say rely too much on

technical ability/guitar fireworks

and miss the real essence of the Blues?

Blues Matters! 60

An emotional Jimmy Bowskill.

Much has been made of the young British guitar talent

coming through in recent years – as illustrated with Oli

Brown’s high placement in the Best Blues poll this

issue – but Canada is seeing a similar surge of SRVesque

teenage ‘axe gods’, with the Ricky Paquette

endorsed Jimmy Bowskill one of the more prolific.

“I just released my third record this past March and

have been touring Canada and Europe quite extensively

in support,” said the recently turned 18-yearold.

“It’s a Blues-rock record consisting of mostly original

material, with the exception of Peter Green’s

‘Rattle Snake Shake’.

“We are currently getting ready to record number four

this winter… The new record will be a Blues-rock record,

as well, but with different influences from the last one.”

The story is familiar, a parent unable to fulfil their

own ‘rock star’ dream, but conditioning their offspring

from an early age. “I picked up the guitar at age 10,”

recalled Jimmy. “There was always a lot of guitar oriented

music around the house… Robert Johnson, The

Band, Freddie King, Billy Gibbons and Paul Kossoff.”

And what are these youngsters drawing from the

Blues? “Emotion is the thing I draw from the most with

Blues music,” answered the teenager. “It feels natural to

convey the emotion, and incorporate it into different genres

and styles and create my own thing. It's the emotion

that makes it real and translates it to the audience.”

The audiences are certainly receiving, with Jimmy, like

Ricky before him, breaking through internationally in

2008. “The tours went very well for us, as we played

Bospop in the Netherlands in July, and Odda Blues

Festival in Norway,” enthused the guitarist. “We were

also fortunate enough to showcase this year at

Popkomm in Berlin, and have been offered a support

tour with Wishbone Ash starting 14th January 2009 in

Germany. We are starting to receive offers for spring festivals

in Holland, France and

Germany”.

But there’s

one audience

any serious

musician is

keen to impress

- “I can't wait to

play UK!”

exclaimed Jimmy.

With the appetite

for Oli and co.

growing in 2008,

few would bet

against that dream

being realised in

2009. DH

photo: Allana Haradyn

Yes, it's true that my guitar playing is not really pure Blues,

but I am not black, I was not a slave - it's a bit funny said

this way, but it's true. I feel that I just do it differently, and

that's just as fine. It might just attract a different kind of

crowd, and I don't want to pretend that I'm a real

Bluesman because that is not what I am. I play it my way

and, of course, I admire all the great Bluesmen, but I do it

my way and I am still working on 'my way' of playing.

You have taken formal lessons in classical guitar playing

and techniques. Those disciplines are worlds apart, but

can you tell us what you are able to transfer between classical

playing and the Blues?

Nothing really (laughs). They're two different things.

Much has been written in the press about the future of the

Blues resting on the shoulders of Joe Bonamassa, for

example... Should we be expecting too much too soon

from newer artists?

I really don't know if people expect too much too soon from

new artists...maybe a bit.

You have got to give time to the artist to get a lot of

experience, and all that, to be as great as the big guys. By

not giving them time that brings all sorts of added pressures

that might be counter productive before they are

labelled the “saviours of the Blues”.

Have you built up a collection of guitars and, in the event

of a disaster, what one would you save?

I have two Gibson Les Pauls, one Fender Stratocaster, one

Gibson Explorer, one acoustic guitar and one classical guitar.

I would probably save my Stratocaster because it is

starting to have a sentimental value. I've had that one for

the longest time in my good guitars. I've had a guitar before

that, but this one is special. It’s the one I've played most.

What old and new music tracks are currently on your

iPod/mp3 player?

On my mp3 I have all the Zeppelin recordings and some

Cream. I also have some Jet; their last album was amazing…

B.B. King, Stevie Ray Vaughan, Jimi Hendrix. Jeff

Beck, Paul McCartney, The Beatles, The Rolling Stones,

The Who, and a couple of others. For the new stuff, I pretty

much only have Jet.

What targets are on your immediate musical horizons?

Well, my targets are to break out of Quebec. Doing my next

album, which will be more me; it will be original stuff, more

rock’n’roll, but still with a Blues edge. I would love to go

and play in England. That's where almost all my favourite

bands come from or have started out from. GS

Blues Matters! 61

urists may frown ‘cos he rocks too

hard, but Walter Trout has acquired

enough dirt and life experience

under those New Jersey fingernails

in the last forty years to play the

Blues as genuinely as anybody.

The guitarist played with a who’s

who of the Blues (including John Lee

Hooker), before cementing his reputation

as sideman with legendary

outfits Canned Heat and John

Mayall’s Bluesbreakers. When the

bottle threatened to wreck his life and career, it was Carlos

Santana that helped get him back on track, and the last

twenty years has seen him develop into one of Blues-rock’s

most reliable performers, releasing a string of acclaimed solo

albums and extensively touring both sides of the Atlantic.

Although it’s his guitar prowess that has rightly garnered

so many plaudits over the years, 2008’s “Outsider” saw at

least equal appreciation for his songwriting efforts, as the

big man opened up…

BM: On your latest CD, “Outsider”, there is some top class

writing. Was there a theme or concept to this album?

Walter: It didn’t start off that way but it might have ended up

that way - a portrait of various people who are outsiders in

their own way. The opening track is very autobiographical.

The second track is about the music business as a whole;

there is always the new thing, the new hype, this month’s

flavour - that’s the nature of the business. I feel very blessed

to have had a solo career of twenty years, that’s unheard of.

Normally, if you think about the ‘flavour of the month’ or the

‘next big thing’, they last about a year. There are many guys

who have come and gone. They have their big blowout when

they come out, especially over here, then they spend the

rest of their lives just trying to hold to something they had. I

feel lucky not to have gone through that. The third song is

really an attempt at writing a ‘30s folk song of America that

would conjure up images of people on the breadline. They

were certainly outsiders, rejects of society. Then ‘Child of

Another Day’ is four different verses about outsiders…

‘A Matter Of The Heart’ is an insightful comment on love.

Is there a place for music to comment on personal, political

and social matters?

Of course, I think any kind of art does. ‘Matter Of The

Heart’ really is an attempt by me to say, “I’ve been with

same lady now for nineteen years and we are still very

much in love.” It really is something that it is more felt

than thought about. It belongs more in your heart than in

your brain. I have some friends, they are single and they are

meeting people and getting all analytical. I think you either

really feel something or you don’t - love is not intellectual.

Can you tell us something about the musicians on the CD?

The one who really stands on there has got to be Kenny

Blues Matters! 62

photos: Jon Trout

Blues Matters! 63

Aronoff - don’t know if you’re familiar

with his work? He’s quite astounding,

he’s recorded with everybody. He is

the finest musician I’ve ever played

with. When he received his promo

copy, he called me up and he said,

“Walter, I want to thank you for existing

because you have allowed me to be

me!” I said, “Hey, Kenny, man, here’s

how the songs go, you play them the

way you feel it and I’m not really going

to be giving direction here. I respect

your ability enough. This is the structure

of the tune; you play it however

you want.” I really gave him free-reign.

I’m just blown-out by his drum track, it

was an incredible experience.

Hutch Hutchinson, who’s been with

Bonnie Raitt on bass for twenty-five

years, did the same thing basically.

His feel is just astounding. We would

barely rehearse these tunes. I would

stand there with guitar and show

these guys and say, “Ok, this is how

the song goes.” We’d roll the tape

and play the tune. What you’re hearing

on there is really the joy of creating

and the fun we were having.

There’s a lot of spontaneity because

we just talked about them and off we

went. I had the time of my life playing

with those guys. They were in there

for four days, and I had the most fun I

have ever had making a record.

Why the Strat?

I used to play, when I was young, a

Les Paul, then I played a Gibson 335.

I was a Gibson man, but one day,

back in New Jersey, in my youth, I was

at a jam session at a friend’s house,

he had a Strat, and he said, “Try my

guitar!” As soon I strapped that thing

on, I knew I had found my life-long

partner, musically. I don’t know what

it is; just the feel of it or the sound of

it, but to me the Stratocaster is just

the ultimate guitar. I still love to play a Les Paul or a

Gibson. As a matter of fact, on the song ‘Can’t Have It All’,

the middle solo of that song is done on a 1960 Gibson

335 that John Porter had brought in; a beautiful collector’s

item. I think you can hear it makes me approach playing a

little differently than I do with my trusty old Strat.

Any advice for young aspiring musicians starting out today?

If you’re going to go into this, keep in mind that it’s all

about feeling. It’s all about emotion; it’s all about selfexpression,

that’s the most important thing. Approach your

music with that in mind - that is the ultimate goal, much

more than blinding technique. There’s a lot players out

there that have this blinding, incredibly fast technique, but

they have nothing to say. Let’s use an analogy. You can

have a great poet, who stands up and recites beautiful

poetry that comes from his heart and soul, and has a lot

Blues Matters! 64

of meaning that grabs you and moves you, or you have a

guy who just stands there, spouts huge words, giant vocabulary

words that have absolutely no meaning. Try to be that

guy, who has meaning in what you do, has heart and soul

and feeling. At the core of what you do, should be an

attempt at communicating with other human beings.

What is your definition of the Blues?

Well, this is going to sound funny, but after playing with

John Lee Hooker and Big Mama Thornton, Percy Mayfield,

Peewee Clayton, Canned Heat and John Mayall, I’m still trying

to figure out what it is! I know it’s more than a twelvebar

shuffle, and I know that it is more than what the Blues

purists think it is. It not just somebody imitating Muddy

Waters or playing twelve-bar shuffles until they pass out. I

think, it is an elusive thing, I’m still trying to grab a hold of

and figure out but I do know it has to be rooted in emotion,

For new generations of budding Blues musicians

being able to meet and play with artists

Walter Trout offers guidance.

who have been there and done everything can

be vital to their development. Whilst their

idols Hendrix, Hooker and Vaughan may have

passed on, there’s a lineage of acts that have

had direct contact with the greats – and it

seems most are keen to embrace the new.

Would Oli Brown have developed and

enjoyed the success he did in 2008 without

the likes of John Mayall taking him under his

wing during his formative years. Walter Trout

is another wise head who is always eager to

share his knowledge and offer opportunities

to talented newcomers, knowing how

impressionable young players are, and

what a lift having access to your heroes can be.

“When I was 10 years old, I got to spend the day with Duke Ellington and his orchestra,” recalled the

veteran guitarist. “I hung out and talked, sat around in a dressing room. I spent the entire afternoon with those guys;

they were so warm, friendly, inviting, so much charisma and humour. I thought these are just the greatest people I’ve

ever met in my life. I’ve never met anybody like it!“

However, it was perhaps a less than rewarding meeting with a musical icon that ensured Walter would always remain

grounded and approachable. “A few years later, I met Buddy Rich,” continued Trout. “He made me think, ‘I never want to

be a musician if I’m going to be like this guy.’ I have not ever in my life, in this business, run into a bigger a**ehole.

“Now, when I meet young players, I think back on how great I felt and positive about music after hanging with Duke

Ellington. Then I think about how depressed and upset I was after meeting Buddy Rich. I don’t want to be Buddy Rich!

The man tried to kill me physically, when I was 14. because I asked him for his autograph! I am not going to be that.”

Walter also recognises it’s not just musically he can offer influence, as adolescents are more likely to develop

overinflated egos given such early adulation. “There are some guys out there now that looked up to me,” he said.

“Maybe I gave them a bit of encouragement, a bit of help. Showed them that just because you’re a musician, doesn't

give you that right to be a pr**k!

“You’d better be a human being in all this. It doesn’t matter how good you play. What matters is how you are as a

human being to the people you meet.

“To this day, I don’t want to hear Buddy Rich; I don’t care if he was the greatest drummer that ever walked the face

of the earth. When I hear his music, I hear the man that I met. It was a complete horror show. I know that I can have

an effect on these kids and try to be an example to them as Mr Ellington was to me. That’s very important to me.” DH

feeling and honesty. If you’re imitating someone,

you’re not being honest…you’re not being yourself!

If you could wave a wand to promote the Blues, how would

you improve its profile in 21st century?

I would get the media to pay a little more attention to it. Try

to get radio stations to play more of it and get behind it,

because I find the majority of people are influenced by

what the media tells them is cool. I know, there are millions

of people that turn on their radio in their cars and the radio

plays them the latest Britney Spears. It tells them this is

good, this is what you should listen to and these people

blindly follow where they’re led. If that radio station put on

a record by Buddy Guy and said, “Listen, this is good,” 90%

of those people would go out and buy the record.

Everything now is so formatted and corporate that this

music has been in a lot of circles, but not supported where

it should be. That’s what I’d do, I‘d want all the classic

rock stations to have this music as part of its programming.

Have it taken for granted that this is good music.

What does the future hold for Walter Trout?

After this tour, I‘m going to go home, sit on my couch, stare

at the wall for awhile and put the guitar in the closet!

Are there any musical ambitions left?

I would love to get up one time and play a song with The

Rolling Stones - I’m their biggest fan! ‘The Restless Age’ on

the new CD was my completely transparent attempt at

writing my version of a Rolling Stones song. Coming up

with my version of a Keith Richards intro lick, and even

playing a guitar solo that is blatantly Keith plays Chuck

Berry. I told Kenny and Hutch, "You be Charlie, you be Bill

Wyman, and I’ll be Keith Richards!”

Is there anything you would like to say to our readers?

I think it is really great that there is a core audience in

the UK for this music and they have supported me for

twenty years now – they keep coming to the shows, year

after year. I just love them from the bottom of my heart

for how they have supported me and given me a career.

God bless them for that! CB

Blues Matters! 65

t’s a mighty long way from Denmark to the

Mississippi hill country. But if you think

that’s far, consider the distance between

Whitney Houston and Robert Belfour.

Morten Lunn, the lead singer of The Fried

Okra Band, has covered both. A native

Dane, like the other three members of the

band, he came of age listening to what

everybody else was; Whitney Houston,

Michael Jackson, Madonna, Dire Straits, a

bit of heavy metal, a lot of Bruce

Springsteen. Now he and his band mates

play music that is so far out of the mainstream as to be

unheard of by most of his countrymen. Not to mention

most Americans, as well…

The Fried Okra Band play primarily Mississippi hill country

Blues. On its most recent release, “This Is Your Chance,

France Baby!”, the band covers unvarnished, gritty hill

country artists like Robert Belfour, RL Burnside and Junior

Blues Matters! 66

Kimbrough, as well as people like Corey Harris, Tom Waits

and Robert Johnson.

Hill country Blues is an acquired taste. Either you get it

or you don’t. The melody is almost irrelevant. Don’t wait for

the killer chord changes, because they won’t come. Many

of these are one-chord songs. What’s important is the

beat, the drone, the trance, the hypnosis. This music is as

rough as an old board that’s fallen off a weather-beaten

shack with the nails sticking out.

For some people, it’s monotonous – literally, monotone.

But for others, the lack of polish lays bare the raw emotions

of the heart. And, even in Denmark, this music is

finding an audience.

“I think the fact that the hill country style is different

attracts some Blues lovers to it,” Lunn said, “because, in

my view, it might help cut away the clichés that some

people among the rock and mainstream audience associate

with the Blues.”

The members of the band are Lunn on vocals and guitar,

Thomas Foldberg on guitar and harp, Kare Joensen on

bass, and Thomas Crawfurd on drums. They came to this

music through different routes.

Lunn started out in a children’s band, playing rock’n’roll,

The Beatles and even ‘Hoochie Coochie Man’, though

Lunn didn’t have the vaguest idea at the time who Muddy

Waters was. Later, after his Whitney Houston period, he

got into The Rolling Stones and Chuck Berry; an interest in

Bluesmen naturally followed.

Foldberg is the band’s co-leader, second to Lunn (the

bass player, Joensen, calls him the vice sheriff). He grew

up on British invasion music: The Animals, The Stones, The

Beatles, and so on, along with a bit of Jimi Hendrix.

But the Blues? “My first encounter with the Blues was

Elvis Presley’s ‘Blue Christmas’,” Foldberg said. “Not exactly

a Blues song, but almost. I was blown away and thought

the piano work and the groove was amazing.”

But it’s still a long way from Presley to Kimbrough. For

both Lunn and Foldberg, the journey had a couple of significant

turning points.

Most important, perhaps, was a trip they and two other

friends made to the United States in 2000. They visited

New Orleans, Memphis and Clarksville, Mississippi.

Clarksville bills itself as “Birthplace and world capital of the

Blues” – not to mention the location of the Crossroads of

Highway 61 and 49, where Robert Johnson is said to have

Blues Matters! 68

sold his soul to the devil in exchange for musical genius.

In New Orleans, Lunn went to hear RL Burnside live. Talk

about raw. Burnside farmed most of his life, had slept-in

hair, a hung-over look, and titled one of his albums “A Ass

Pocket Of Whiskey” – likely in honour of what he carried

around in his own ass pocket.

Burnside claimed to have been convicted of murder once

and sentenced to six months in prison. His boss, it is said,

used connections to keep the sentence short because he

needed Burnside to drive a tractor.

“I didn’t mean to kill nobody,” Burnside said later. “I just

meant to shoot the sonofabitch in the head. Him dying was

between him and the Lord.”

After a heart attack, Burnside’s doctor told him to him to

stop drinking. Burnside complied but said the change left

him unable to play. He died in 2005.

In Memphis, on the same trip, Lunn met a guy who

showed him the remains of Junior Kimbrough’s famed juke

joint, which had burned to the ground earlier in 2000. And

the guy drove him around the North Mississippi hill country,

where this hypnotic, one-chord trance Blues originated.

That trip piqued the interest of Lunn and Foldberg in

hill country Blues. But, just as it took Elvis to open the

ears of many listeners to black music in general, it took a

relatively famous artist to bring prominence to the

obscure hill country style.

British fans may be casting an envious eye on the Blues’

rise to prominence in Scandinavia in recent years - outside

of America, few territories can compete with the

Nordic countries for top quality Blues entertainment.

Sweden attracted the likes of Eric Bibb, Bobby Rush

and Super Chikan to line-up alongside local talent at

2008’s Copenhagen Blues Festival; The Lakeside Blues

Festival, Finland boasted Big Jack Johnson, Duke

Robillard and Delbert McClinton; whilst surely one of the

very best festivals in the world, Norway’s Nottoden Blues

Festival managed to bring together Ray Davies, Koko

Taylor, Mick Fleetwood, Kenny Wayne Shepherd, Little

Feat, James Cotton, Janiva Magness, Pinetop Perkins,

Ian Siegal, Bob Margolin…okay, I’m running out of space!

“The scene is very strong in Norway and Sweden,”

admits Lunn, “which we, in Denmark, benefit highly from.

“We have opened for guys like Magic Slim and

Sherman Robertson, and it has been great.”

Whilst there could be fear that booking a number of

high-profile acts will stifle the opportunities afforded

to the country’s own talent, promoters have managed

to strike a fair balance in their line-ups, and acts like

The Fried Okra Band only seem to have benefited

from their exposure to top-calibre international acts

“I think it’s always nice to se the ‘real’ stuff, and

acts are getting more recognition from the world outside

of Denmark,” enthused Lunn.

From Sweden, Little Jenny & the Blue

Beans, Slidin’ Slim and Peder af Ugglas

have all made an impression in this magazine;

Finland has given us the Wentus

Blues Band, Dogbreath, Erja Lyytinen

and Black River Bluesman; and whilst

Norway may not boast the high-profile

international acts to match their festival,

The Fried Okra Band’s Danish

counterparts Thorbjørn Risager and

Tim Lothar have produced two of the

most impressive collections received

at BM! in recent years.

As if we weren’t envious enough,

Lunn continued: “The place we play

regularly is Mojo Blues Bar in

Copenhagen. It’s one of the coolest

Blues bars outside the US - even

according to artists form the States,

and the UK! It has live Blues every

day the year round - and opens till

5 in the morning!”

Even in this tough economic climate,

British Blues fans may see

a holiday to Denmark as an

essential outgoing in 2009. DH

That artist was Buddy Guy. In 2001, the year after Lunn

and Foldberg’s trip to the United States, Guy released

“Sweet Tea”, his hill country album, on which he covered

two of Kimbrough’s songs. Lunn and Foldberg’s interest

grew more intense.

“I think it took some time before the music really got to

me because it in some respects differs from other Blues

styles”, Lunn recalled. “I have always liked the first recordings

Burnside made in 1968. Listening to the live CD,

‘Burnside On Burnside’ (also released in 2001 - MD),

made me think that it was the sound I wanted.”

He hauled out a Junior Kimbrough album he had bought

on the trip, listened some more, and was hooked. Foldberg,

too, acquired the taste slowly rather than overnight.

“Morten started to talk about these guys,” Foldberg said.

“I didn’t really understand the stuff at the time. But a few

years later, I couldn’t avoid these great artists. And suddenly

it seemed so obvious to me. Hearing those guys gave me

the same feeling as hearing Muddy for the first time.”

Lunn and Foldberg formed The Fried Okra Band

around 2004. The other two band members had backgrounds

in different styles. The bassist, Kare Joensen,

had played with a variety of Danish rock bands. The

drummer, Thomas Crawfurd, has experience in Balkan,

Gypsy, jazz and ethno pop.

The Fried Okra Band do not attempt to replicate the hill

country originals exactly as performed by the original

artists. So, the diverse backgrounds of the band members

– including those with no background in hill country Blues

– adds to the flavour of their covers.

Finding their own version of a song usually starts with

just a riff or a beat. Then the band jams, each member

adding something until the final version emerges.

“It sometimes takes a while,” Lunn said.

“Regarding this band, I see the hill country style as a

starting point and a base,” Foldberg

added. “Me

and Morten

had this idea

of how we

wanted the

band to sound,

but the influences

from

Crawfurd and

Kare have obviously

made it different.

I mean

the hill country

style is still there,

but mixed with

other sounds and

influences. And

important to note

is that, since we’re

not from

Mississippi, we’re

not playing the hill

country style right as

Tim Lothar is spoiling

Danish Blues fans.

it should be. It’s our

interpretation, and

we don’t have the

roots to do it like

Mississippians, no

Blues Matters! 69

matter how hard we try.

I try to see this band as a band rooted

deep in the Blues, but it should develop

its own sound.”

The opening of the album “This Is Your

Chance France Baby!” sounds like something

wild coming at you from inside a

cave. There’s a throbbing drum, a feral guitar,

then an explosion of hill country Blues.

Through the individual contributions and

the jamming, the band has come up with a

sound that is noisier and more electric

than on the hill country originals. But the

slide stings, the drums clatter, Lunn’s

vocals are gruff – and the gritty feeling is

exactly the same.

The tracks were recorded live, but

have some overdubs. The result is the

best of both worlds – the immediacy of

live performance combined with the discipline

of the studio. It’s a fine album –

and about as far from Whitney Houston

as one can imagine.

“I really like music raw,” Foldberg said. “I

think that too clean and flawless music is

uninteresting. For me, Burnside plays flawlessly.

It goes straight to the heart.

“I get so mad when people think Steve

Vai is God – and he is very skilful – and a

guy like John Lee Hooker can’t play. I know

it’s a cliché, but for me the Blues is about

a lot more than only technique.”

Gradually, the audience is catching on.

But music like this not the route to stardom,

in Denmark or anywhere else. “The

audience for hill country Blues is not very big and it is not

like we sell a lot of records,” Lunn said.

“No Blues albums do in Denmark. But still, in Mojo Blues

Bar, in the centre of Copenhagen, there is a crowd all week

listening to the Blues.”

“They’re getting used to us slowly,” Foldberg added.

“But for a lot of Blues puritans, I guess were just four

people making noise.”

The band plans to release a new album next year –

recorded, band members hope, in the United States.

They’ve already begun talking to different producers.

And the new album, in contrast to the last, will include a

lot of originals and perhaps only one

or two covers.

In the meantime, the band plays

gigs in Denmark. On good nights,

people in the audience listen in silent

concentration, showing that they’re

into the music. Sometimes, even better,

they dance and yell.

“To quote Mr Burnside,” Foldberg said,

“Blues ain’t nothing but dance music.”

And little by little, the word is spreading. People are

starting to understand. “The ones we talk to most are also

Blues fans, so they know about the music,” Lunn said.

“But I don’t think the audience in general, on any given

Saturday night, is familiar with Kimbrough or Belfour. But

that doesn’t matter if the music makes them feel good.”

And with that good feeling comes an appreciation of this

obscure but hypnotic musical style.

“Even though it gets zero attention from the mass

media,” Foldberg said, “I guess a lot of youngsters have

discovered that it’s so much more than guys with pony

tails, beer bellies and thirty-minute-long guitar solos.” MDS

Blues Matters! 71

essica Davies and Katherine Blamire

have been playing the Blues since they

were only 11 years old. Feeling decidedly

different from others at school, they

formed a musical partnership fuelled by

escapism and ambition. Writing songs

about dead pets was an early measure of

their dark and brooding potential. Now in

their early twenties, they can almost

claim a veteran status, having lived and

gigged in New Orleans, banked an

archive of songs in the studio and by digging

their heels in when tempted to stop.

As the Smoke Fairies, Jessica and Katherine have built a

growing reputation across the pubs and clubs of London,

enjoying diverse alumni from Bryan Ferry to Ed Harcourt

and best friend status with Congregation, and are now

considering the next steps, with a full studio album and

bigger venues inevitable...or maybe not. It seems the

Smoke Fairies put their creative vision and musical mysticism

first, ahead of an urgent desire to be MTV queens…

BM: Smoke Fairies is a great name for a band - cool and

evocative. What’s the story?

Katherine: Basically, it sort of evolved from when we lived

in the country around Chichester, where we grew up.

Jessica lived in a small village and I was on the edge of

Chichester, and when we went between each other’s houses,

we had to go down these country roads and would

notice the mist gathering in the hedgerows to create these

ghostly people-like shapes. We called them Smoke Fairies,

and one day thought it was also a good name for a band.

How old were you then?

Jessica: We must have been 17, but we’d been playing since

we were 12 under various names, which weren’t sticking at all.

Katherine: We were in a band called Elves In A Pie for about

a week, just to enter a college battle of the bands. We won

called Elves In A Pie, but then thought it was a bit silly.

Your music is clearly of a worldly nature. There are so many

Blues Matters! 72

genres and sub-genres, and genres of genres around at the

moment; where would we file the Smoke Fairies?

Jessica: I would say it crosses over from Blues, folk and

country, mixed with slight creepiness. Some people describe

it as gothic, but I don’t know whether I’d describe it as that.

Gothic folk?

Jessica: Yeah!

Katherine: It is hard to say, we’re not trying to go for a specific

genre, we just want to fuse our experiences and musical

influences, and they are quite wide.

You’ve travelled to New Orleans and Vancouver. What stories

do you have to tell?

Katherine: We always wanted to go to America. Both of us

were obsessed with it growing up, listening to American

music and generally the idea of escaping. I guess it was

the fantasy of America; we were quite innocent and so

wanted to get out there on the road and to travel.

When we finally went to university, to do History, an

opportunity came up to study in New Orleans. We both

went for it and both got through! So, we went to study

there. It was interesting doing the history of the place and

we did the history of jazz. So, being there, we basically just

did as many gigs as we could.

Jessica: Once we went on this Greyhound trip for two

months, and only did a week of it, and within that first

week we’d gone to New Mexico and borrowed a car and

blew it up in the desert. And then had get a ride in one of

these eighteen wheel trucks that stopped by, and so we

left the car there. Trouble is, it was my mum’s high school

friend’s car – I’d only met her once when I was 3– and she

was quite distressed to say the least that we had been out

in the desert with a burnt out car.

Any rare or interesting gigs from those times?

Katherine: There was a gig we had at Tipitina’s, the legendary

New Orleans venue. That was fun. For some reason

Tim McGraw was doing a gig after us. We saw at the gig

that there were thousands of people there with cowboy

hats on and we thought, “Wow, we’ve got really popular

We are judged on the basis of

being girls and some people

expect us to be not very good at

the guitar and sing songs about

some crappy ex-boyfriend.”

Blues Matters! 73

with the country crowd.” We saw him come

by and I snook into his dressing room, said

hello, and then he let all my friends come in,

too, but then there was a bit of punch-up. I

don’t know if you should put that in!

So, who are your musical heroes – living or

dead, traditional, modern and, with this

magazine in mind, from the Blues?

Katherine: I was saying just the other day

about a Skip James album that Jessica

picked up in New Orleans that we listened to

over there, and it really influenced us. Every

time I hear it, it reminds me of New Orleans.

Jessica: There’s also a Blues festival down in

Chester called Blues On The Farm where we

used to work every summer, and they have

artists from the States come over. We got to

meet and talk to lots of acoustic Blues

artists. Just meeting them inspired us.

Katherine: People like Eric Bibb… It was brilliant

exposure for us.

Have you got iPods? Who are you listening

to at the moment? Do you get hooked onto

a certain star, style, or person? And do you

mix in musician circles?

Jessica: I’ve got an iPod - but the batteries

aren’t working.

Katherine: And mine’s broken.

Jessica: Our friends have a new album out.

They’re called Congregation. We’ve been

going to a lot of their gigs. We’ve also been

digging out old records like Crosby, Stills &

Nash, Grateful Dead, Traffic…

Katherine: And that band America. It’s what we were listening

to growing up, and it’s really great to go back over

it. You just can’t beat the old stuff, when you listen it to it,

it’s like, “Oh, my God, this is so good!”

Do you get out to many live shows?

Jessica: Not really, it’s kind of hard to stop and go to someone

else’s gig when you’re doing your own all the time... I

really like it, but it’s a real luxury.

I saw you listed at the What’s Cooking Festival in

Edmonton last summer, with Holly Golightly, Pete Molinari

and The Broken Family Band, amongst others…

Katherine: We didn’t play.

Well, you were on the poster…

Jessica: That’s good publicity! We’ve got a few festivals

coming up. We’re playing a zoo, and a farm, and a bluegrass

one…somewhere. I should know, I suppose.

What’s it like gigging in London? Packing them in and

doing an encore at the recent the 12 Bar gig must have

been satisfying but, in terms of paying your dues, it seems

to be a bit of slog for the most part?

Katherine: Oh, yeah, it’s an amazing experience playing to

so many people, but it takes a really long time to build up

the fanbase you need to get…well, paid!

Dragging amps and guitars up and down escalators and

into squashed tube trains, and trying to get changed in

some crappy toilet isn’t always fun! But that’s not a complaint;

it’s what you have to do.

Blues Matters! 74

photos: Steve Double

Does that pain give you a creative buzz?

Katherine: Most of the time it just makes us really tired!

Jessica: Maybe we’ll look back on this time and be able to

write songs about struggling.

Two tall girls with guitars; they say “sex sells,” some say

“cool and evocative,” some would also say hot and

provocative. Do you feel vulnerable on stage? At the 12

Bar gig there were guys who started watching you because

you were girls but by the end of the gig you got them

turned around and they were hooked on the music…

Katherine: That’s something we think about a lot. We feel

quite empowered in a way. We are judged on the basis of

being girls and some people expect us to be not very good

at the guitar and sing songs about some crappy exboyfriend,

but what we’re trying to do – well, we’re not

even trying to do it - is establish that we do play the guitars

well and we’re serious about what we do. It’s great to see

people thinking one thing and then by the time we’ve finished

realising that they got us wrong.

Is your music an aphrodisiac? Or is that a bit of creepy?

Jessica: (Pauses) Yes, that is a bit creepy, but hey, maybe

for some people it can turn them on.

Didn’t you have a seafood experience in Birmingham recently?

Jessica: Yes, basically we were really hungry after the gig

and wanted food, and the only thing we could find to eat

was a battered scallop for thirty pence. I don’t even think it

was a battered scallop. I think it was part of a dish rag!

And then there were the burgers in Bristol!

It seems odd that there’s still such expectancy when acts like Smoke Fairies and Gemma Ray appear on the scene -

after all, women have been dominating the airwaves and charts for a few years now in the name of ‘the Blues’.

“It's always great to hear women doing well, especially as they don't always seem to get the attention they deserve in

the music press,” insisted Gemma Ray, “but the downside to this is that they tend to get lumped together when they

do get noticed, even though they usually have nothing in common with each other than the lack of a p**is.”

Whilst the likes of Duffy and Norah Jones may have a discernable sound from one another, the lack individual inspiration

and copious amounts of gloss added too much of their output, which has seen them become such safe international

commodities, is ultimately why they fail to stand apart.

“I would primarily describe my own music as honest soul and Blues rooted pop,” said the Essex songstress, “with a

nod to the ‘50s and ‘60s, and an eye on the future.”

Gemma may be looking back at a similar era of music as recent success stories Duffy and Amy Winehouse, but perhaps

the time spent looking at the finer details rather than adopting the latest en vogue producer accounts for the

“breadth of talent” showcased on 2008 debut “The Leader”.

“I like the perverse sense of order and neatness of

some ‘50s and ‘60s pop music that conceals the filth

and dirge that lies beneath it.

“I was quite inspired on tracks like 'Bring It To Me' to

emulate the way a lot of those lyrics seem cheesy

upon first listen, but then you hear hidden facets and

double entendres which secretly scuzz up the song

without sacrificing the dignity of the singer.”

And whilst she wields an axe as confidently as any

man – “maybe we (Seasick Steve and I) should have

a guitar dual crossroads style” – don’t expect the latest

female version of Mr. Vaughan.

“All my music is blue blooded, I think you are

either that way inclined or you're not. I don't think it

will sound like it to people who generally relate to

Blues being twelve bar stuff, but it depends what

element of Blues you're passionate about really.

“I just need the soul that a lot of Blues music

has.” Don’t we all! DH

Read the full Gemma Ray interview online at bluesmatters.com.

Katherine: We don’t have much luck with food on tour.

Perhaps we shouldn’t go for the cheapest options.

Moving north, have you ever toured, or do you have

plans to tour Scotland? There is Scottish folk in your song

‘Sea Shanty’, and I wondered how you’d go down up there?

Katherine: We played in Scotland when we toured with

Bryan Ferry and people were into us.

We’d definitely love to go back to Scotland if we can make

the time. We’d love to get invited to a festival up there.

Away from the live scene, what’s the latest with studio work?

Jessica: We have recorded an album - some tracks appear

on the nine-track demo we’ve done - and we’ve recorded

four new tracks quite recently. For now, we’re just going to

keep on recording and recording, and maybe release it all

at once, or maybe no-one will ever hear it!

How does it work in the studio?

Jessica: We do both the guitars live, playing together

because there is such an interaction that we can’t record

them individually and get the same connection. The

singing we do separately, and maybe go back and look at

it and play off what each of us has done.

Gemma Ray is a little dirtier.

Your guitar playing is what I’d call co-operative,

rather than competitive in ‘Duelling Banjos’. Do you ever fight?

Katherine: We don’t fight about who’s in charge!

Jessica: We’re not concerned abut who’s in charge; we just

want to make the song sound good. We certainly don’t

want to mess them up by being egotistical about it.

The Smoke Fairies doesn’t have to be only two, of course.

Any brothers and sisters with musical inclinations?

Jessica: We’ve got brothers and sisters but none are very

musical. My brother used to play drums with us in our first

band but it was horrendous.

We do get mistaken for sisters and I don’t know why

because we look completely different.

With track titles like ‘Living With Ghosts’, ‘Bones’ and ‘Lost

Our Minds’, you clearly have a dark side?

Jessica: I can’t actually think of a single title that is uplifting.

That’s a bit sinister don’t you think? GH

Blues Matters! 75

50

JOAN OSBORNE

Breakfast In Bed

Time-Life

49

WATERMELON SLIM

AND THE WORKERS

No Paid Holidays

NorthernBlues

46

BETH ROWLEY

Little Dreamer

Blue Thumb/Universal

45

LIGHTNIN' WILLIE

& THE POORBOYS

Tracks

145

44

LITTLE FREDDIE KING

Messin' Around Tha House

Madewright

What we said: “I have no hesitation

in recommending this CD to all

the real Blues lovers in the house.”

What we said: “Evocative guitar and

haunting vocals grace this impressive

collection of Delta Blues.”

42

CHRIS DUARTE GROUP

Vantage Point

Provogue/Shrapnel

What you said: “Hard to get hold

of, but it sure kicks ass!”

Timothy Gray

Corpus Christi, Texas

48

SLIDIN' SLIM

One Man Riot

Nile Mile

What we said: “Look out for this

man - whatever a Bluesman

needs, he's got it.”

47

THE PACK A.D.

Funeral Mixtape

Mint

Blues Matters! 76

43

TIM LOTHAR

In It For The Ride

timlothar.com

41

THE SUGARS

The Curse Of The Sugars

Bad Sneakers

What we said: “This CD is as

fresh as a daisy but, somehow,

it's as old as the hills.”

40

MONTE MONTGOMERY

Live - At Workplay

Provogue

39

NELL BRYDEN

Second Time Around

157

What we said: “An intuitive glow

and a glance to legitimate glamour.”

38

DANNY BRYANT

Black And White

Rounder Europe

What you said: “Never fails to

deliver the goods live or on record.”

Jonathon Mason

Lurgan

37

RUTHIE FOSTER

The Phenomenal Ruthie Foster

Blue Corn

36

CATFISH KEITH

If I Could Holler

Fish Tail

What we said: “This is an album

showing Catfish playing some great

songs with absolute authority, and

there isn't a weak track on it.”

35

XAVIER RUDD

Dark Shades Of Blue

Anti-

34

VULNERABLE THINGS

Vulnerable Things

Blues In London

33

MIKE SPONZA

& CENTRAL EUROPEAN

BLUES CONVENTION

Kakanic Blues 2.0

HCB69

32

STEVE WINWOOD

Nine Lives

SonyBMG

What you said: “Few match up.”

Liam Connor

Manchester

31

DEBORAH BONHAM

Duchess

ATCO/Rhino

30

BONNIE BRAMLETT

Beautiful

Rockin Camel

What we said: “Even after all

these years, Bonnie Bramlett is

still the first lady of the Blues.

Long may she reign.”

We had submissions from all

around the world for this year's

Best Blues poll, with many great

acts/releases not gaining

enough votes to make it into the

top-50 countdown

01 IAN PARKER

The Official Bootleg

02 DANNY BRYANT

Black And White

03 T-99

Vagabonds

Jeff Atkins, Potters Bar, Herts

01 B.B. KING

One Kind Favor

02 THE SPIKEDRIVERS

Live At High Barn

03 BUDDY GUY

Skin Deep

Peter Clack, Oxford

01 SEAN COSTELLO

We Can Get Together

02 OLI BROWN

Open Road

03 WALTER TROUT

The Outsider

Duncan Beattie, Edinburgh

01 THE SPIKEDRIVERS

Live At High Barn

02 OLI BROWN

Open Road

03 GRAINNE DUFFY

Out Of The Dark

Peter Beckley, Crawley, West Sussex

Blues Matters! 77

29

MAURIZIO PUGNO

That's What I Found Out!

Pacific Blues

What you said: “Hopefully a promoter

will bring him over to the UK.”

Gregg Barton

London

28

SON OF DAVE

03

Kartel

27

PETE MOLINARI

A Virtual Landslide

Damaged Goods

26

ELI "PAPERBOY" REED

& THE TRUE LOVES

Roll With You

Q Division

What we said: “They play this

music as it should be - loud!”

25

THE FRIED OKRA BAND

This Is Your Chance,

France Baby!

Gateway

24

TOM MANSI

& THE ICEBREAKERS

Love On The Rails

Kartel

Blues Matters! 78

What we said: “If your need is for

a bog standard Blues album then

this isn't for you.”

23

LIZZ WRIGHT

The Orchard

Verve Forecast

What we said: “Wright is brave

enough to open her heart.”

22

JOHN-ALEX MASON

Town And Country

Naked Jaybird

21

HOWLIN RAIN

Magnificent Fiend

Birdman

20

THE BLACK CROWES

Warpaint

Silver Arrow

What you said: “Back on form.

Well written and beautifully played.”

Brad Goodfried

Los Angeles, CA

2008 not only saw a number of

contemporary Blues artists releasing

their best material to date, but

also a string 'best ofs' and rereleases

to remind us where they

had been taking inspiration

10 DOUBLE TROUBLE

Been A Long Time

Blues Boulevard

09 ZZ TOP

Eliminator

Rhino

08 LITTLE MILTON

If Walls Could Talk

SHOUT!

07 GOMEZ

Bring It On

EMI

06 TAJ MAHAL

The Natch'l Blues

SPV/Blue

05 JACK BRUCE

Can You Follow?

Esoteric

04 THREE MAN ARMY

A Third Of A Lifetime

Repertoire

03 STEVIE RAY VAUGHAN

& FRIENDS

Solos, Sessions & Encores

SonyBMG

02 JETHRO TULL

This Was

EMI

01 SUSAN TEDESCHI

Mama, He Treats

Your Daughter Mean

Blues Boulevard

19

MATT ANDERSEN

Something In Between

stubbyfingers.ca

18

GUY TORTORA

Living On Credit

Turtledove

What you said: “An album to die for.”

Tim Aves

17

THE KILLS

Midnight Boom

Domino

16

NAUGHTY JACK

Good Times

Wang Dang Doodle

London

15

THE BLACK KEYS

Attack & Release

V2/Cooperative

What we said: “It is a record which

puts them musically ahead of The

White Stripes, and will be enjoyed

by Blues and non-Blues fans alike.”

14

JASON RICCI

& NEW BLOOD

Rocket Number 9

Electro Groove

What we said: “Nothing that

breaks the mould, but good fun!”

13

B.B. KING

One Kind Favor

UMC/Geffen

What you said: “An unexpected

delight that rivals his best work.”

Mary Russell

Leeds

12

ERIC BIBB

Get Onboard

Telarc

What we said: “A deep album

played by a master of the genre.”

11

SEASICK STEVE

I Started Out With Nothing

And I Still Got Most Of It Left

Warner

What we said: “Damn fine Blues.”

10

JJ GREY & MOFRO

Orange Blossoms

Alligator

What we said: “It gets hot down in

the Florida swamps, but not as sticky

as it does on ‘Orange Blossoms’.”

09

BUDDY GUY

Skin Deep

Legacy/SonyBMG

What you said: “Brilliant indeed!”

Peter Clack

Oxford

08

JOE BONAMASSA

Live From Nowhere

In Particular

Mascot

What you said: “A live album to

match his influences.”

Lynn Wilson

Brownrigg Loaning, Dumfries

07

THE SPIKEDRIVERS

Live At High Barn

Scratchy

06

IAN PARKER

The Official Bootleg

ianparkermusic.com

05

QUEEN

+ PAUL RODGERS

The Cosmos Rocks

EMI

04

WALTER TROUT

The Outsider

Provogue

Blues Matters! 79

03

NICK CAVE AND THE BAD SEEDS

Dig!!! Lazarus Dig!!!

Mute

Nick Cave, alongside Tom Waits, has been the credible act to cite for many

years now of course but, like Waits, the critics’ favourite has built a reputation

of being difficult to listen to. Not so on “Dig!!! Lazarus Dig!!!”, which,

despite the usual dark and disturbing lyrical themes, is arguably the band’s

most accessible album to date, managing the difficult task of appeasing

long-term fans whilst attracting non-believers thanks to a number of melodic

Blues-rock numbers.

What we said: “Nick Cave’s music is complex, but the rewards are great.”

What you said: “Never been a massive Nick Cave fan, but after reading so many

great reviews I picked up ‘Dig!!! Lazarus Dig!!!’ and was simply blown away. An

awesome album that has completely changed my opinion of the man.”

Mark Byrne

Southampton

02

OLI BROWN

Open Road

Ruf

It was hard to avoid Oli Brown’s rapid ascendency in 2008. With the likes of

Walter Trout and John Mayall already singing his praises, the 18-year-old signed

to Ruf Records at the start of the year, who released his debut to widespread

critical acclaim shortly after. Whilst his UK support-slot performances, to the likes

of Johnny Winter and Robben Ford, left his more esteemed headliners floundering

in his wake, Oli also enjoyed several successful tours Stateside, which only

confirmed his position as the best of the new crop of English Blues slingers.

What we said: “This is a talent that could explode in the next couple of years.”

What you said: “The finest British debut Blues album in some time, Oli’s first

album is very promising and hints at a great future.”

Duncan Beattie,

Edinburgh

01

SEAN COSTELLO

We Can Get Together

Delta Groove

The Blues community was saddened in 2008 with the news that

Sean Costello had passed away from a drugs overdose, just a day

before his thirtieth birthday. The loss of such a young talent was

compounded by the fact he had just released the acclaimed “We

Can Get Together”, which had many drooling at the prospect of a

contemporary Blues great. To illustrate the high regard Sean was

held in, “We Can Get Together” was the runaway winner for your

Best Blues album of 2008.

What we said: “Sean Costello knows his stuff. One of the rock-Blues albums of the year.”

What you said: “This young man was the REAL thing, and his sound harkened back to an earlier time, when

the music you played came from your soul. Period. End of story.”

John FitzGerald

Old Saybrook, CT, USA

Blues Matters! 80

s every written word about the album

would tell you, “Bone Machine” was

conceived in a concrete basement.

This location makes way for the

added blood-soaked imagery of a

slaughterhouse or a medieval dungeon.

The recording studio, which is

usually pictured as a medically sterile

environment, has become a torture

chamber where it is impossible to ignore the brain

matter on the walls. In fact, it is possible to compare the

nightmarish underbelly of “Bone Machine” with Leonard

Cohen’s “The Future” and Nick Cave’s “Murder

Ballads”. Where all three place alienated, used up and

dried out characters in a desolate and merciless world,

“Bone Machine” evokes a hauntingly timeless feel that

is usually associated with Lightnin’ Hopkins.

By hand-picking his supporting players, Waits’ manages

to encase his work in a schizophrenic personality.

On the one hand, Les Claypool’s neo-Neanderthal bass

playing satisfies the MTV generation, whereas Keith

Richards’ inclusion on “That Feel”, creates a spiritually

traditional vibe that could only be forged by the man who

brought the Blues to the band who took it to England.

“Bone Machine” begins with a call to impending

doom. The use of the glockenspiel clanging is designed

to sound skeletal, thus bringing meaning to the title of

the album. It serves as an opener created to invite the

listener into something extraordinary. Hyperbolic language

crawls from Waits’ mouth sounding like a soothsayer’s

prediction. We believe that “crows are as big as

airplanes,” in this place he speaks of, and, by the time

his gospel gothic tongue gurgles the words “dreaming

of you,” we realise this is the place Waits now lives.

The album, in its entirety, moves equally through genres

and moods. ‘Dirt In The Ground’ acts as a sombre

ballad, whereas ‘Such A Scream’ breaks from this into a

dance track for vampires and werewolves. The punk

rumba of this song quickly diminishes into the archaic

‘All Stripped Down’ - a distant relative of The Rolling

Stones’ ‘I Just Want To See His Face. Its metaphoric

description of the song itself echoes and blends into the

track-listing, leaving almost no trace by the time ‘Who

Are You’ gives us a taste of Waits’ classic songwriting.

The presence of ‘Jesus Gonna Be Here’, ‘Goin’ Out

West’ and ‘I Don’t Wanna Grow Up’, arguably the

album’s three signature tracks, gives the album chart

quality, but it is the adventurous turns taken by Waits to

include heart-rendering ballads (‘Whistle Down The

Wind’) along with his dark star (‘Black Wings’ and ‘In

The Coliseum’). But for all the blood, guts and gore, the

unwinding sensation is the optimism felt from the closing

track, ‘That Feel’, where the wisdom from witnessing

all of it pours into a wish for wanting hope to come

out of the carnage. And it is that wish that picks the

Bone Machine up and makes it human. MC

A FAVOURITE BLUES ALBUM?

Why not share your thoughts with fellow Blues lovers? Contact: darren@bluesmatters.com.

Blues Matters! 81

GOTTA SERVE SOMEBODY

Bob Dylan

This track never fails to blow me out. It is sheer

genius. The reason why it is so devastating is

because it is so simple. He reels off a list of characters

through the song, everyone from boxers to

council men to barbers to preachers, and then

ties it up with the chorus: "You gonna have to

serve somebody/It may be the devil/It may be the

Lord/But you're gonna have to serve somebody.”

REVELATOR

Ian Siegel

I have always loved songs that

are a bit fire and

brimstone. The

album Dylan did

called "John Wesley

Harding" was

steeped in religious

imagery, and I have

always found that

album quite spooky.

‘Revelator’ I don’t find

spooky, but I think it

is a powerful song

and just downright

cool. Not many people

can pull off a song like

this, but Ian can.

Blues Matters! 82

THE BOY WHO WOULDN'T HOE CORN

Alison Krauss & Union Station

More bluegrass than Blues, but a huge, huge

song. The live version is just ridiculously good.

Every time the band kick in, after the free time

Blues singing guitar bit at the start, the hairs

stand up on my arms. Love the lyrics, too, about

Following the success of “The

Rattling Wheel” in 2007, Derrin’s new

album, “Skin Of The Earth”, has a lot

to live up to. "I wanted to make an

album of music that supported lyrics

that are very stylised and broad for

interpretation,” said Nauendorf. “I

didn't want to spell out a specific

journey in the songs. I have tried to

create a wide spectrum of lyrics

that could apply to the listener’s

own journey.” We have 3 copies of

the new album to giveaway, courtesy

Ruf Records. For your

chance to win, tell us:

The lyrics to which Derrin song

were published by Cambridge

University Press in a text book

for English Literature?

*answers to the usual PO Box address or comps@bluesmatters.com.

a boy who is a lazy farmer - too lazy to look after

his crop. Towards the end of the song, he goes

to his neighbours house to ask the hand of the

girl in marriage, and she says she wont maintain

a lazy man, and tells him to bugger off. He then

says: “Little miss you will rue the days/For giving

me the devil because I wouldn't hoe corn."

PHONE CALL FROM LEAVENWORTH

Chris Whitley

I am a big fan of Chris Whitley, and this is pretty

Bluesy. This is a piece played just with voice and

steel bodied dobro. It is about an inmate at a

penitentiary in Kansas, called Leavenworth

prison. The lyrics are written after the character

has all but given up. At one point he sees Jesus

come through the walls and disappear as the

character feels completely abandoned.

THE THRILL IS GONE

B.B. King

My father drilled this song into me from a very

young age. It just never seems to date and

always sounds fresh to me.

SINCE I’VE BEEN LOVING YOU

Led Zeppelin

Just put it on and turn it up loud! What

Blues fan could not love this tune?

Zeppelin at their best!

MANNISH BOY

Muddy Waters

The ultimate Blues song. So many bands

and artists (including me) have had

attempts at this kind of feel and song, to

varying degrees of success, but no-one

things. The music transports you to broken, desolate

middle USA. This related to me growing up

in Australia - it fit with the landscape there, also.

It is kind of one long song, more than an album.

VOODOO CHILE

Jimi Hendrix

Hendrix at his dizzy peak. Have you ever heard

anyone play like that! There are people that

changed the music world, like Dylan and Stevie

Ray - and this song didn't just change it, it shook

its foundations. This is the kinda song that makes

people give up their day job and play guitar for a

living. How many songs could stake claim to that?

SHELLSHOCKED JOHNNY

Kevin Brown

Kevin is a hidden jewel in the UK Blues scene. I

love Kevin's music. He is a beautiful slide player

and a wonderful songwriter, too. This song is

Kevin at his best. Such a well written song and

achingly tasteful guitar playing. "Too many voices

calling/Too many shells a falling/They call him

Shellshocked Johnny". DN

The thrill is still there

for Derrin Nauendorf.

can lay it down like Muddy. The vibe out of

the speakers is incredible.

DEAD MAN

Neil Young

Okay, this one is a bit of an odd one, but

no album has had such an affect on me

and my music as “Dead Man”. It is not

Blues, not Americana, but it is all of these

Blues Matters! 83

JW-JONES

Blueslisted

CrossCut

“Blueslisted” is the fifth CD by Canadian singer, songwriter and

guitarist JW-Jones. It’s far more guitar driven than his previous

recordings and the guest-list of musicians onboard is impressive.

He has Little Charlie Baty and Junior Watson playing

together for the first time

in three decades and an

impressive rhythm section

in Richard Innes on

drums and Larry Taylor

on bass. It was recorded

in Jones’ living room, but

the recording is superb

and the whole thing has

a wonderful jam feeling,

very spontaneous and

fresh. Jones managed

to cover a range of

styles from West Coast jump to Chicago and Texan Blues, with

some ‘50s rock’n’roll and ‘60s R&B thrown in for good

measure. Like many Blues guitarists, on the more polished

numbers his vocal is average but get him into the more gritty

Blues tracks and he’s up there with the best. ’Can’t Play

A Playboy’ is modern Chicago Blues - there’s some good

semi-tone string bends and subtle vibrato on show here

from Jones. ‘Bogart Bounces Again' is the Blues bouncing

via fine instrumentals. ’Out Of Service Blues’ is a slower

Blues ballad, with some superb instrumentals on this from

all and great harmonica work. ‘Heavy Dosage’ is an instrumental

and classic swing with guitarists Jones, Watson and

Baty trading licks. A diverse CD with great Blues.

Carol Borrington

CLAUDE BOURBON

The Travellin’ Man

Frog

With a name like Claude Bourbon, your mind strays perhaps

to Louisiana, but this packed double CD set was recorded in

Southsea. CD1 is a showcase for Claude’s guitar-playing

skills and, make no mistake, they are considerable.

Instrumentally, there’s a variety of guitar styles here, from

the opening ‘Medieval’ and the Andalusian flavours of

‘Echo’, yet track six, ‘A Light In The Night’, immediately puts

one in mind of Ry Cooder’s “Paris, Texas”. If this collection

just included Bourbon’s guitar playing, it would be well worth

having for its mesmeric quality. But on CD2 he accompanies

himself singing nine songs, which perfectly match the

rolling, meditative mood of the first CD. It’s all like a more

nimble-fingered version of JJ Cale, so it’s no surprise to discover

a Cale song included - ‘Sensitive Kind’. So, here we

have another fine example of the prodigious talent, which is

Blues Matters! 84

treading the boards in UK clubs. That said, if you see his

name flagged up in your area, go along – based on this set,

you could be in for a very entertaining night.

Roy Bainton

EG KIGHT

It’s Hot In Here

M.C.

EG Kight has produced a work that teeters between hot, sensuous

Blues and ‘20s vaudeville. Guitarist and vocalist Kight

has surrounded herself with a plethora of great players, including

Bob Margolin, who plays slide on ‘Then There’s The Truth’ -

a raunchy Blues about man’s infidelity. In fact, this album sizzles

with lyrics about the relationship between man and

woman. Opening with the funky ‘I Want You Cause I Want You’,

Kight is taking her love life into her own hands and followed by

‘It’s Hot In Here’ you can sense the passion when she croons

“…is it me or is it hot in here.” ‘Through The Eyes Of A Child’ is

a pleading simplistic song

about how uncomplicated

children are and the joy that

should accompany childhood.

Of the twelve cuts

here, eleven are originals,

with the ‘House Of The

Rising Sun’ being the cover.

I’m not sure that with the

inventiveness, poetry and

downright sensuality that is

elsewhere on the CD, it

actually works - it sounds

dated and somewhat of a dirge. There is some sweet clarinet

playing in the vaudeville styled, jazzy ‘Sugar’ - a song

that is a little too syrupy for my taste. My favourite here is

‘Southern Woman And A Nawthern Man’, a duet with Sean

Farley, where the innuendo, “Now I know there’s good

lovin’ below that mason Dixon line,” and excellent

piano/guitar interplay makes this song easily standout.

Merv Osborne

RAMON GOOSE BAND

Journey Into The Blues

Tekni

Like most serious recording artists who play the Blues, Ramon

Goose is a competent musician. His up-tempo opener is like a

funny joke, but this comes at the price of a set which is comprised

of crude wisecracks. In this case, it really is an unfortunate

result. The first few songs are welcomingly interesting.

Following from ‘Rude Mood’, ‘Everyday I Have The Blues’ is a

standard play-the-Blues-by-numbers track with weak vocals

until a jazz break breathes life into an otherwise dull song. ‘In

My Father’s House’ is a warm, acoustically-based track. It is

enjoyable but you cannot help but feeling it loses what it gains

in technical proficiency through the vocal performance. This is

IAN SIEGAL

The Dust

Nugene

Once again, Ian Siegal has proved he is the Blues singer and guitarist

that everyone else has to beat with a stripped-down collection

of thirteen tracks. It’s just him and his guitar, although famed pedal

steel player BJ Cole turns up for a couple of tracks, as does Sam

Hare on vocals and guitars and Nikolai Torp on pump organ. The

highlights include the stirring American spiritual ‘I’ll Fly Away’ and a

stunning live recording of ‘Mary Don’t You Weep’. Siegal’s voice is

as impressive as ever, and his gruff, raspy vocals suit the material

perfectly. “The Dust” should be required listening for anyone who is

thinking about starting a Blues band. There’s none of your usual

twelve-bar dirge, just pure talent on display. This is British Blues at

its very best and Siegal is at the top of his game. The only drawback is the CD’s availability. It is only being

sold at Siegal’s gigs or online and won’t be in the shops in the UK. So, everyone should go out and catch Ian

Siegal live, and while you are at it, buy this CD. You won’t regret either, frankly.

Jamie Hailstone

one aspect that Ramon’s “Journey Into The Blues” cannot

escape. It also travels frequently into the realm of the

inevitably stale Blues band cliché of rocking standards partnered

with soft acoustic tracks intended to display a softer

side. There is no doubt that the Blues can work this way

but, tragically, Ramon Goose offers nothing that we don’t

already own in our record collection. The Hammond organ

of ‘Heard The Angel Sing’ goes only part of the way to

demonstrate this. The execution of such an instrument can

be vitally important to a record’s success, but coupled with

Goose’s struggling vocals and feeble lyricism, the song falls

flat. For soul AND technical prowess check out the Nicholas

Barron Band; genuine satisfaction guaranteed.

Matthew Clarke

MIKE MARKEY & NICK JONES

Heads Of The Valleys

mikemarkeyandnickjones.com

One hates to be too negative about this album, because both

of these Welch sidemen are highly competent players. But

competent can be a damning word in music. The best

Bluesmen – all of them – have brought something original to

the table. Not so here. Mike Markey & Nick Jones have backed

the likes of Water Trout and

Zoot Money. Out on their

own, on this album, they

offer typical pre-war twoman

Blues: one guy on

acoustic guitar and slide,

the other on harmonica

and vocals. Jones’ imitations

of the guitar styles of

Robert Johnson and other

old-time greats are skilful.

Markey’s harp playing is

equally so, although his

singing sounds deeply rooted in the white experience. There

are fast songs, slow songs, humorous songs and songs where

they perform the old trick of having the slide and vocals track

exactly. But nothing makes you sit up and take notice. They do

a cover of ‘Fishin’ Blues’, but if you think this matches Taj

Mahal’s version – talk about original personalities – you’re

mistaken. Not even close. The music here, while well-played, is

indistinguishable from any number of artists on any number

of albums. Something’s missing, and it’s this: Markey

and Jones have completely neglected to include anywhere

in their music something of themselves.

M.D. Spenser

JZ JAMES & THE WEST

MEMPHIS TURNAROUND

JZ James & The West Memphis Turnaround

Moon Sound

Listeners who value tasteful musicianship and quiet originality

will find much to enjoy on this CD by the German Bluesman JZ

James. With his mix of acoustic and electric guitars, and his

jazzy take on the Blues, James creates mood poems that go

down sweet as honey. The album’s dedicated to the pianoman

Eddie Boyd, who fled America and settled in Europe, helping

plant the Blues over here. James counts himself among Boyd’s

children – metaphorically, we assume. These eleven originals

are marked by great chord changes and intricate rhythms that

make even slower numbers toe-tappers. The opening track

sets the tone: a rolling, gentle mix of acoustic and electric guitars

topped by mournful harmonica. There’s a wonderful jazz-

Blues tribute to Nina Simone: “But lady why complain/I

believe that the songs you sung were not in vain,” he

croons. Okay, he says “not in wain,” but Bluesmen have

always been allowed their idiosyncrasies. ‘Ballad Of Sallie

Mae’ tells of the murder of Robert Johnson over up-tempo

fingerpicking on one acoustic guitar and percussive strumming

on another. Most songs feature acoustic rhythm, electric

lead, tasteful drumming and upright bass, sometimes in

a minor key. But the mood varies, as does the tempo; James

always keeps our interest. One love song even has an exuberant

bluegrass feel. If you play this when friends are over,

sooner or later they’ll prick up their ears. Spread the word!

M.D. Spenser

KATIE MELUA

The Katie Melua Collection

Dramatico

To get a ‘best of’ from a musician so early in their career is

becoming an unfortunate cynical marketing ploy from labels.

However, the CD is a good sampler of what a talented Blues

Blues Matters! 85

singer and also eclectic musician Katie is. It contains a collection

of songs from her first three albums and three new bonus

songs, including her duet on ’What a Wonderful World’ with

Eva Cassidy. ‘Two Bare Feet’ is the first of the three new songs.

It’s a bouncy Blues/jazz number - great vocal, brass and piano

setting it off to perfection.

‘Toy Collection’ is a beautiful

song of childhood innocence

bemoaning its loss in adulthood.

The song has some

wonderful musical imagery

of a child’s nursery and

marching wooden toy soldiers.

‘Somewhere In The

Same Hotel’ sees Katie

shift with ease into a sultry

Blues number. Her warm

sensual vocal underscored

with some impressive instrumentals, especially through the

guitar work, echoing the vocal as it tells its tale. The DVD was

filmed live in Rottenham in 2008 and runs to a ninety minute

performance. It depicts vividly what a talented musician Katie

Melua is in the situation where it really counts – live! This is a

superb performance vocally and instrumentally. Top class!

Carol Borrington

RON HACKER

My Songs

ronhacker.com

San Francisco’s Ron Hacker is a new name to me, although he

has previously released eight albums back home.

Unceremoniously dubbed the ‘White Trash Bluesman’, Hacker

became influenced by the Afro American counsellors in the

juvenile retention centre he was sent to after being caught robbing

parking meters at the age of 11, and Blues became the

centre of his life from then on. After teaching himself to play, he

became friendly with Yank Rachell, the former partner of

Sleepy John Estes. Rachell became his mentor and trained him

in the finer points of Delta Blues. Hacker plays guitar and is a

fine mean slide player, but he also possesses a good vocal

tone. For proof of Rachell’s influence, listen to the solo ‘Blues

For Yank’. On ‘Hear Me Sing

Like Elmore James’, Hacker

proves that he can mix his

styles a little with some

great slide playing. Using

only bass and drum backing,

his overall sound is simple

and uncluttered, allowing

the songs to shine

through. ‘Mambo For

Albert’ tips a hat towards

Albert King, whilst ‘Diddley

Widdley’ does the same for

Bo. This release is a collection of remastered songs from

Hacker’s twenty years of writing. On CD, he certainly sounds

the business, but he is also an artist that I think would rip the

place apart live. Hacker’s take on the electric Delta Blues is

one I have really enjoyed - bring on his first UK tour!

Merv Osborne

SAMUEL THORNTON

Easy Street

maxwolff.dk

This is Yorkshire based singer and multi-instrumentalist

Samuel Thornton’s debut CD, and the music is all self-penned.

Blues Matters! 86

CATFISH HAVEN

Tell Me

Devastator

Secretly Canadian

Two releases can show a lot. For one, a sophomore album

can show improvement where the debut was all about the

promise. It could mean a break from genre or style, or it

could mean a new producer or a different sound. For Catfish

Haven, none of this applies. “Tell Me”, their debut, begins

with the confused ‘I Don’t Worry’, a misanthropic track with a

genius chord progression. It is a clever vehicle for George

Hunter’s strong vocal chords, and it is one feature which continues

throughout. Many of the songs here are vicious in there

undertaking. Externally, the gleeful horn section and jangly guitar

make way for the fun times had by the Barenaked Ladies

and Jack Johnson, but the lyrics point to a different side of

Catfish Haven, one which explains why ‘If I Was Right’ has more

about it than the Beatles-esque opening. That track in particular

manages to conjure up a slow, spaced out vibe where Hunter

forces the words to escape in the manner of Thom Yorke. The sun

drenched music is often propped up with an air of nostalgia and regret but, like English

contemporaries The Zutons (a most fitting comparison), songs of heartbreak rupture into stories of an optimistic

future. And this is where the link between “Tell Me” and their second release “Devastator” becomes obvious.

Where “Tell Me” is a subtle voyage into all that is upsetting, “Devastator” is all about the big rock’n’roll sound.

In no way is there a better of the two, they are both equally enjoyable, yet “Devastator is less about the bad times

than it is the good. Think of this as a Saturday night to “Tell Me” as a Sunday morning.

Matthew Clarke

The CD almost acts as a CV of his talents. It’s very eclectic in

make-up, with a lot of jazz, but containing Blues, funk, R&B,

soul and some solid rock Blues. The instrumentals are impressive

throughout. Thornton’s vocal is distinctive and, at times,

has all the credentials of old-school crooners, yet acquiring true

grit as required. The opening track, ‘Bukowski’s Blues’, has a

wonderful feel of old New Orleans jazz. Contrasted with the

next song, ‘Someone Like You’, featuring Hayley Gratarnick in a

classic ‘70s soul duet, but with more the modern funk feel.

This is then added to by a jazzy brass section to bring about a

combination of well-matched musical textures. ‘Wine, Women

& Song’ again sees another change to a New Orleans

jazz/Blues combo. The vocal on this is not only impressive in

register and intonation but has an added characteristic of

almost sounding like, as the lyrics suggest, that a glass of

Bourbon or two has been imbibed. ‘Miss Rose’ is an interesting

track, starting off with what sounds as if it going to

be a solid jazz number, it soundly burst into guitar driven

Blues-rock, and then returned at the end to finish as jazz.

It’s somewhat reminiscent of the music of King Crimson, as

it swings to and from, between styles and adding contrast.

Carol Borrington

SCOTT ALBERT JOHNSON

Umbrella Man

CoolByMe

It’s always difficult when an album like this comes along, as it

doesn’t readily sit into preconceived labels and, in many

respects, that is a very healthy situation. To make matters

more pertinent is the fact that Scott Albert Johnson is a harmonica

player, and what a polished and exquisite player/songwriter

he is at that. “Umbrella Man”, his debut, was three years

in the making and, whilst I had reservations on first playing, I

must say that the end result justifies the time taken. There are

ten tracks here, nine of which are originals, and the cover is a

true representation of Wynton Marsalis’ ‘In The Court Of King

Oliver’. The music veers between the country influenced

‘Spaceship’; the up-beat tempo of ‘Turn Out Fine’, an ode to a

former lover, the jazzy sway of ‘What About Your Man’; the epic

rock sound of ‘Hollywood’; and Blues influenced ‘The Yuppie

Husband’s Lament’. Throughout, his voice is strong and on the

mark, whilst his playing changes from track to track, sounding

like Toots Thielman, Larry Adler and then Sonny Boy. Favourites

here are ‘Walkabout’, an aboriginal inspired instrumental

complete with Didgeridoo; and the beautiful ‘Magnolia Road’,

a melancholy walk through pleasant memories, and a song

that will tug at plenty of heart strings. This release has

proved to be an unexpected and very pleasing surprise.

Merv Osborne

EARTHLESS

Live At Roadburn

Tee Pee

When I see a double CD recorded at a festival, with less than a

handful of tracks, I know I’m in for a lengthy shock, and this

was no surprise on that front. Earthless are a three-piece

instrumental psychedelic rock/metal band from California who,

here at least, mix the ambient space rock of Hawkwind and

Porcupine Tree with the West

Coast rock of Grateful Dead

and Man. Disc one is 47

minutes of ‘Blue’/‘From The

Ages’, and quickly builds to

solid and driving if monotonous

bass and drums

rhythm with a long extended

guitar solo. It is, however,

broken up later on by the

odd riff and drum burst,

and when the bass starts

Blues Matters! 87

playing more of a riff line, it gives something to bounce the guitar

off and becomes more interesting. ‘God Speed’/‘Sonic

Prayer’ on disc two has its similarities but with a gentler start.

This is clearly something for the festival crowd to enjoy.

Psychedelic metal with a nod of Blues and ambient and plenty

of riffs and solos. There are enough good ideas for plenty of

songs here, and they blended well into one, but the lack of any

vocals, during or between songs, does add to the monotony.

Joe Geesin

HOTEL LaSALLE

Wild & Alive

Black Cat

Hotel LaSalle is a band from Italy, and this live album was

recorded between 2005 and 2007 in both Germany and

Belgium. They are a trio with a three-piece horn backing section

on six of the twelve cuts. Overall they sound as though

they are enjoying themselves, with good audience reaction -

although, on ‘Memphis Dream’, there are some questionable

notes and rhythms played. Sadly, the mix on this live album

leaves a lot to be desired. Sounding as though it was recorded

from some distance behind the mixing desk, in a two track

mono format, it loses much of the excitement of the live environment.

Opening with Leiber & Stoller’s ‘I’m A Hog For You

Baby’, they then stroll through covers of Chuck Berry, Dave

Hole, Sonny Landreth and Danny Gatton, with only a couple of

band originals - ‘Hobocar Blues’, with some excellent harp, and

‘Mystic Barefooting’. Unfortunately, the vocals are very difficult

to hear throughout, being lost in the mix. Best track here is

Gatton’s ‘Fun House’. The CD may serve well as a memento to

those who attended the band’s live shows but, sadly, there are

too many flaws here for it to do well outside of that forum.

Merv Osborne

THE FELICE BROTHERS

The Felice Brothers

Loose

How down home and ‘ornery can a band get? Well, here’s the

measure – a lilting slab of pure American heritage, with all the

prairie grass appeal of Bob Dylan’s late lamented Band, and a

whole clutch of new songs to bring the genre into the 21st century.

The songs are brilliant and, when it comes to rural

American attitude, the titles tell it all – ‘Frankie’s Gun’, ‘Don’t

Wake The Scarecrow’, ‘Little Ann’ and ‘Whiskey In My Whiskey’.

And if we want to talk about real grits’n’chitlin’ roots, take on

board that their first album, “The Adventures Of The Felice

Brothers” was actually laid down on a two track machine in a

chicken coop, ’fer chrissakes!

Apparently, you

can only buy that particular

album from live

gigs – so there’s one

more incentive to seeing

them play. But don’t

let my rugged blue-collar

enthusiasm steer

you into thinking these

guys aren’t sophisticated,

because the way

they play, and the texture

of the moods they achieve, proves that they’re developing

at a rate of knots and are on the cusp of a great career. This is

new America with all the best of the old thrown in – classic

stuff. Fire up the barbecue and get some beer in the icebox

(sorry, I’ve just remembered that we live in Britain and we don’t

Blues Matters! 88

AC/DC

Black Ice

Columbia

Immediately evident

is the impact

of producer

Brenda Obrien on

AC/DC’s first

album in seven

years. The band

seem more controlled

than on previous

efforts, and

the overall quality

of the songs is consistently high. The opener ‘Rock

N Roll Train’ is typical AC/DC, a pounding riff courtesy

of Malcom Young gives you some insight into

the rest of the album, and all the hard-hitting,

straight forward rock credentials hit you like a

tonne of bricks - this is what you want from AC/DC!

One exception to the rule is the ballad-like ‘Rock N

Roll Dream’ - an unexpected and melodic effort by

the gang who seem to be showing the world they

can do ‘serious’ if they want to. It’s an epic track

that still retains all of the AC/DC charm, while

showing a slightly lighter side to these ageing rockers.

Songs like ‘Anything Goes’ and ‘Spoiling For A

Fight’ make you wish you were driving a Cadillac

down Route 66. Pounding anthems galore and the

slightly ridiculous image of 53-year-old Angus

Young in school uniform pales into insignificance

next to such a great set of songs. This album

proves they still have what it takes, and that their

recipe is timeless. Good time ol’ fashioned rock-

’n’roll with a Bluesy flavour. Keep it up grand-lads!

Samuel Pentony

have summers any more…but you know what I mean!). It’s

that kind of music – well cooked and tasty.

Roy Bainton

SCISSORMEN

Luck In A Hurry

VizzTone

When I read the words, “Special thanks to my spiritual advisors

past and present,” on the sleevenotes, I feared the

worst. Self-indulgent message laden songs! But I was very

pleasantly surprised. Scissormen is a two-piece group playing

out of Nashville, with Ted Drozdowski on slide guitar (in

the R.L Burnside tradition) and vocals and Rob Hulsman on

drums. This album brings nine originals and two cover versions

of Son House material - ‘Death Letter’ and ‘John The

Revelator’ are tasty interpretations featuring some great

riffing. ‘John The Revelator’ even reminds me of Bo Diddley,

but with a country feel. Of the originals, the best is ‘Mattie

Sweet Mattie’, featuring some good fiddle playing in a slow

Blues. The band is joined by veteran Blues pianist Teo

Leyasmeyer, who lends some subtlety to every track he

appears on, but in particular on ‘Whiskey And Maryjane’.

For my money, the best of the bunch is ‘When The Devil

Calls’, a slow burning moody acoustic Blues with a tasty bit

of slide backing, but if you prefer full on electric Blues, lis-

KELLIE RUCKER

"Being five feet tall has never

been an issue – the little ones are

the mean ones!"

JIMMY GRISWOLD

"I was sick of freezing (in

Connecticut). I packed everything

I owned in my car and made it to Florida,

with eight dollars to my name."

OLD CROW MEDICINE SHOW

"Well, the music’s full of fireworks... I

mean, you know it from the body of

American Blues music."

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Blues Matters! 89

LARRY GARNER

Here Today Gone Tomorrow

TOM PRINCIPATO

Raising The Roof

BIG ED SULLIVAN

It Takes A Big Man

JOE LOUIS WALKER

Witness To The Blues

DixieFrog

DixieFrog offers a contemporary vision of Blues and

American roots music. The CDs under review present four

stars of the guitar. Larry Garner’s skill as a guitarist and

songwriter, have established him as one of the most gifted

Blues musicians of his generation. Awards including, BBC Jazz FM

Bluesman of the year, underline the fact that Larry is one of contemporary

Blues finest musicians. “Here Today Gone Tomorrow”

unsurprisingly has a strong Blues core, but the production is a little

too slick. Contemporary twists like the rap on ‘Keep Singing

The Blues’ don’t do the CD any favours, even if the song’s

theme, of educating the younger generation on their musical heritage,

is an admirable one. ‘The Last Coke’, ‘Someplace For Evil’

and ‘Show Me That You Love Me’, with great guitar from Larry and

Nelson Blanchard’s excellent piano playing, all bring back some welcome credibility and ultimately

Larry’s class shines through. Tom Principato has an eloquent and expressive guitar style and “Raising The

Roof” is a worthy showcase for his talent. ‘Mi Solea’ and ‘Bo Bo’s Groove’, with nice Hammond organ from Tommy

Lepson, betray a strong Santana influence. The outstanding ‘In The Middle Of The Night’ with its reggae feel and

soulful vocals, a grooving ‘Lock And Key’, and an interesting take on Louis Jordan’s ‘Fish Fry’ all contribute to a varied

and classy CD. “It Takes A Big Man”, from Big Ed Sullivan, is an excellent effort. Rockabilly and Blues influences,

understated production by Popa Chubby, strong material and some fantastic playing all combine to wonderful effect.

‘Bury Me In Black’, ‘The Cheating Kind’ and a cool cover of, ‘I Fought The Law’ all standout. Joe Louis Walker is a

modern day Blues great. A true Blues virtuoso guitarist, singer, and songwriter. So, expecting great things from

“Witness To The Blues”, I have to say it quickly became a disappointment. The CD has a good mixture of modern

and traditional influences, with Joe Louis exploring Delta and Chicago Blues styles, adding some southern soul,

gospel and even some rockabilly on ‘Midnight Train’ (an interesting take on Junior Parker’s ‘Mystery Train’). More

than half of the album’s eleven tracks were written by Walker, and he adds interpretations to covers, including ‘Rollin’

& Tumblin’’ and ‘Sugar Mama’. ‘Lover’s Holiday’ featuring Shemekia Copeland is a very weak effort and I didn’t like

the irritating soulful ballads ‘Keep On Believin’ and ‘Witness’, which drags aimlessly on for far too long, to the extent

where it became just plain boring. In fact, most of the tracks are long and even ‘Rollin’ & Tumblin’’ stumbles on for

almost five minutes. ‘100% More Man’ salvages some respect, and ‘Highview’, a grooving instrumental is clearly the

best track, with the CD’s producer, Duke Robillard, adding guitar and some fine Hammond organ from Bruce Katz.

Davide Styles

ten to ‘Preachin’ The Blues’ with its screaming sliding guitar

break. The set is recorded live in the studio, but I get the

feeling it doesn’t quite do justice to the live shows. My only

gripe is that, at times, the vocals are a bit grey and lacking

some oomph, but this is a quality set by Scissormen.

Kevin Wharton

KEITH THOMPSON

Steel Strings & Bruised Reed

Density

Normally to be found fronting Strange Brew, alongside members

of the Climax Blues Band, this new collection of tracks

finds Keith in mostly stripped back acoustic form and in the

company of saxophonist Patsy Gamble. To be honest, I had not

heard of Patsy before but I can well understand now why she is

held in high regard by the likes of Mick Jagger and Ruby Turner.

Perhaps it is not a mix of sounds that might immediately float

Blues Matters! 90

your boat but it does work, and well. What I like particularly

about this CD are the audio dynamics of the production - the

clarity is exemplary. The sax

playing is certainly complimentary

and held beautifully

in check, so that it is not

overpowering. 'Why Can't

You Be Good' kicks the

album off with a nice driving

beat. Then it is off to

the Mississippi Delta for

the tragedy of the floods in

'Bad Rain'. When I listen to

'Heart & Soul', I hear Bad

Company's 'Seagull' in

places. This is due to the sound of Keith's acoustic guitar and

the pace of the track not in anyway related to the lyrics - those

are completely different. Loads here to enjoy, in particular

'Sinner Boy', 'Feel The Kiss' and 'Stealin' Back My Heart'. As

a duo outing, I liked this a lot.

Graeme Scott

ELIAS T. HOTH

Let Sleepin’ Demons Lie

myspace.com/eliasthoth

This album has been nearly ten years in the making, and if

anyone’s caught Hoth live along the way, they would surely

have glimpsed at how good these songs are. On record, Hoth

covers almost everything,

from rhythm guitar, bass,

drums and lead vocals, with

Nick Marland and Sam

Barnett splitting the lead

guitar duties. This Bluesrock

album is sharp,

punchy, bright, and very inyour-face.

The mix of rough

vocals, fiery guitar and

some strong production

works well, and the mix is

very loud. Think a mix of

Pat Travers, George Thorogood and Nicky Moore, with influences

mixing ZZ Top, AC/DC, Lynyrd Skynyrd and more. Opener

‘Mississippi Burnin’’ really smacks you hard, and ‘Mobile

Alabama’ keeps up the furious pace. There’s a touch of boogie

in ‘Roll Down Dirdy’ that becomes a real foot stomper. The guitar

work is outstanding throughout, and the change of pace

works well. Hoth’s rhythm guitar backs up well and intricately.

The mix of electric and acoustic in ‘Sleazy Hussy Fever’ is a

good touch, and the harmonica adds a good dimension. Head

banging Blues that is really worth checking out.

Joe Geesin

DAVID GOGO

Vibe

DixieFrog

This is the seventh album from the Canadian Blues-rocker. Ten

tracks, forty-two minutes and it’s his first full collection of original

material. Opening up with some good time rock on ‘Love In

The City’, dropping the pace a little for the growling ‘Hit Me

From Above’, before slipping into one of the album’s highlights,

a slow, soulful Blues entitled ‘300 Pound Shoes’. Then we are

off into light summer country rock with ‘Hey Juanita’. By now,

you should have got the picture that to a certain extent this

album is trying to be all things to all men, and I feel that leads

into the album’s main problem. Although the musicianship is

fine, the songs are good and David is an accomplished guitarist,

with a quality vocal, the production is a bit too slick,

smooth and reminiscent of ‘80s AOR. Also, the drums are a

tad high in the mix for my liking. Thus the emotion of the music

is to a degree hidden, if not completely lost on a couple of

tracks. This is a shame because I feel there is a good album in

there which struggles to get out. The second half plays a good

deal better, with a return to rock on ‘Cry Harder’, before closing

out with a trio of slower Blues tracks including ‘She’s Alright’,

which features a fine contribution form Jeff Healey.

Thomas Rankin

38 SPECIAL

38 Special

A&M/Lemon

38 Special are “wild-eyed southern boys,” to quote from the

title of one of their ‘80s albums – a time when they were regulars

in the US album and singles charts - with very close links

to ill-fated southern rock band Lynyrd Skynyrd. Two of lead

singer Donnie Van Zandt's brothers have been frontmen for

Skynyrd, and 38 Special, formed in Jacksonville, Florida in

1975, have also toured with them as opening act. They really

took off in the early-80s, but this album is their first for the

A&M label, originally issued in 1977. There are the obvious and

expected influences from The Allman Brothers, and much of

the set is straight-ahead southern boogie and country

flavoured rock. It is a bit of a surprise to hear them tackle

Chuck Berry’s ‘Around And Around’ (the set’s only cover song),

drawing on The Rolling Stones early recording, at a guess, and

with a fine roadhouse feel. ‘Just Hang On’ is a fine, muscular

slab of Blues-rock, and even includes some gospel overtones,

too. If you enjoy the Allmans, Skynyrd, or simply the

rockier side of Americana, do check out this CD.

Norman Darwen

BABEL

Crooked Timber

People Tree

This is Bristol based Babel’s debut release on People Tree

Records, the UK label championing “folk/psychedelic/folk

rock.” Babel give us traditional folk influences, both instrumentally

and lyrically and some perhaps not quite so traditional, but

equally valid. For example ‘Piece Of Me’, with its Jimmy Page

style guitar riff blended with a folksy string backing, or indeed

the contrast between the

acoustic country stomp of

‘Apple Crack’ and the rock

riff providing the back bone

to ‘Never Had The Heart’.

The material remains interesting

throughout and I

think Babel achieve this

through seamlessly blending

influences with fine

instrumentation, clever

use of dynamics and contrasting

rhythmic ideas.

‘Cellophane Jam Or The Line’ brought Al Stewart to mind, but

there is one striking influence that keeps rearing it’s daffodil

waving head and that’s Morrissey, or perhaps I should say, The

Smiths. Both vocally, and in style, you need no further evidence

than the hauntingly seductive ‘Police Car’. Elsewhere, I really

liked ‘Seachange’, with its nautical imagery no doubt

appealing to Bristol’s historical past, and the country

gospel of the closing track ‘It’s So Hard To Love You’ is a

really excellent ending to this surprisingly enjoyable CD.

Davide Styles

SECKOU KEITA SKQ

The Silimbo Passage

World Artventures

Senegal's Seckou Keita is a master of the kora, the West

African 21-string harp-lute that is known to be a centuries old

tradition, with a truly ancient repertoire (if you ever saw

“Roots”, it was a kora player who finally unravelled Alex Haley's

long search for his ancestors - though opinion nowadays is that

it was probably set-up). Seckou lives in Britain, and this fusion

album reflects the myriad influences that abound in today's

multi-cultural Britain. His band comprises himself and his sister

(a good, Bluesy singer), an Egyptian violinist, a Gambian percussionist

and an Italian bass player, and the music ranges

from traditional songs played relatively straight to some very

Blues Matters! 91

experimental sounds and passages that almost venture into

classical music. Jazz and the Blues are certainly in the mix, too.

Whether you choose to call it 'roots' or 'world' music, this does

have a peripheral connection to the Blues - and there is some

truly beautiful, haunting and inspired music on offer here.

Norman Darwen

KEN WILL MORTON

AND THE WHOLLY GHOSTS

Devil In Me

Rara Avis

Hailing from Hartford, Connecticut, Ken Will Morton has dedicated

over twenty years to his craft, firstly with local rockers

The Groundhogs, then after relocating to Atlanta, Georgia in

bands like punksters Wonderlust and the more pop oriented

The Indicators. I believe this

is his third solo release in

which he further pursues

his songwriting craft on all

eleven tracks, and lays it

down through the vehicle of

a power rock trio. He sings

with a coarse and weathered

voice, and most of the

tunes rock in an accomplished

garage band sort

of way. There are some

great guitar breaks from

Morton and the backing is supplied mostly by Brandon Hicks

(drums) and Jason Bradbury (bass), who provide a solid foundation.

I prefer the rock of ‘Boogie Shoes’ to the more

poppy and wordy ‘Still Look Pretty’ and ‘Faith Healer’.

Blues Matters! 92

Sometimes promising introductions are followed by a

weaker song and incongruous breaks, such as the frantic

‘Release The White Doves’. The album’s highlights are the

rocking opening title track, the groovy ‘Further Down

South’ and reflective ‘Muscadine Wine’.

Noggin

FREDDIE KING

Texas In My Blues

Acadia

Acadia has released a compilation of live and unedited

music recorded in Texas and Oklahoma. No details are given

on the CD sleeve as to when in his career this was recorded,

but I guess it was towards the end of his life - i.e. the early-

70s - because his guitar work is really potent and, at that

point in his career, he was playing the role of the conquering

guitar hero, outplaying the young long haired guys. The CD

opens with perhaps the weakest cut, ‘Mojo Boogie’, before a

rousing ‘Messin’ With The Kid’, where the vocals are a little

lost in the mix, and then a storming ‘Boogie Chillun’, with

King pulling out all the stops. Sanity returns with a controlled

and sensuous ‘Have You Ever Loved A Woman’ - King

having some sweet interplay with the keyboards. The backing

musicians provide that all important crutch for the main

artist. Playing proficiently, but knowing their place, creating

the perfect live environment. Plenty of classics are here -

‘Sweet Home Chicago’, ‘Going Down’, ‘Let The Good Times

Roll’ and my favourite, his version of T-Bone Walker’s

‘Stormy Monday’. I know the world doesn’t need yet another

version of this song but, in King’s hands, he really makes it

come alive. An excellent CD for anyone wishing to get to

know this influential and innovative musician.

Merv Osborne

TK WEBB & THE VISIONS

Ancestor

Kemado

Raised in Kansas City, TK Webb picked up his first guitar at

age 9 and by 13 had graced a number of local bands.

Relocating to Brooklyn, Webb built a strong reputation for his

live performance and, by the late-90s, his ability to perform traditional

acoustic Blues had

come to the fore. Forming

The Visions in the summer

of 2007, his songwriting

ability pushed his music into

a new direction, turned the

drive up on his amplifier

and the result can be heard

on “Ancestor”. There seems

to be retro revival happening

in America’s underground,

with ‘70s rock

influences from both sides

of the Atlantic joining forces to shine on a new age of rockers.

Marshall Amp laden rock riffs abound, “‘Ancestor” is another

worthy effort, if a little dark, with tracks like ‘Dreen Drone

ZZ TOP

Live From Texas

Eagle

ZZ Top were responsible

for some of the

finest dirtiest grittiest

Blues-rock and boogie

in the ‘70s, and for

bringing it to the

masses in the early-

80s, albeit with the

help of drum

machines and synthesisers.

This acclaimed

live set sees the trio mix songs from across their

catalogue in rough and raunchy fashion. The set

opens with a stripped down and beefed up ‘Got Me

Under Pressure’. Take the polish away from the

original studio version and you do get a remarkable

song presented in a way that will please

Blues purists. ‘Waitin’ For The Bus’ is a stronger

number, with a decent groove in the drum line, and

‘Jesus Just Left Chicago’ showcases the band’s

Blues roots. The vocals, shared between Gibbons

and Hill, are rough, and that’s the way it should be.

‘Just Got Paid’, ‘Rough Boy’ and ‘Pearl Necklace’

all go down a storm; the huge crowd sound indicative

of the stadiums the band now play. A couple of

slower Blues numbers that almost drift into ballad

territory, and ‘Gimme All Your Lovin’’ picks things

up. The much covered classics ‘La Grange’ and

‘Tush’ finish the set. The accompanying video

shows close up just how good these musicians

are, but is probably of more interest to the diehard

fan. But the casual fan could do a lot worse than to

check this set out - a one concert show that runs

like a ‘Greatest Hits Live’.

Joe Geesin

Death’ and ‘Time To Go’ taking me to places I don’t really

want to go. TK Webb’s playing and that of his band members

sounds organically cool throughout and if you like guitar

driven rock, this CD is well worth a try.

Davide Styles

ELVIN BISHOP

The Blues Rolls On

Delta Groove

“The Blues Rolls On” is very much what I have come to expect

from Elvin Bishop over the years. This album is a solid piece of

Blues music that delivers in every aspect and on every level.

Bishop has travelled far and wide to record this with many

friends and colleagues, including a live ’Yonder’s Wall’, recorded

with Tommy Castro and Ronnie Baker Brooks on the

Legendary Blues Cruise. The

title track opens with some

fine harp from Kim Wilson

and excellent slide from

Gov’t Mule’s Warren

Haynes. A short interview

with B.B. King precedes

‘Keep A Dollar In Your

Pocket’, with Bishop asking

King if he knew or played

any Roy Milton when he

worked as a DJ. There’s a

sweet reprise at the end of

the song as B.B. denies ever calling himself “King of the

Blues”. ‘Black Gal’ takes the music south with a Cajun feel, as

the sound is stripped back to basics with guitar drums and

accordion. ‘Oklahoma’ is an autobiographical solo outing for

Bishop as he details his life’s journey accompanied by guitar

and foot. ‘Send You Back To Georgia’ features George

Thorogood and swings as only George does. Best cut on the

album is Bishop’s own song ‘Strutting My Stuff’ that sees two

superb slide players in action, Haynes and Allman Brothers

Band sidekick Derek Trucks, with superb playing between the

two. A very satisfying set from one of the Blues’ survivors.

Merv Osborne

Q65

The Best Of Q65:

Nothing But Trouble 1966 - 1968

Rev-Ola

No, I had never heard of this outfit before either, but Q65

was a five-piece Dutch group that took its name from The

Rolling Stones' versions of 'Route 66' (dropping down a digit)

and 'Suzie-Q'. So, yes, Mick Jagger's crew were an inspiration

- and not just musically it seems, as these guys were

rather less lovable than the ‘60s' favourite moptops. Other

influences, to judge from the twenty-four tracks on this retrospective,

seem to have been Bo Diddley, maybe The Kinks in

their earliest days, The Yardbirds - there is certainly plenty of

freakbeat, shading into psychedelia, here - and most definitely

The Pretty Things. These guys sing and play with

enthusiasm - sometimes more enthusiasm and ideas than

ability - and lots and lots of attitude. This is certainly raw, noholds-barred

music, and the several Blues covers included

('Spoonful', 'I'm A Man' - very close to Keith Relf's mob's version

- 'Down In The Bottom' and 'No Place To Go' - three of

them associated with Howlin’ Wolf, of course) all fall squarely

into this category, too. If you enjoy the darker side of the

sound of the ‘60s, then this is most definitely for you.

Norman Darwen

Blues Matters! 93

ANDY LESTER’S BLUETRAIN

Weatherman

blue-train.biz

This album was recorded back in 2007, but I must confess to

not knowing anything about Andy or his rather good band.

Graham Johnston (bass) and Sean McGran (drums) provide

the platform for Andy himself (guitar/vocals) and Al Clark (harmonica).

Not credited on the front cover but present on all bar

two of the tracks is also Perry White on keyboards. The album

opens strongly with 'Sins Of The Father'. Not too keen on

'Magic Girl', but he gets back on track with the title track,

before hitting his stride on 'Piece Of Your Love'. This is stripped

back to almost nothing and it works really well. I like the way

'Down The Line' opens up with a fade in. It almost sounds like

a live cut before it fades itself out again. Normally this ploy

does not do it for me but here it works just fine. 'The Highest

Jumper' relates to drug problems done in a kind of half spoken

word fashion. Throughout this album, there is perhaps more of

a soft country kind of feel to proceedings rather than it being

an all out Blues album, but good music is good music. 'Get

Your Hands Dirty' is enhanced by some good brass work before

the album closes with the very short 'Bill Chinnock Blues'.

Graeme Scott

ETTA JAMES

Mystery Lady: Songs Of Billie Holiday

SPV/Blue

Normally, one might see a collection like this and mutter, “Oh,

not another collection of Billie Holiday songs…” but in this case

you have to stand back and take a breath – this is the mighty

Etta James, and if anyone is going to do justice to the Holiday

canon, then Etta is that lady. Eleven songs, just fifty-one minutes

in total, backed by a lovely lounge-style septet, which features

Red Holloway on sax and Cedar Walton’s sensitive piano.

To Etta’s credit, she’s avoided

the obvious temptations

most female singers are

faced with when interpreting

Billie – there’s no ‘God

Bless The Child’ here, and

she’s wisely left ‘Strange

Fruit’ out of the equation,

but what there is represents

a batch of handpicked

musical gems,

including ‘Ghost of a

Chance’, ‘The Man I Love’

and ‘You’ve Changed’. Etta’s powerful, romantic delivery is

thrilling, and the mature arrangements frame the songs perfectly.

This is music for late nights, rainy streets - music of love

and of loss. Definitely my album of the month, and when one

considers Ms. James is 71, the emotion in these classic songs

seems all the more poignant.

Roy Bainton

LITTLE RICHARD

The Very Best Of Little Richard

Universal

This is not just music, this is the very sound of the times

changing. This is a ball of energy erupting from the dark underside

of America, roaring out of the R&B charts and onto the

radio waves and cinema and television screens and into the

lives of teenagers and (to their regret) their bewildered parents

in America and beyond. Nothing was ever going to be the same

again. This is a man who does not even know (or likely care!)

DAVE LENNOX

Before Beyond & Blue

DAMON SAWYER

Struttin’ South

Note

Note Music is one of the more interesting labels releasing UK

Blues and related stuff – and these two releases fall firmly into

that latter category. Dave Lennox’s previous CD, “Lufthalle”,

was musically quite a varied affair but for the follow-up he opts

for a tribute to the greats of the Hammond organ. Now, the

likes of Jimmys Smith and McGriff and Brother Jack MacDuff

were immensely popular in London’s hip clubs in the early to

mid-60s – and for those who wonder if this music was jazz or

Blues, the short answer is, it doesn’t matter! Smith had hits with

covers of Muddy Waters material, Jimmy McGriff had successes

in the R&B charts and MacDuff often used Chicago saxman and

Blues session musician Red Holloway. Dave stays true to this format,

mixing up Blues, funk, jazz and rock, and treading the thin line that

keeps both Blues and jazz fans happy – and even including a tribute

to his former employer Art Wood. This cool and grooving (or groovy if you

prefer) CD is lovely listening and contemporary instant nostalgia. Damon Sawyer is a drummer

who has worked with The Sonny Black Band (whose leader repays the favour by guesting impressively on two

numbers here), The Barcodes, Bill Wyman and others. His CD leans a little more towards jazz territory but still

keeps the blue vibe throughout, with plenty of funk and driving jazz from the eight-piece band. Damon even manages

the nearly impossible feat of keeping this non-drummer interested throughout a three minutes long solo

piece! From a strictly Blues point of view though, go for the Dave Lennox release first, and if you find you enjoy

the jazzier numbers, do try Damon’s album, too.

Norman Darwen

Blues Matters! 94

CONIL

Strange Part Of The Country

Great Hare

There can’t be many artists who can create a diplomatic incident with

their debut record, but Londoner Conil certainly has. Apparently, the

Chinese authorities were none too impressed with the opening track

‘Dog Meat Stew’ on this CD and wrote to tell him of their displeasure.

Conil might not be getting any bookings in Beijing soon, but this CD is

a warped and murky mix of country, rock, Blues and everything else

besides. Producer Tchad Blake, who has worked with Tom Waits and

Bonnie Raitt, amongst others, has crafted a fine selection of recordings.

Bassist Danny Thompson also lends a hand, which also adds a

touch of class to proceedings, particularly on ‘Years Between’. It is hard

to listen to Conil’s dark and rough voice and not instinctively think of

the aforementioned Mr Waits, but this record is anything but predictable. Like a more cosmopolitan Gomez,

Conil takes the Blues on a 21st century journey. There are times when the music crashes and bangs, and

there are times when tenderness is the order the day. The title track is modern rock music at its very best.

The final track ‘Camden Town And I Should Be Happy’ is not only a great title, it is a haunting piece of work.

This has to be one of the most original artists out there at the moment.

Jamie Hailstone

what a piano stool is for. You can’t separate the music from the

images of Richard’s painted face and orgasmic squeals, or

from the anguished cries of, “But he can’t sing,” and his lyrics

are as outrageous as his hair style – just what is going on in

‘Long Tall Sally’ – and come on, I mean, “awopbopaloobop

alopbamboom”? And it is no wonder the piano sounds so beatup

when you see how Richard plays it…nor do his saxophone

players sit down to play or respectfully move to the

front of the stage for a solo. They do move – god, how they

move - but it’s not the same, is it? Ooh, my soul!

Norman Darwen

GREG ZLAP

Road Movie(s)

Souffle du Blues/Nocturne/IDOL

“Road Movie(s)” is the baby of artistic director and bass player

Yvinek, a sort of panoramic meld of Blues and cinema, combining

Yvinek’s artistic direction and Greg Zlap’s musical ability.

I have to say from the start that the concept behind this CD

leaves me a bit cold, and I

really don’t see the point

to this musical cinematic

experience. Having said

that, and having listened

to the CD a few times

with the most open of

minds, I begrudgingly

accept that the idea

does work - if you like

that sort of thing! The

result is an emotive

musical journey and the

quality of the music, particularly Greg Zlap’s excellent harmonica

playing, saves the day. In fact, if you are a fan of great

Blues harmonica, the CD is worth buying for that reason

alone. Other than that, ‘Who’s Gonna Take My Damn’ Soul’,

featuring Ian Siegal on vocals and guitar, is the standout

track. Elsewhere, ‘The Right Spot’ ticks the right boxes, but

an awful vocal performance on ‘Moon River’ totally destroys

a lovely song. Short interludes, such as ‘The Harmonica,

The Devil & The Chaplin Piano’, and the rather odd

‘Knocking On The Devil’s Door’, add to the mystery of the

thing, but a mystery that I wouldn’t bother solving.

Davide Styles

LAURIE MORVAN BAND

Cures What Ails Ya

Screaming Lizard

Laurie is a singer/songwriter and guitarist. Her vocal is superb,

alto in register, deep smoky and full of passion. As a songwriter,

Laurie writes highly structured powerful lyrics and pulls

no punches. Laurie’s guitar work puts her among the best,

reflected in those she has

already played alongside -

Walter Trout, John Mayall,

and Robben Ford, to

mention just a few. The

band are tight with excellent

harmonies and

instrumentals. Laurie

hits you with that Strat

firing gold topped notes

from the first minute of

‘Kickin Down Doors’,

which includes cracking

vibrato, bending and immaculate phrasing, and she doesn’t

stop till the last note of the wah wah driven wailing chords of

final track ‘In The River’. ‘Where Are The Girls With Guitars’ -

the answer’s on this CD and this girl rocks with the best!

‘One Little Thing’ is a Blues ballad with a lot of soul, impressive

lyrics and vocal, all underscored with haunting guitar

that hit you right in the solar plexus. ‘Family Line’ rises and

falls with joy and pain as the lyrics weave the intimate narrative,

whilst Wiggle Room’, an instrumental, allows Laurie to

show-off with great fretboard gymnastics. A dynamic CD.

Carol Borrington

STEVE BROOKES

Thankful

myspace.com/stevebrookesmusic

This is an album of ten original songs by UK singer/songwriter

‘newcomer’ Steve Brookes, who has just started his musical

Blues Matters! 95

career after bringing up a family. He lists the likes of Muddy

Waters, Keb’ Mo’, Ray Charles and Taj Mahal among his influences,

so it’s easy to spot where he is coming from! The first

track is a jazzy and upbeat moan about money, with the excellent

chorus “too much month at the end of the money.” ‘Fast

Women And Slow Horses’ is a nice laid-back song based on an

old theme. ‘Picking At The Bones’ raises the tempo and is

again a nice track and gets closer to Keb than some of the others.

‘Friend For All Seasons’ brings some tasty slide work and

adds some contrast to the collection. This album is very well

done and a nice listen, with some very nice playing and vocals

from Brookes. There is also some good sympathetic backing

from Steve Faithfull on drums and Ian Mitchell on harmonica.

The writing is good, too, although, inevitably, there are

one or two weak tracks. However, I would have to say that

the album, as a collection, never gets above average

because there is too little variation between the songs.

Kevin Wharton

THE CADILLAC KINGS

Trouble In Store

33

After what seems far too long, The Cadillac Kings release their

second CD on 33 Records and prove that the wait was well

worth it! Fifteen solid gold originals from this great outfit, which

encapsulate just what this band is about! Very much to the

fore is singer and slide guitarist Mike Thomas’ wicked way with

words and wry wit, with songs such as ‘(I’m In Love With The)

Chief Of Police’, ‘Fries With That’, ‘Mr Nip & Tuck’ and ‘She’s

My Sugar Rush’, which sees him likening his lady friend to

Belgian chocolate and

French patisserie! Tasty!

Gary Potts contributes several

numbers, including ‘Hot

Rod V8 Ford’, about his passion

for American hotrods,

whilst the keyboard maestro

Mike Adcock, sadly no

longer with the band, cowrites

a couple of numbers

with Mike. No Cadillac

Kings CD would be complete

without some of their

trademark instrumentals, of which there are three great examples

here, including ‘Blue Cap Bounce’ from guitarist Mal

Barclay and a great boogie woogie cut featuring Mike Adcock,

‘North Sea Jump’. This is an absolute cracker of a CD from a

band that is deservedly right up there at the top of the premier

league when it comes to Blues, jump & swing, and a band

whose live performances are an experience not to be missed.

Ashwyn Smyth

LINDA HOPKINS

The Living Legend Live!

FreeHam

Recorded over two days in April and May 2006 at the Catalina

Bar & Grill in Hollywood, California, with the Bluesy but jazzily

sophisticated accompaniment of Michael Konik & His Tasty

Band, this is a fine set from a New Orleans–born veteran vocalist

with almost sixty years of experience in the music business.

In that time, she has been associated with the likes of Johnny

Otis, Mahalia Jackson, Louis Armstrong, Louis Jordan, Esther

Phillips – the list could go on and on, but some are referenced

on this disc. Big voiced Dinah Washington was a favourite and

Linda pays her tribute here with a lively version of her ‘Evil Gal

HELIUM SOUL

3 Miles High

heliumsoul.com (single)

This is Helium Soul’s debut single (there’s a series planned),

released for free, with the band actually encouraging people to

copy it, to help spread the word and to promote a full album due

in 2009. ‘3 Miles High’ has a very retro feel of ‘60s progressive

rock and Blues but, at the same time, they managed to give it a

contemporary feel. Russ Blaber's vocal has good intonation and

range, with first class harmonies, and that menace of a good

rock/Blues singer. The keyboard work has an extensive ‘60s feel,

and there’s impressive cross play with Russ’ lead, all held tight

with Sam Edwards’ aggressive drumming. Band to watch!

Carol Borrington

PEGGY SUE AND THE PICTURES

The Body Parts

myspace.com/peggysueandthepirates (EP)

The girls’ music is unique, moving from almost childlike nursery

rhyme to sinister macabre. What is evident throughout the EP is

the musical talent that is growing and maturing. The inclusion

of more instruments than on their previous output has added

to the whole. ‘Gettysburg’ has powerful cadences of music and

emotional vocals, all twisting, weaving, building to emotional

crescendos of highs and lows.’ Pupil Blink’ is a wild frenzied

dance, recalling swing Blues, but with a modern twist. These

girls are different, but they are good!

Carol Borrington

SERIOUS SAM BARRETT

The Yorkshire Rambler

sambarrett.co.uk (EP)

‘Tongue Tied Blues’ is an entertaining, slide accompanied track

that keeps grounded the classic worries of the Bluesman. ‘Stella’

keeps to this formula, a romantic ballad of a woman who “drinks

too much whiskey.” It is with these themes of runaway loved ones

that make the Yorkshire accent all that more endearing. On the

second side of the record, Barrett takes his hand at three traditional

numbers including ‘Rolling In My Sweet Baby’s Arms’ and

‘Adieu Sweet Lovely Nancy’, a song so bittersweet with regret it

could easily be confused as an original composition. Sam Barrett

is a man who can only be accused of being serious about his love

of the roots, and that is nothing to be ashamed of.

Matthew Clarke

JERSEY BUDD

Wonderlands

Bandstocks (album sampler)

Occasionally, you will hear something and think, “Why isn’t this

act in the charts?” Jersey Budd is one of those guys. Like a latter-day

Bruce Springsteen, Jersey Budd sings well-crafted rock

Blues. All of the four tracks on this sampler make an instant

impression and the single, ‘She Came Back’, should have been

one of the biggest tunes of last year. Except, of course, it wasn’t,

as everyone was too busy downloading the latest X-Factor

single instead. Jersey Budd has clearly listened to lot of Bob

Dylan and Springsteen over the years. ‘Bright Soul’ feels like

vintage Chris Rea or Van Morrison. If the rest of the album is as

good as these four tracks then “Wonderlands” will be one of

the best releases of 2009. Give this man your support now!

Jamie Hailstone

Blues Matters! 96

MANFRED MANN

Hit Mann! The Essential Singles 1963-1969

AL KOOPER

I Stand Alone/

You Never Know Who Your Friends Are…Plus

BONNIE BRAMLETT

Piece Of My Heart: The Best Of 1969-1978

Raven

Manfred Mann were one of Britain’s most successful acts in

the ‘60s and this twenty-eight track disc is a neat overview of

the bands singles and major hits. The band definitely had the

commercial touch, blending R&B and pop with a fair sprinkling

of the Blues. The disc features both eras of the group,

the Paul Jones early years, then Mike D’Abo’s tenure as lead

vocalist. There are a lot of throwaway pop tunes, but

‘Smokestack Lightning’ has a nice Blues feel to it, whilst ‘Tired

Of Trying’ boogies along nicely. There’s obviously plenty of

enjoyable Blues harp from Jones, but the highlights are the Dylan

covers that the group pull off so well. The Kooper double set features

his first two solo albums and a smattering of bonus tracks from his early-70s

album “Easy Does It”. It’s pop-soul with different genres thrown into the melting pot. Kooper is

something of a musical chameleon and changes into different styles from track to track, unfortunately there is very

little Blues on offer. The first album is very dated with sound effects linking some of the tracks, which after a few listens

can become tedious. ‘Toe Hold’ is a good little rocker with a funky soul feel. “You Never Know Who Your

Friends ArePlus” is a more confident effort and is very horn driven. Clearly very Beatles influenced, it has some

good pop songs on offer and it’s good late-60s pop. The Bramlett disc is from her glory years, and includes six

tracks with her ex-husband Delaney, as well as later solo material. This fine white rhythm & Blues singer along with

her musical partner melded soul, gospel, Blues and rock in a way that won some superstar admirers such as

Clapton, Duane Allman and Leon Russell, and this disc highlights her talents. ‘Able, Qualified And Ready’, just about

sums her up, with some fine vocal workouts on songs by the likes of Robert Johnson, Bob Dylan and Steve

Winwood. ‘Your Kind Of Kindness’ has a real funky feel to it whilst ‘Two Steps From The Blues’ enforces the fact

she’s a terrific Blues shouter. If you liked her downhome output with Delaney, this is well worth picking up.

Andrew Baldwin

Blues’. Linda recalls Ray Charles with ‘Drown In My Own Tears’

and ‘Georgia On My Mind’, and other Blues greats are also

brought to mind, such as ZZ Hill, T-Bone Walker and Etta

James. There are also a couple of ‘dirty songs’ (Linda’s

words, not mine!). Linda Hopkins is a quite remarkable

performer, caught, on this CD, if not in her prime, still with

all her powers intact – and a twinkle in her eye.

Norman Darwen

THE DOORS

Live At The Matrix

Rhino

This double-disc set is taken from one of the bands earliest

series of gigs in San Francisco from March 1967 (two months

after their debut album hit the stores). They originally played

four sets over two nights, and the best of those cuts is represented

here, totalling twenty-four different songs. The sound is

pretty good, although it does vary on certain tracks. The band,

and especially Jim Morrison, sound quite restrained on these

performances, they were obviously still honing their craft, and

were not as explosive as they were to become. Organist Ray

Manzarek pushes the music along in his distinctive style, and

most versions are fully realised, just not extended or jammed

out. Their cover of ‘Money’ seems surprisingly low-key, but we

get a splendid early version of ‘Summer’s Almost Gone’ that

wouldn’t be released in studio form for another couple of

years. It is strange for them to finish classics like ‘Light My

Fire’ and ‘Break On Through’ only to have a smattering of

applause from the assembled. Better live offerings are

already available, but this is a historical document from

their formative years, and Doors fans will lap it up.

Andrew Baldwin

SEAN WALSH BAND

timetravellersexmachine

CoraZong

Opening with ‘Mr Crankypants II’, you get the feel of a jangly

indie garage rock/guitar pop. But underneath that is a Hendrix

oriented riff. ‘Hey Babe’ opens in similar fashion before moving

in a more jangly ambient direction. When it picks up again, you

still get a song structure that

is very Hendrix with a touch

of Cream. ‘Cinderella’ is a

ballad that builds up in cluttered

fashion, and is very

typical of the sound. The

overall feel is at times

messy, jangly, the riffs are

Bluesy and, when you can

hear the bass, there’s plenty

of fuzz. The use of

effects is homemade ‘80s

Blues Matters! 97

indie, the whistling and church organ are original (if brief),

but the underlying feel is Blues - from Hendrix to Gary

Moore, just without the finesse. Both vocals and guitar

seem to paper over weaknesses by shouting. Very modern

and equally vintage; an original take on a cliché, something

I’m not sure the world is ready for yet.

Joe Geesin

LIGHTNIN ROD

& THE THUNDERBOLTS

After The Storm

lightnin-rod.com

With Lightnin Rod Wilson’s latest release, I really am struggling

to find a positive viewpoint. What is remarkable here is that it

is truly unremarkable. Production is fine, musicianship of the

band adequate, yet there is no spark whatsoever from this

Michigan Blues-rock band.

The pedigree of backing

musicians is good considering

who they have played for

in the past, yet the whole

does not gel, or perhaps the

quality of songwriting isn’t

there. Furthermore, in an

era of quality guitarists,

Rod’s guitar playing is on a

par with my own - i.e. not

that good - and to hear

solos that I relate to diminishes

the whole. Even the vocals leave something to be

desired. The one saving grace throughout is the tenor saxophone

playing of Eric Korte, who lifts the overall work

from its basement position. The best track on the whole

album is the simple solo acoustic tune ‘Flight Of The Free

Spirit’ that (or perhaps because it) closes the album.

Merv Osborne

STUART TURNER

File Under Carnal Knowledge

Sun Pier

If I didn’t know better, I would probably have placed the origins

of this album somewhere North of the Mississippi and definitely

in the sphere of the likes of Junior Kimbrough or RL Burnside

– not in the Delta of Rochester, Kent, England. Mr Turner’s

gruff vocal makes for a perfect accompaniment to his roughhewn

slide guitar, strummed electric and the various objects

he “hits with hammers.” The songs have the same hypnotic

qualities and underlying darkness of the earliest recorded

Bluesmen. Some of the sounds he makes are positively otherworldly,

especially when he introduces what sounds like a

strangled trumpet - John Whitaker - behind his howling, “Full

moon gonna fix you/Full moon you’re gonna die,” on the cunningly

titled ‘Track 3’. The music has great variety, and Turner

actually manages to deliver a feeling of loss on ‘Track 4’ while

still screaming his vocals over a quietly picked guitar. For some

reason, I get the impression of water themes and influences

but ‘Track 6’, featuring Kris Dollimore and Andy Harding, is an

old fashioned walking Blues. He has been compared to Tom

Waits and Howlin’ Wolf, and for originality and delivery respectively

that’s understandable. There are eleven highly individual

curios here and the only conclusion the listener can make is

that he is a true original with his own sound and mannerisms

– music with this much heart and soul is rare.

Andy Snipper

Blues Matters! 98

FRED EAGLESMITH

Tinderbox

Sonic Rendezvous

“Tinderbox” is Canadian singer/songwriter Fred Eaglesmith’s

seventeenth album. You get an idea of what Eaglesmith is

about when you open the package. Both the front and back

cover of the album feature

Mennonite church

congregations, one in

Mexico and one in

Bolivia. The insert features

a church in

Mississippi. This album

of eighteen self-penned

tracks is more message

than not, and more

country than Blues,

with its collection of

steel guitars and washboards

and banjos. The lyrics are reflective of the big issues in

the US: fancy Gods, the gap between rich and poor, the car,

crime and punishment. There are also a few tracks on the old

PETER GREEN

The Anthology

Salvo/Union Square

This is a magnificent

4CD box set, covering

all stages of this fine

guitarist’s career. From

his early work with

John Mayall’s

Bluesbreakers,

through Fleetwood

Mac, his solo years,

and then his comeback

with his own

Splinter Group - it’s all

here. The four discs

are in chronological

order and are cracking value for money. It features

work with other Blues greats, such as Otis Rush,

Otis Spann, Buddy Guy and Hubert Sumlin,

amongst others. There’s well over sxity tracks to be

found, and all the old favourites are here, including

‘Black Magic Woman’, ’Albatross’ and ‘Green

Manalishi, as well as fine interpretations of Robert

Johnson’s songs in his more recent years. But

there’s also dark work here, with tracks like

‘Homage To The God Of Light’ and ‘The Answer’,

with Peter Bardens, and other late Mac cuts before

he became another acid casualty. The ‘70s and ‘80s

were largely lost years for Green until his comeback

in the ‘90s. Whilst not of the standard of his earlier

successes, disc four is a nice collection of his work

after he had ‘conquered’ his demons, even though

he was still a very fragile character. As you’d imagine,

this collection is overflowing with heartfelt performances

from one of Britain’s finest guitarists. This

is now the ultimate Peter Green package, and a set

that even casual fans should own.

Andrew Baldwin

standards like the ‘Chain Gang’, ‘Shoulder To The Plough’ and

‘Shoeshine’. I suppose you could argue that the messages running

through the album are bleak, so the feel of the music is

too. I found it slow and dull. There are some uplifts, and I liked

‘I Pray Now’ - a more upbeat gospel song, with a simple but

effective lyric interspersed and some good instrumentation.

The album is a mix of darkness and faith - not my cup of tea.

Kevin Wharton

SPENCER DAVIS

So Far

Evangeline

Davis has been in this game since the early-60s and has

released albums sporadically over the years, but he knows how

to write a tune, and this album shows that. His style on here is

generally soft-rock with a rootsy feel to it, but it most certainly

has some Blues flourishes

going on. The album, whilst

not a concept album, is

loosely connected together

by his childhood in

Swansea, and his early success

in the music business.

‘Comin’ Home’ has good

lyrics describing how he

always loved returning to

his hometown after he had

been on the road, and contains

a nice slide solo

courtesy of Mississippi Slim. While ‘I Ain’t Gonna Go’ tells how

the likes of Elvis Presley and Fats Domino attracted him into

trying his own luck in music. ‘Berlin’ is a rocker about him losing

his heart to a girl on the East side, until the erection of the

Wall divided them permanently. The final track features a duet

with the late Dusty Springfield that was originally recorded in

1984, but it seems somewhat out of place to the rest of the

music. This is an enjoyable that the likes of Radio 2 would likely

pick up on, but wouldn’t pull me back too often.

Andrew Baldwin

JOE SHELTON

Black Prairie Blues

ALT45

Inspired by the music of Black Prairie Bluesmen, Big Joe

Shelton was born and grew up in the Black Prairie region

of North Mississippi and from early childhood was exposed

to African-American music. He was befriended at an early

age by Big Joe Williamsm who encouraged in him a love

for the Blues. This was further underlined with a move to

Chicago and his time spent in Market Street and exposure

to the urban Blues of the city. Shelton proves himself

throughout to be a songwriter seeped in the old school

Blues tradition and a writer of merit. Opening track, ’Ribs

And Cat Whiskey’ sets the scene back in the juke joints,

with bellowing smoke, the smell of liquor and feet tapping.

‘In The Mississippi’ sees Shelton’s gritty, vocal and wailing

harp reminiscent of the days of Howlin’ Wolf. ‘Mississippi

Night’ is a beautiful Blues-rock ballad for long nights on

the banks of the river with your babe in your arms. ‘Hope

We Live To See The Day’ opens with a slide guitar playing

pure electric Delta before you are suddenly jolted into a

deep felt protest Blues-rocker. The lyrics are right up to

date but the music supporting them is from an older period

of protest. Good old Mississippi Blues, with a hint of

gospel on the fellowship of humanity!

Carol Borrington

Blues Matters! 99

DELANEY BRAMLETT

A New Kind Of Blues

Magnolia Gold

“What do you do about the Blues?” is the kind of question that has

been asked of musicians since the dawn of the genre. Well, in my

book, there is really only one answer to the question and that is to play

it - simply play it. That is what the recently deceased Delaney did on

his 2008 album of eleven tracks. The title may be a little bit of a misnomer,

though, as, in truth, there is not really anything new here in the

way of styles. However, do not miss out on this CD, as it is very good

indeed. Apart from the great Sam Cooke's 'A Change Is Gonna Come',

all the songs are Bramlett originals. For example, 'Ol' Moaning Blues'

and 'Mighty Mighty Mississippi' are so redolent of the area that you are

right there on the banks of the river. So much history of fine music making

over the last forty years surrounded Delaney that I do not need to refresh your minds as to whom he

worked with. Suffice it to say, he was making music to rival his best ever up until his passing. The title track

provides us with just such an example of the excellence of both his playing and his fully matured voice. He

really did sound like he was living the heartache.

Graeme Scott

LORDS

Everyone Is People

Gringo

I never liked any of the other bands that my fellow college

friends would sway their inebriated heads to on a Friday night.

And, equally, most of them had never heard of Son House or

Charley Patton. If I were 17 again, Lords are just the sort of

band that my Strongbow

swilling buddies would be

throwing up in unison to.

Just another one of those

bands, fresh out of dad’s

garage, throwing together a

mashed pulp of influences

from both sides of the

Atlantic, you know the sort

of thing? A little bit of

Blues, hillbilly tunes, southern

rock, ‘70s Brit rock and

metal. Think Neil Young,

Lynyrd Skynrd, Captain Beefheart, Led Zeppelin and Black

Sabbath all rolled into one. Nowadays, I take a far more

open-minded view of any new band that falls in my path.

But in some cases, and Lords are a fine example, my

patience is pushed to the extreme. Forty minutes that I’m

never going to get back again! I couldn’t begin to decipher

the first nine tracks, I even found it difficult to tell where

one ended and one started. Thank God for track ten, ‘The

Remember’ – ironically, the only one I did remember.

Davide Styles

MIKE SANCHEZ

You Better Dig It!

Doopin/Raucous

Well, he’s got the pompadour, the sharkskin suit, the swing

and the honking horns, not to mention the tinkling piano, but is

he Little Richard or Jerry Lee Lewis? Truth is, Mike Sanchez

probably wants to be the love child of that union, but he’s not

quite pulled it off! This is full of big swaggering rock‘n’roll, and

Sanchez has a fine voice that can turn itself as easily to the

Little Richard-esque ‘She Can Rock’ as the Jackie Wilson-like

‘I’m Shakin’’, and his piano playing is true to the style and

rhythm of the original rock‘n’roll and rockabilly styles…but I’m

not totally convinced. There isn’t a bad number on the album;

the musicianship throughout is excellent (checkout the horn on

‘Boss Chick’ or the vibrato guitar on ‘I’m A Fool To Care’) and

his vocals are varied in style, turning his voice to outright rock

as well as rockabilly and doo wop, but deep down this feels like

Sha Na Na or one of the other rock‘n’roll revival outfits. One of

the better tracks, ‘Bom Bom Lulu’ sees him firmly into jive territory,

with a terrific horn solo from Nick Lunt and piano work to

beat the band. There are three ‘bonus’ tracks that sound as

though they have been played live - ‘Talahassy Lassie’ and

‘Heebie Jeebies’ are really rockin’. I need to see him live!

Andy Snipper

JIMMY THACKERY

AND THE DRIVERS

Inside Tracks

Telarc

For top guitarists like Jimmy there is probably some frustration

that people focus more on how many notes he plays rather

than on what those notes are trying to portend. It is, therefore,

no surprise that “Inside Tracks” is a much more roots based

album, focusing on the country and R&B that Thackery grew

up listening to. The song

content and feel plays a

much more central role to

the overall sound and, in

fairness, on that level it

works very well. Where the

guitar sings, as in ‘Blinking

Of An Eye’, it elevates the

mood to another level, and

does not override the feel

of the piece. There are

nine originals, with a cover

of Chuck Berry’s ‘Promised

Land’, which doesn’t add anything to Thackery’s rating. I don’t

subscribe to those who feel his voice is poor - in fact, I hear

character in the same way that Johnny Cash and Bob Dylan

have used their voices. ‘Change The Rules’ is a song that bene-

Blues Matters! 100

fits by the gruffly half sung half spoken vocals. ‘Eat It All’ is an

upfront southern bayou stomp with the band sounding as if

they are enjoying themselves. At times the retro sounds as if

Burl Ives and The Shadows have taken residency in the studio.

Whilst I don’t like Jimmy’s turn in writing, I have to admire him

for taking the stance and hope it is successful for him.

Merv Osborne

JEFF DAHL

Battered Stuff

Steel Cage

Jeff Dahl has been in the music business since the ‘60s, and

had a prolific recording career. In the ‘80s, he was lead vocalist

of The Angry Samoans, considered one of the most influential

LA punk bands. This 2007 release is dedicated to Niki Sudden,

who died in 2006. All the songs are self-penned and Dahl handles

all vocal, instrumental, production, engineering and mixing

duties. It’s a CD of deep sincerity

in its dedication, and

Blues rooted. ‘Vaguely

Picasso’ has strong hints of

Bolan and Jagger, vocally,

with wailing Blues-rock guitar

riff supporting vocal and

lyrics. ‘California Blues’ is

pop-Blues, West Coast fashion.

It’s a profound comment

on the lifestyle – it’s

sweet, good lyrics, haunting

Blues guitar and a

vocal reminiscent of Ray Davies. ‘Sandwich’ is solid Blues but

beautifully childlike in composition with some good Blues harp.

On ‘Damaged Goods’, the lyrics run deep on this country Blues

ballad. ‘Outta Luck’ closes the CD, and is folk rock infused

Blues, the lyric echoing deep social concern of justice and

injustice in modern society. One interesting observation on the

content of this CD is that it shows the importance of the Blues

as the root of modern music and myriad of paths the Blues

can lead to when the musical tools of creativity and innovation

are added to it. Not for the purist, but well worth a listen.

Carol Borrington

JAMES COTTON/BILLY BRANCH/

CHARLIE MUSSELWHITE/

SUGAR RAY NORCIA

Superharps

Telarc

Clocking in at over an hour, and with four well known exponents

of the Mississippi Saxophone, one might expect this to

be an absolute ‘must have’. This is a reissue of music

recorded in Portland, Maine in 1999. The backing, provided

by the likes of ex Fabulous Thunderbird Kid Bangham (guitar)

and David Maxwell (piano), is cool and understated. The

best work comes when Sugar Ray Norcia’s vocals are added

to the mix, as, for example, in the opening groove ‘I Put My

Baby Out’. James Cotton next takes the lead on ‘The

Hucklebuck’, a routine instrumental, lightened by some

splendid piano work. Next it is Charlie Musselwhite on an

extended ‘Blues, Why Do You Worry Me?’, featuring harp

solos from Musselwhite and Norcia respectively. Another

highlight is ‘Life Will Get Better’, with a soulful vocal from

Norcia and some great acoustic guitar by Bangham. The

jaunty ‘Mean Little Mama’ features Bill Branch. My personal

favourite is Norcia in Kim Wilson style mood exploring the

tuneful ‘I’m Gonna Steal Your Baby’, with a great harp solo

and a Kid Bangham picked accompaniment. Though perhaps

this supergroup does not quite live up to the sum of

BIG BOY BLOATER

That Ain’t My Name

THE CITY SHAKERS

The Very Best Of… The City Shaker

Azan

Since Mark Lamarr stopped hosting “Never Mind The

Buzzcocks”, there’s been nothing decent to watch on television.

But television’s loss is someone else’s gain and he now hosts a

rather excellent show on Radio 2. One of the artists he has championed

this year is Big Boy Bloater, who specializes in rough and

ready Chicago Blues. Lamarr has given a lot of airplay to

‘Whammy!’, which is one of the tracks on “That Ain’t My Name”,

and deservedly so, because it is one of the best slices of R&B you

will hear this year. It’s also a master class in how to play Blues guitar

and every 14-year-old kid who hears it will be reaching for the

tremolo bar – and the rest of the album is pretty good, too. Big Boy

and his band tear it up with some real Blues classics, like ‘Gangster

Of Love’ and a selection of originals. The attention to detail is staggering

as they recreate the late-night, bourbon-drenched vibe of ‘50s

R&B. The City Shakers’ CD is more Blues focused, with some great

guitar playing and vocals from Big Boy, and some scorching harmonica playing by Laurie

Garman. The group has a residency at the Ain’t Nothing But Blues club in London and, again, the CD is a mixture

of covers and originals. Highlights include the rocking ‘Shake That Thing’ and Willie Dixon’s ‘Mellow Down

Easy’. On both releases, Big Boy channels the likes of Howlin’ Wolf for some truly memorable vocal turns. Of the

two, “That Ain’t My Name” is definitely the party record, while The City Shakers is more of a late night, half a packet

of a cigarettes and a glass of whiskey kind of record!

Jamie Hailstone

Blues Matters! 101

the parts, there are moments of brilliance and warmth within

the whole album that make repeated plays worthwhile.

Noggin

STEVE BAKER & DICK BIRD

King Kazoo

Acoustic

When I saw the title to this, I shuddered: the kazoo isn’t the

most inspirational of instruments, is it? But this is a great

album! The pair have played together for almost thirty-five

years and this is their first album as a duo. ‘King Kazoo’ features

a range of acoustic

instruments (not just

kazoo) around the general

theme of country

Blues and jug band

music. Along with many

original songs, there are

a few Blues classics, ‘I’ll

Never Let You Go’ and

‘Cool Operator’ by

Tampa Red and ‘Sliding

Delta’ by Mississippi

John Hurt being the

best of the bunch. Of the self-penned numbers, ‘No Doubt

About It’ and ‘Too Long’ standout. However, it’s all good. The

guys are quality players and the wide selection of music and

the considered changes in tempo means that the listener

never loses interest. There are guest appearances by Martin

Roettger on drums and washboard, Henry Heggen on jug and

Martin Wichmann on upright bass. My first thought was they

sound like Sonny Terry and Brownie McGhee, although it has to

be said that the guitar work is far better. What about the kazoo

then? Well, if that’s what one sounds like when it is played

properly, wow! There are also the lyrics, keys, guitar tunings

and harp information to be downloaded if you desire.

Kevin Wharton

MIRANDA LOUISE

A Sure Cure For The Blues

Ripete

Based in Nashville Tennessee, Miranda Louise is a well

respected member of the southern Blues scene. Apart from

her own recordings, she has sung, recorded and performed

with a list that reads like the who’s who of the Blues, including

Albert King, Bobby Bland and John Lee Hooker. With a big,

powerful and soulful voice, she carries on very much in the tradition

of such female Blues luminaries as Koko Taylor and Big

Mama Thornton. “A Sure Cure For The Blues” is her third solo

release and displays a versatile Blues repertoire, ranging from

the storming boogie of the opening track ‘Queen Of The 88’s’,

to a powerful, gritty rendition of Big Jay McNeely’s ‘There’s

Something On Your Mind’. In between, there’s an excellent version

of another queen of the Blues, Memphis Minnie’s ‘Me

And My Chauffeur Blues’. Despite the varied material, Miranda

Louise effortlessly slips from one style to the other, ably backed

by an excellent collection of musicians, particularly Mike

Holmes on Piano, Wayne Jackson of the Memphis Horns and

some really nice guitar from Jack Pearson on the ballad ‘I Can’t

Get Enough Of You’. “A Sure Cure For The Blues” can only

enhance Miranda Louise’s already grand reputation.

Davide Styles

WEST, BRUCE & LAING

Whatever Turns You On

Live‘N’Kickin’

JACK BRUCE AND FRIENDS

I’ve Always Wanted To Do This

Esoteric

“Whatever Turns You On” was the short-lived band’s second

album and, surprise, surprise, a cross between a

Cream and Mountain album. It’s very guitar driven, and

Bruce gets plenty of bass action. The sound quality is a little

muddy, with the vocals a little low in the mix. ‘Token’ has

some nice low down, earthy guitar from West, whilst ‘Slow

Blues’ does exactly what it says on the tin. Vocal duties are

shared between the two guitarists, and ‘November Song’ is a

slow burning Bruce song, with hints of psychedelia that brings

the bassists strong vocals into play. “Live‘N’Kickin’” was

recorded live in concert in 1974, and turned out to be the

band’s final release. It only features four tracks, but ‘The

Doctor’ is a good song – heavy, with a fabulous slide solo. They

open with a version of the Stones’ ‘Play With Fire’ that starts off

really well, but seems to lose its direction midway through. Billy Cobham (Miles

Davis), David Sancious (E-Street Band, Sting) and Clem Clempson (Humble Pie and Colosseum) are

Bruce’s ‘Friends’ on the 1980 reissue “I’ve Always Wanted To Do This”. It’s a solid studio effort, which is let down by its

thin, shiny ‘80s production. The music herein is superbly performed (as you would expect), but it is more of a soft rock

album than a fusion masterpiece that one would have probably hoped for. Opening track, ‘Hit And Run’ is a catchy

tune, and closer ‘Bird Alone’ has a nice feel to it, but on the whole it just left me a little cold. The lyrics are decent

enough, from all four members, though mainly from Bruce and his long-time writing partner Pete Brown, but whilst they

could have produced a real winner in the Blues and jazz field, it all just sounds a little sterile for this listener.

Andrew Baldwin

Blues Matters! 102

BYTHER SMITH

Got No Place To Go

Fedora

An alumni of Muddy Waters, Junior Wells and Otis Rush, and a

cousin of JB Lenoir, Monticello, Mississippi born Byther is

steeped in the Blues tradition. Moving to Chicago in the early-

50s, Byther cut is teeth initially on bass before switching to

rhythm and eventually lead work in the ‘60s. Following an

appearance at the 2007 Fresno Blues Festival, producer Chris

Millar cut these eleven tracks with Byther, and there is a real

touch of class about them. The short but sweet 'I'm A Honey

Bee' is the opening gambit followed by the tasty groove fest

that is 'I Had My Fun aka Goin' Down Slow'. His vocal delivery

on 'Monticello Lonely' reminds me a little of B.B. King. Half spoken

but, at the same time, musical phrases spring from the

speakers always underpinned by Chicago rhythms. The pain

and heartache of a lost love is examined in 'I Know That's

Grace'. Giving due acknowledgement to the influence the

music of his cousin has played on his style, Byther covers 'How

Much More?', but I was disappointed when it faded quickly

away. '35 Long Years' is a much more balanced cut and one of

my favourites on this collection, as is 'Every Woman I Meet'.

The wonderfully politically incorrect 'Come On In This House'

sees Byther finally settled with the woman of his choice. A nice

album from one survivor of Chicago's post-war elite artists.

Graeme Scott

GARRETT MASON

Love & Sound

Soul In Sound

Another day, another trio playing Blues-rock, but before you

head on to the next review, there are a few things you should

know about Garrett Mason and his fine band. Yes, the

Canadian does sound an awful lot like Stevie Ray Vaughan,

particularly on tracks like ‘Grapple Hold’ and ‘Pink Flamingos’.

His rhythm section of Mike Farrington Jnr. on bass and Damien

Moynihan on drums are rock solid, and as tight as Tommy

Shannon and Chris Layton

(Double Trouble) ever were.

More importantly, Garrett

has added more than a

dash of soul to the proceedings.

The opener, ‘And

Everything’ shuffles along

with a beat that is definitely

‘too cool for school’. The

stripped back playing is

insanely tight and Garrett’s

vocals are spot on throughout.

This might only be

their second release, but Garrett and his band have refined

their sound and show a solid working of the Blues on every

single of the eleven tracks on offer here. The tracks sound

like they were recorded live in the studio with very few, if

any overdubs. It’s often said that the Blues is no longer

cool, but if there were more people like Garrett Mason out

there, the genre would be hip again.

Jamie Hailstone

THE HOAX

Humdinger - 10th Anniversary Edition

Credible

It’s barely credible (pun intended) ten years can have elapsed

since the “great white hope” of British Blues, The Hoax,

released their third and final studio album, “Humdinger”. But

Blues Matters! 103

NINE BELOW ZERO

Both Sides Of

MAGGIE BELL

Best Of: Sound & Vision

THE JOHN DUMMER BLUES BAND

The Lost 1973 Album

Angel Air

Nine Below Zero will celebrate their 30th anniversary this

year, which is celebrated with the CD/DVD set “Both Sides

Of”. The CD was recorded live in the Baltic’s in 2006 and is

all electric. Several tracks have a real punk vibe to them,

especially ‘11+11’, where they incorporate lyrics from The

Who into the song, and ‘Three Times Enough’, which

sounds similar to The Jam at times. Dennis Greaves lets rip

with some Bluesy guitar on ‘One Way Street’, whilst the set is

given a solid foundation by bassist Gerry McAvoy, and drummer

Brendan O’Neill. The DVD is an all acoustic affair from Cumbria in

2007, and whilst it isn’t very exciting to watch, the musicianship is

again of the highest order. Mark Feltham steals the show with

some excellent harmonica playing that shows real character. The

Maggie Bell “Best Of” is also a CD/DVD set, and is essentially a solo

greatest hits package; as, unfortunately, there is no work from her years as vocalist with

Stone The Crows. The set also features four live cuts, including two with Taj Mahal. The first thing that hits

you is her fine, smoky Blues voice, that in most respects far outshines the actual music. Some pleasant Blues is

brought with ‘As The Years Go Passing By’, whilst FREE’s ‘Wishing Well’ is given the laid-back funky treatment and,

yes, the “Taggart” theme tune is here! The DVD is from Montreux in the summer of 1981, with her band Midnight

Flyer, and it looks very dated, however, the music is very good, and is a nice companion to the CD. Guests including

Taj Mahal and Albert Collins appear with Bell on the closing tracks. The John Dummer Blues Band recorded one last

album before disbanding, and for the first time it has now been issued on disc. It features Dave Kelly on guitar and

vocals, as well as, what is thought to be, the last recordings by ‘60s Bluesman Graham Bond, who died early the following

year. It offers a few different styles, mainly country, rock’n’roll and the Blues, on tracks like the upbeat ‘Goin’

Home’ and country Blues on ‘Short Haul Line’. The music is decent enough, but it didn’t particularly excite me either.

Andrew Baldwin

here it is confirmed in black & white, in the form of a very

attractive, value-for-money double-digipak, offering the original

album’s ten tracks, plus three bonus cuts and a DVD featuring

the band’s previously VHS-only live video, loads of outtakes,

pics and other goodies. The original album tracks sound every

bit as fresh, energetic and exciting as they did first time around

– an irresistible blend of Jon Amor and the Davy Brothers’ original

songwriting and cool Blues influences, notably Stevie Ray

Vaughan, the T-Birds and Lester Butler’s Red Devils. The bonus

tracks include ‘C’Mon Susie’, a previously unavailable live

favourite, more than a little reminiscent of FREE, and the funky

shuffle ‘The Night Will Come’ from the band’s hard-to-find EP of

the same name. The live DVD is a real gem, capturing The

Hoax at their funky, high-energy best, capable of incredible

whisper-to-a-scream dynamics - not to mention incredible,

heart-stopping virtuosity. The Hoax were a truly great band, and

in terms of sheer musical talent, a true band of equals – every

member as brilliant as the next. This package hits the spot.

Tim Aves

NINA SIMONE

To Be Free: The Nina Simone Story

Sony BMG

Eunice Kathleen Waymon was born into a large, poverty stricken

family in North Carolina. She began playing piano in church

at the age of 5, and by the early-50s, although now trained as

a classical pianist, took on work in a bar, playing a mixture of

jazz and Blues. Her recording career began in the late-50s and

soon she had a hit in the form of George Gershwin’s ‘I Love

You, Porgy’. Through the ‘60s and early-70s, she recorded for a

number of different labels,

displaying her large repertoire

of jazz, Blues, spirituals,

soul, folk and original

compositions, including

songs reflecting the civil

rights message that had

now become part of her

life. “To Be Free” is a three

CD/one DVD collection,

charting the development

of her career. Included are

the standards ‘My Baby

Just Cares For Me’, ‘I Put A Spell On You’ and ‘Feeling Good’,

re-workings of Bob Dylan and George Harrison (‘The Times

They Are A-Changin’ and ‘My Sweet Lord’) and some interesting

live and previously unreleased material. The additional DVD is

a short film from 1970, with both interviews and performance.

Although comprehensive, this collection does not sustain any

punching power, and for every ‘Feeling Good’ there is an off

colour ‘Mr Bojangles’. Unless you are an established fan or collector,

I would investigate a less comprehensive collection first.

Davide Styles

Blues Matters! 104

GROUNDHOGS

Hogwash

BGO

This is a re-issue from 1972 that is heavy and hypnotic, if pretty

standard Blues-rock fare. Opener ‘I Love Miss Ogyny’ is a

slow, dirge-like Blues, with a dark undertone that has a menacing

feel to its sound. Much of the album follows in a similar

vein, with simple, riff-laden

music that is repeated over

and over until you feel its

power and aggression. It

borders on progressive

rock, at times, but creative

force - Tony McPhee’s

vocals suit the music perfectly,

whilst bassist Peter

Cruickshank keeps the

whole thing grounded with

some bottom heavy

rhythms. Fan’s favourite

‘3744 James Road’ is a lengthy piece and is typical

of the ‘Hogs sound of chugging Blues-rock with a funky riff.

Closing track, ‘Mr Hooker, Sir John’ is an acoustic homage to

the bands mentor, John Lee Hooker, and is probably the most

genuine Blues on offer. This release didn’t achieve the success

that earlier albums, such as “Thank Christ For The Bomb” and

“Split”, had, but it is a solid work and enjoyable enough listen.

Andrew Baldwin

COUNTRYBOY

Countryboy’s Blues Logistics

Independent Release

Countryboy first came to the Blues at the age of 6 and this CD

follows in the wake of the album “Countryboy Blues”. It features

the vocal of Shirley King and sax playing of Gerald Noel

on certain tracks. It is a mixture of instrumentals, as well as

vocal lead tracks. The first two tracks, ‘Clyde Stump’ and ‘CB’s

Experience’, are traditional and very simple Blues instrumentals.

‘Louise’ features the harmonic drone sax playing of Gerald

Noel (of the late Junior Walkers All Stars band). ‘You Got Class’

features the vocal of Shirley King, who is, of course, B.B. King’s

daughter, and she follows in the family footsteps of being true

blue! Shirley was mentored by Etta James in the old school

style and has all that powerful, gritty and sexual drama in her

vocal of the Blues mamas preceding her. ‘Official Blues’ certainly

evokes early Blues and the music that was to inspire the

British Blues generation of the ‘60s. Fundamentally, this is a

good album, which has a real old school Blues feel throughout.

Carol Borrington

BOO BOO DAVIS

Name Of The Game

Black & Tan

This is definitely “the Devil’s music.” Fifteen tracks in fifty minutes

that can be described as dark, funky, raw and dirty. The

opening track, ‘Dirty Dog’ says and does it all. A ‘Nutbush’

rhythm driven by some stunning, growling wah wah guitar from

Jan Mittendorp who, because the band no longer includes a

bass player, uses some real heavyweight strings. Boo Boo is a

mighty fine harmonica player and is blessed with a big bellowing

vocal that does the memory of Muddy Waters and Lightnin’

Hopkins proud. After a couple of slowish stompers, the mood

and feel is changed as we slip into a laid-back harp led shuffle,

‘Want Nobody Tell Me How To Live My Life’. Then for the next

three tracks its back into

that meaty, muddy groove

that you can just get lost in,

culminating in the excellent

pulsing ‘Who Stole The

Booty’. More variation

comes with the soulful ‘Why

You Wanna Do It’; a heartfelt

Blues in ‘Lonely All By

Myself’; and a wonderful

piece of ‘50s rock’n’roll in

‘It’s A Shame’. ‘Hot Foot’

brings a return to power

wah wah. Then we finish the whole thing off with a good

Blues-rocker, ‘St Louis Woman’, which again allows Boo

Boo to showcase his harp skills.

Thomas Rankin

CANNED HEAT

The Boogie House Tapes Vol. 3

Ruf

This is the last volume in the band’s series of unreleased

material, featuring both studio and live performances. The

music is spread over two discs, and the sound quality is variable

as is to be expected. We have live selections from venues

such as Fillmore West, Hollywood Bowl and Carnegie Hall. This

is a good collection of raw Blues that ranges from 1967-1978,

and is funky as hell at times. Some dirty, grungy Blues guitar is

laid down in ‘Project Blues’, whilst John Lee Hooker guests in a

lengthy live performance of ‘I Feel Good’ that is a real treat.

The likes of Gatemouth Brown and Curtis Mayfield also help

them boogie along on a couple of the tracks. ‘Too Many

Drivers’ from 1970 proves this band could groove with the best

of them, and a thirteen minute-plus jam on their classic ‘On

The Road Again’, from 1968’s Kaleidoscope series, is another

highlight. The band were dogged with hard luck and tragedy,

and this release goes to show just what could have been.

Andrew Baldwin

GEORGE MELLY

& THE MICK MULLIGAN JAZZ BAND

Nothing Personal

Lake

Any British Blues prior to Alexis Korner is regarded as prehistoric

– except, maybe, “skiffle king” Lonnie Donegan. This double

CD set is subtitled “Recordings From 1950 To 1957”, and

besides being a true historic document, it is also very fine listening.

Most readers should be familiar with the late George

Melly, who died on 5th July

2007. He was a surrealist,

author, critic, personality,

and bon-viveur. He was also

a flamboyant jazz/Blues

singer and a devotee of

Bessie Smith, and I recall

him being popular around

the time of the punk explosion

of ‘70s – and many

punks liked him. It seems

unlikely now, especially

when listening to these

recordings. The first CD includes George’s first album from

1957, with material from the folk-Blues right through to ‘50s’

rock’n’roll (a remake of ‘Hound Dog’). George sounds quite at

Blues Matters! 105

ease with this diversity – he brings a very British approach to

his vocals, though his enthusiasm is certainly infectious and

the band surprisingly accomplished given it is usually classed

as a ‘trad jazz’ outfit. The second CD contains earlier titles,

some without George, and is rather raw. Nonetheless, this is a

warmly recommended slice of British Blues history.

Norman Darwen

GUITAR RAY & THE GAMBLERS

Poorman Blues

bluesgamblers.com

Guitar Ray is an Italian Bluesman who has collaborated with

Otis Grand for this release. Otis fills the roles of writer, horn

arranger, as well as album production and arrangement. In

fact, eight of the twelve songs here are Grand originals and, at

times, I keep thinking its Grand playing, although he is never

credited as such. Guitar Ray has a number of collaborations,

both in Italy and abroad, to confirm his artistic stature - and I

don’t doubt those credentials based on the evidence here. Ray

plays guitar, lap steel guitar and sings, and is backed by a fine

line of Italian musicians that produce music a la Grand.

‘Darling Wait For Me’ has

that trademark guitar sound

that Otis is famed for,

‘Conspiracy Boogie’ rolls like

a big band with driving boogie

woogie piano and chirping

horns. ‘You Are Still The

One’ is a fine slow Blues

with rolling piano and

muted guitar. Of the non

Grand tracks, the opener,

Bland’s ‘Teach Me How To

Love You’, swings with great horn backing, and Sam

Cooke’s ‘Somebody Have Mercy’ standout. Whilst Ray is a

fine player, and the album is well produced, the fact that

there is a total lack of original numbers, and with Grand’s

considerable presence, it is difficult to detect the true

nature of Guitar Ray & The Gamblers as to whether they

possess that which is required to make it.

Merv Osborne

THE WHY AND WHEREFORES

Alright

Dusty

The Why And Wherefores are a very talented band that are not

afraid to push the boundaries of genres, sounds and musical

textures. Making this a very eclectic CD, yet firmly rooted in the

Blues. Every track brings something different of the band’s

vocal, instrumental and songwriting talents. It’s all self-penned,

with exception of the last track, which is a cover of Bob

Marley’s ‘Lively Up Yourself’, and what a version - they have

made a musical dimensional shift with this rendition, taking it

out of reggae into a nearly pure Blues song, but retaining just a

hint of the original beat. Steve Jones guitar work throughout

the CD is impressive, exactly what you would expect from a

quality luthier. ’Alright’, the title track, actually lulls you into a

false impression of what is come. It’s a combination of Blues,

jazz and swing and has a very retro feel of the ‘50s, with some

impressive ostinato drumming by Marc Layton Bennett. Then

you get ‘Black And White’, a complete contrast, which is in the

Holly Golightly school of the Blues - you get the first taste of

what a really good vocal Emily Druce has got. It doesn’t stop

there, ‘Rev Gel’ is Blues-rock tinged with early Tyrannosaurus

Rex, very progressive feel but pure Blues footing.

Carol Borrington

Blues Matters! 106

ARETHA FRANKLIN

The Early Years

SPV/Blue

SPV are doing a good job of helping us to re-evaluate Aretha’s

career prior to her Atlantic Records contract. In the past, these

recordings, made for Columbia in the first half of the ‘60s,

have been dismissed as

“derivative,” “lacking in

direction,” or, horror of

horrors, “jazz!” This CD

provides justification for

all those epithets, but it

does also prove the old

adage, “she could sing

the phone book and

make it interesting.”

There are a variety of

styles on offer here –

Blues with Dinah

Washington’s ‘Evil Gal Blues’, a Ray Charles/Sam Cooke influenced

‘Trouble In Mind’ and the organ-led powerhouse vocal

on ‘Nobody Knows The Way I Feel This Morning’; jazz – there is

a fine cover of Billie Holiday’s ‘God Bless The Child’, stringladen

ballads, and pop (‘Walk On By’ is virtually note-for-note).

There is even some rhythm & Blues/early soul material. So,

yes, Aretha may have needed to find a direction – but her

amazing voice was almost there already on these tracks.

Norman Darwen

CHUCK BERNSTEIN

Delta Berimbau Blues

CMB

This is a unique CD from an artist who was caught up in the

late-60s San Francisco music scene. Chuck has a varied musical

background, predominately playing drums in jazz, rock and

Blues outfits, with the likes of Barry Melton, Charlie

Musselwhite and John Cippolina, and he has now turned his

attention to playing the African Berimbau, described in the

sleevenotes as a “Brazilian Diddley Bow” - basically a onestringed

bow instrument. The sounds conjured up on the

Berimbau are very mystical and, throughout the album, support

is provided by several guitarists, including the talented

Gregg Douglas. The majority of the sixteen tracks are instrumental,

the couple of exceptions include the only cover track -

Pete Seeger’s ‘One Grain Of Sand’. You are unlikely to ever

come across such a diversified Blues sound as you will

hear on this album, and credit must go to Chuck, who many

years ago identified the Berimbau as an instrument he

wanted to learn to play, and since the ‘90s he has received

tuition from the master Dennis Broughton. This album represents

Chucks foray into Blues, and I am sure the experimentation

will follow and other genres will soon experience

the sounds of the Berimbau. If you want to broaden your

Blues horizons, this album is a good place to start.

Adrian Blacklee

FLIPRON

Gravity Calling

Tiny Dog

This is the third CD by Glastonbury band Flipron. It’s Blues,

punk, rock’n’roll, ‘60s psychedelia, jazz and a lot more.

Lyrically, the CD is complex, intense and full of abstract

imagery, black satire with wry humour - think of the magic of

Ray Davies’ writing. The lyrics dissect the human condition and

its failings. They are beautiful encased in vocals once again

reminiscent of The Kinks. The intonation is clear but tinged

with a cynical and a damning

edge that cuts to the

bone. The instrumentals are

produced by the myriad of

instruments all played with

skill. There is some impressive

guitar, including lap

steel, Dobro, and mandolin.

The drumming on the CD is

superb and the band is

exceptionally tight. These

instruments are mixed and

matched to produce a collective

of diverse and creative sounds that build on and compliments

the lyrics. There is an overt air of vocal and instrumental

sincerity that says these guys have something to say. All twelve

tracks are of equal merit, but ‘Zombie Blues’ strikes home

hard in its lyrics. Very much punk-Blues in vocal and lyrics, all

wrapped in raising and falling tempo of guitar and ‘60s R&B

keyboards, it’s a damning protest that is worthy of the best.

Carol Borrington

STONE THE CROWS

Live Crows 1972/73

Angel Air

This is a 2008 two-disc release, featuring a five track CD

album recorded at Montreux in 1972 and a DVD. The music on

KING CLARENTZ

Day Of The Supermodel

Super Sweet

You wouldn’t think this

was a Blues album, if

you only judged it

from the album’s

cover of a female

superhero standing

over the planet in a

comic book style, but

this is most definitely

a Blues album. It’s

Clarentz’s second

effort, after a nine year hiatus, and it has a rough,

but authentic old style, with a punk attitude, and is

just essentially a three-piece with the King on

dobro and slide guitar. Clarentz’s harsh and, at

times, witty lyrics are delivered in a growl like fashion.

His take on ‘Down On The Burying Ground’

chugs along infectiously in a boogie Blues, whilst

the following ‘Rim On The Koochie’ is a saucy,

humorous tale that needs no explaining. He takes

a real stab at Republicans on ‘New Gop’, and it’s

quite clear where his politics lie. It’s an enjoyable

album that will have your foot tapping along without

you realising, and tracks like the excellent

‘Martha Stewart’ and ‘Hurricane Party’ will keep

you coming back on many an occasion. This is

raw, energetic, hypnotic and a little different, but it’ll

appeal to most Blues lovers.

Andrew Baldwin

Blues Matters! 107

the CD captures Stone The Crows reaching their full maturity

and musical intensity as a band. Something to be cut short

only a few weeks later by the tragic and sudden death of lead

guitarist Leslie Harvey. The five tracks are Stone The Crows at

their height. The CD Opens with ‘Friends’, a reminder of the

innovation and creative juice flowing round the British Blues

scene in the ‘60s. Cream-like guitar riffs, driving percussion

and that ace vocal of Maggie Bell, with its power and sheer

guts. Psychedelic Blues personified! ‘Penicillin Blues‘ showcases

what a loss this band was to the music scene. Maggie’s

Blues mama vocal powering through, proving that she truly was

and still is Glasgow’s Janis Joplin! ‘Love 74’ and ‘Hollis Brown’

are eleven and twenty-one minutes respectively of pure

Crows. The DVD features seven songs taken from the band’s

Beat Club performance in Germany in 1973. Onboard now

was Jimmy McCulloch. Jimmy’s fine guitar work could not,

though, mend the internal chemistry of the band that died

with Harvey and, eventually, they split. The DVD has two

bonus features and includes two historically informative interviews

on the band, with Maggie Bell and Colin Allen, and a

history of the band by Rich Wilson. A collector’s must!

Carol Borrington

MHMM

Do Not Disturb

Banksville

Mhmm Blues Band have defined themselves as ‘Blues core’,

aiming to re-define the typical language of Blues-rock. This CD

consists of seven original songs and a cover of Joni Mitchell’s

‘Woodstock’. The CD is released on the new Banksville Record

label, which uses Rewave System - the punter gets an LP/CD

package. The CD is a copy of the vinyl’s master without any

post production. The result is an improved sounding digital version

of the vinyl. Another aim of “Do Not Disturb” is to give the

album the concept that the album was set in a smoky bar

amid whiskey and beer. This is done by a series of inter-track

narratives, but it didn’t really work - in fact, it became irritating

after a while. The band, certainly from the instrumental and

songwriting point of views,

show a lot of potential

throughout the whole

album - the vocals, though,

were the sticking point. It

felt like listening to Jekyll

and Hyde throughout and

on some tracks, like ‘The

Bridge’, it was very pronounced.

This is a good

number starting with a

soulful Blues vocal then

they starting interchanging

with a vocal more suited to a metal band - it marred a good

song. ‘Because I’m Down’ really showed what good potential

this band have – they just need a more consistent vocal.

Carol Borrington

JJ SOUL BAND

Bright Lights

jjsoulband.com

The band name is a misdemeanour as the music played on

this CD is more aligned to slow funky jazz/Blues rather than

soul, although the general feel of the album is very smooth

with a laid-back feel to it. I was surprised to find that the band

are predominately Icelandic, the only exception being ex-pat

lead singer JJ Soul, who jointly formed the band way back in

1993 with keyboard player and current manager Ingvi Thor

Komakasson. On this album, the band delivers a very accomplished

set of original material. JJ Soul has a very smoky tone

to his voice, a cross between Tom Waits and Chris Youlden,

and this suits the material perfectly - the arrangements are

WILLIE DIXON

The Big Three Trio

I Am The Blues

SPV/Blue

“That Willie Dixon bloke must be a brilliant guitarist,”

exclaimed my teenage friend in rapture listening to a Led

Zeppelin cover of one of his numbers more years ago

than I care to relate. “Actually, he’s a bass player from

Chicago” replies Mr. Smarty-Pants me. As a child, some

years earlier, it had been my task on a Saturday morning

to go down to the local newsagent’s on a Saturday to get

my older brother’s ordered magazines - JazzBeat and R&B

Scene (it used to wind him up if I’d read them first, so, of

course!). But back to Mr. Dixon – there are elements

around who still regard him as a musical genius. In truth, he

wrote – or co-opted – some excellent Blues numbers, but he

himself was a pretty good singer, and top bass player for

what he did. “The Big Three Trio” presents him as a rather

sophisticated performer, with a smooth and urbane Blues harmony

group between 1947 and 1952. “I Am The Blues” dates from 1969

and is a stellar Chicago Blues affair, with a backing group comprising

harpman Walter Horton, pianist Sunnyland Slim, guitarist Johnny Shines and

drummer Clifton James – later to be justifiably called The Chicago Blues All-Stars. The repertoire consists

of nine numbers familiar from Wolf and Muddy, or maybe the British Blues boom! The performances may not match

those illustrious earlier versions but they are most definitely worth having; maybe if the album had been easier to get

on its original release, I wouldn’t have had to correct my mate all those years back.

Norman Darwen

Blues Matters! 108

generally uncluttered and fit the stereotype late night jazz club

feel. Having been together as a band for over fifteen years, the

musicians really jell together - the playing is faultless throughout,

with some subtle soloing that never takes away the focus

of the song. While this album does not have a strong Blues

bias, the overall sounds are worthy of attention - very evident,

also, is the influence of the big band sound that some of the

musicians experienced earlier in their careers.

Adrian Blacklee

THE BRIDGE

Blind Man’s Hill

Hyena

Listening to this record is a bit like stepping back in time. The

funky groove screams out Little Feat or Ry Cooder, while the

harmonies and mandolins are straight from the Jackson

Browne and Eagles school of laid-back music. Make no mistake,

The Bridge are pure

southern rock boys and

this album is all the better

for it. Like other contemporaries,

such as

The Band Of Heathens

and the North

Mississippi All Stars,

their love for this music

is unashamed. Singer

Cris Jacobs (and that is

the real spelling!) has

one of those gritty and

soulful voices, which is easy on the ear. At times, it’s a little too

retro for its own good, but a faithful blend of country, Blues and

rock never really fails. Like a decent bourbon, it will always

deliver. Some of the highlights include ‘Heavy Rain’, ‘Old

White Lightning 93’ and ‘Let Me Off This Train’. They flex

their Blues muscles on the haunting ‘Devil On Me’. This is

the group’s second release on Hyena Records and their

sound is now fully rounded and developed. “Blind Man’s

Hill” is a mature and rich portion of Americana. It will take a

couple of listens, but stick with it, because it’s worth it.

Jamie Hailstone

TAS CRU

Gravis-Tas

tascru.com

“Gravis Tas” is singer/songwriter Tas Cru’s follow-up to his CD

“Biscuit”, and it’s a CD of highs and lows. Tas’ vocal is strong

and emotive, with good range and intonation. His lyrics are a

fascinating use of imagery and frank expression of Blues situations,

having the added bonus of being seriously amusing at

times. The first two tracks are solid good Blues but, when you

reach the third track, the CD really starts to punch you in the

solar plexus with its power and quality. ‘Feel I’m Fallin’’ starts

with a gospel feel and develops into a powerful Blues gospel

rock song. Tas’ powerful, heartfelt vocal punching out the lyrics,

with guitar accompaniment played in an equally sympathetic

and synonymous style. ‘Can’t Help But Wonder’ is a Blues ballad.

Vocal and instrumental are full of the pain that comes with

the human condition of love. ‘Peach Pickin’’, with its clever and

humorously structured lyrics, is a satiric take on lust and is

best described as satirical Blues! ‘What Makes A Woman’ is

another Blues ballad commenting on the female condition. It is

tender and compassionate; full of sympathy but, as the title

suggests, confusion over the relationships into which women

often repeatedly find themselves. The last track, ‘Too Much

Information’, is old county Blues instru- continues on page 112

Blues Matters! 109

Memphis Minnie to The White Stripes. The whole set is also

wonderfully annotated. Some intriguing juxtapositions (courtesy

of the Ace team, and I defy you to take a listen to the

intro to James Carr’s soul track without expecting a country

number), the sheer range of material, and the coherence of

the whole set prove that yes, for a guy well into his seventh

decade, Dylan still has his finger on the pulse.

Norman Darwen

Little Walter And The Kings Of The

Blues Harmonica: Blowin’ And Suckin’

Proper

Part of the Peerless series, in this case repackaging music

from as early as 1929, there are four CDs in the box set,

comprising 108 tracks. The harmonica was invented in

Germany in 1821, and first made commercially available

by Hohner of Trossingen. The most commonly used instrument

is the Marine Band ten

hole, twenty reed “mouth

harp”, as it became known.

It achieved great popularity

in the USA when it was introduced

to the country by

German immigrants in the

late 19th century. It was

cheap, easy to get a tune

from and, of course, highly

portable. The first two CDs

cover a massive range of

artists and styles from 1929 (DeFord Bailey) to the’50s

(Junior Wells), including such essential artistes as both

Sonny Boy Williamsons, Jimmy Reed, Walter Horton, Snooky

Prior and Howlin’ Wolf. Things get much more up-to-date

with the advent of Little Walter Jacobs, to whom the final

two CDs and fifty-five tracks are exclusively dedicated. He

first brought amplified harp to the masses and is rightly

regarded as a genius. The material here revisits his recordings

from 1947-1957. Joop Visser’s notes and photographs,

covering some fifty-three pages, are highly informative, and,

when read at the same time as playing the music, adds context

and historical background to this wonderful collection.

Noggin

Theme Time Radio Hour

With Your Host Bob Dylan

Ace

The fifty tracks on this double CD are all drawn from material

played by Bob Dylan on his “Theme Time Radio Hour”

show, and whatever you think of Dylan’s own music, he

has fine taste indeed. And when one of the most important

artists of the last century reveals his likes and influences,

it has to be worth a listen. Such is indeed the case

with this wonderfully listenable collection of country

gospel, raunchy rock‘n’roll, romping rhythm & Blues, vintage

and modern jazz, Rosetta Tharpe’s driving gospel,

classic soul, beautiful Tex-Mex, fast-paced bluegrass,

Jamaican rocksteady, Nashville styled and more rural country,

hip jive, western swing, rampant rockabilly, and apocalyptic

punk – from Al Dexter’s ‘Pistol Packin’ Mama’ to The

Clash’s ‘Tommy Gun’, from Grandpa Jones’ simple faith to

Patsy Raye’s wonderful ‘Beatnik’s Wish’ (I’m surprised noone’s

covered this yet!), from east Texas’s Eddie Noack to

south Wales’ Geraint Watkins. There’s plenty of Blues, too,

from Leroy Carr & Scrapper Blackwell to Otis Rush, from

Blues Matters! 110

The Downhome Blues Sessions Vol. 5:

Blues Guitar Workshop

Stefan Grossman

No doubt there are quite a few BM! readers – and I’m one

– who enjoy a bit of fretted therapy by sitting down with the

old acoustic and imagining how good we could be if we only

practised. Well, here are five guys who took it to the limit,

and have rewarded themselves by earning the tag ‘legend’.

Just the names listed on the cover of this CD guarantee you

total guitar enjoyment. Duck Baker, Davey Graham, Sam

Mitchell, Tom Paley and Mike Cooper are all acoustic Blues

troubadours of the first order, and when you hear Tom

Paley playing an ecstatic, one minute and twenty second

‘Buck Dance’ - you’ll either throw your guitar in a skip or be

inspired to try harder. Listen to Sam Mitchell’s smart slide

version of ‘Keep A Bootin’’ (a song which eventually formed

the basis for Little Richard’s ‘Keep A Knockin’’) or Mike

Cooper’s languid, laid-back ‘Morning Star Blues’, with his

great vocals, and you’ll soon realise what magic there is in

a good acoustic Blues guitar tune. So, I’ll just pour a beer,

listen to this brilliant CD and turn down the lights, and first

thing tomorrow, look for a handy skip.

Roy Bainton

Johnny Cash Remixed

Compadre

Remixing Johnny Cash couldn’t be an odder thing to do.

Enjoyment of it will always be a matter of taste. Obviously,

fans of Cash will notice changes, be it big or small, and

country purists (of which there are many) will downright

loathe it. People with more

liberal views to other genres

and styles will accept a

clever attempt at a cut and

paste shuffle of “The Man in

Black’s” greatest hits and,

of course, there will be

those who prefer these reworkings.

Album opener ‘I

Walk The Line’ adds to the

track in a noticeable way by

including Snoop Dogg in the

way that Elton John was mixed into Tupac on ‘Ghetto

Gospel’. While Snoop Dogg is the most obvious of choices,

he doesn’t ruin the song, but its appeal and message is

inevitably lost. ‘Get Rhythm’ is a safer bet, opting to remix

the Cash’s vocals in the way JXL tampered with Elvis for ‘A

Little Less Conversation’ - it makes more sense than ‘Big

River’ anyway, which is literally just re mastered. ‘Country

Boy’ is all southern hick chic, with all its dancefloor arms-inthe-air

cheerfulness which, happily, works well as a substitute

to line dance standards. Personal favourite, ‘Folsom

Prison Blues’ is probably the most obvious re-working by

replacing the drum track and attaching all the necessary

bells and whistles giving it that fresh bling sound. Not your

average Johnny Cash hits package, but, by far, not the worst.

Matthew Clarke

Steelin’ It: The Steel Guitar Story

Proper

The steel guitar is not generally thought of as a Blues

instrument, but it has become more so over the last few

decades, thanks to the efforts of Hop Wilson, Freddie

Roulette, Sonny Rhodes, L.C. ‘Good Rockin’’ Robinson and

a small, select band of others – including Joe Louis

Walker. Virtuoso guitarists such as Bob Brozman have also

drawn attention to the beauties of vintage Hawaiian music,

the starting point for this excellent four CD, 100-track collection,

with the first thirteen numbers all dating from the

‘20s. Stylistically, this collection ranges from these early

acoustic sounds to the newly developed pedal steel guitar

of the ‘50s, with the music encompassing Blues, ragtime,

jazz, hillbilly, pop music of the time, country and, of

course, western swing. Milton Brown gets proceedings

underway on the second CD, his steel guitarist Bob Dunn

setting the pace and technique for many others to follow –

some of whom are included here, notably Noel Boggs,

Leon McAuliffe and Ted Daffan. The second and third CDs

cover the ‘30s and ‘40s (and just into the ‘50s), and

include some fine country-boogie, with CD3 the Bluesiest

of the whole collection. The final set concentrates on the

‘50s, from Hank Williams up to rock‘n’roller Bill Haley. A

fascinating collection, with strong Blues links all the way.

Norman Darwen

The Downhome Blues Sessions Volume 5:

Back In The Alley 1949-1954

Ace

“Well, I’m going back, where I can raise hogs and corn,”

sings Johnny Fuller, playing guitar in best Lightnin’ Hopkins

fashion on the first of his seven offerings here – and if you

ever wanted a single track

to represent the downhome

Blues, this fits the bill perfectly.

The twenty-six tracks

here, all by artists connected

in some way with producer

Bob Geddins, originate

from California, so given the

migration patterns of the

time, it is unsurprising that

there is a very strong Texas

flavour to many of these performances.

Harpman James Robertson worked with Fuller

and remains a fairly obscure figure, so too does the doomy

sounding James Reed. Others on this set are rather better

known – Jimmy McCracklin has five fine tracks and is still

active, Roy Hawkins is the man who co-wrote and recorded

the original ‘Thrill Is Gone’, and Lowell Fulson had a long

and varied recording career and should need no introduction.

Famous or not, though, these are all talented artists,

and the music is the very essence of the Blues.

Norman Darwen

Up Jumped The Devil:

American Devil Songs 1920s - 1950s

Viper

Another anthology, this time themed around the Devil. The

album begins with a good rock’n’roller by Gene Vincent

And The Blue Caps, with ‘Race With The Devil’ - the quintessential

‘Devil rocker’ from the ‘50s. Fats Waller follows

with ‘There’s Going To Be The Devil To Pay’ making Hell

sound like not too bad a place to be. Blues is heavily represented,

as you would expect, with Bo Carter’s ‘Old Devil’,

in which he used Old Nick as an excuse for his violence to

his woman. Skip James weighs in with ‘Devil Got My

Woman’, along the same misogynistic lines as Bo’s. ‘Blue

Spirit Blues’ by Bessie Smith leads the female contribution

alongside Sister Rosetta Sharpe with ‘The Devil Has

Thrown Him Down’ being the only religious based song in

the compilation. There are also contributions by

Washboard Sam, Otis Spann and Jelly Roll Morton, before

the set climaxes with the immortal ’Me And The Devil

Blues’ by the master himself, Robert Johnson. Surprisingly,

this is the only one of his twenty-nine recordings where he

mentions the Devil by name! A good compilation.

Kevin Wharton

Rich Man’s War:

New Blues & Roots Songs Of Peace & Protest

Ruf

When one considers the opprobrium which befell the Dixie

Chicks a few years back for speaking their minds about

the Bush administration, one could wonder what the

American music scene in 2009 would make of a similar

outbreak of courageous honesty. Of course, it’s all hunkydory

now – Obama’s about to pick up the pieces, the rapacious

bankers have scarpered with the nation’s cash and

Godfathers Rumsfeld and Cheney will no doubt have made

their profit from the war in Iraq. So, now we have a blistering,

angry outburst of comment with various Blues players

and folk artists on this CD, and right from the opening

track, Bob Brozman’s vigorous ‘Follow The Money’, we’re

given a refreshing view of that real, underlying America,

the true concern of blue collar folk’, which sometimes

seems hidden behind the flags flying on lawns. Norman

and Nancy Blake’s ‘Don’t Be Afraid Of The Neocons’ is as

fine a piece of political writing as we’re likely to hear. The

Blues comes thick and fast – there’s some stirring harp on

the Matthew Skoller Band’s ‘Handful Of People’, and Eddy

‘The Chief’ Clearwater gives us a stirring ‘Time For Peace’.

There may only be twelve tracks here, but every one is a

gem. Perhaps music can’t change the world, but it can

make us think and it can make us angry. Put the two

together and we might get somewhere. Riveting stuff.

Roy Bainton

M For Mississippi: A Roadtrip

Through The Birthplace Of The Blues

Broke & Hungry

This CD accompanies a DVD release. Here are eleven genuinely

atmospheric tracks by artists currently playing in

Mississippi whose names many of us might find unfamiliar.

The story goes that Jeff Konkel of Broke & Hungry Records

and Roger Stolle hatched the idea for their movie as “a

road trip through the birthplace of the Blues” - they wanted

to film some of the best and most interesting Blues players

working in 21st century Mississippi. So, we have Big

George Brock, Wesley ‘Jitterbug’ Jefferson, R.L. Boyce,

Terry Harmonica Bean and others providing Blues which is

just about as raw as Blues gets. These recordings are not

only the sound you’d expect in a juke joint – they’re also

shot through with a kind of house party, domestic Saturday

night wildness. Tracks like Jesse ‘T-Model’ Ford’s ‘Hip

Shakin’ Woman’ are solid fish-fry dance music, and the

whole atmosphere here is one of talented plain folk having

one helluva time. So, let’s see the movie – if it’s as good

as the soundtrack, we should be in for a treat.

Roy Bainton

Blues Matters! 111

continued from page 109... mentally but the lyrics are hilarious

and form a good end to a great CD.

Carol Borrington

KOLVANE

Kill These Blues

myspace.com/kolvanemusic

Kolvane has been writing for two decades and all tracks are

self-penned, with the exception of ‘Card’, which was penned by

keyboard player Steve Kerin. Kolvane comes from Portland,

Ohio and his music is rooted in the Blues, but also has a spiritual

element through his father, who was a Baptist preacher.

This reveals itself

throughout the CD as it

intertwines into his passionate

vocal delivery

and guitar work. The

opening track, ‘Dying On

The Vine’, is a clear

demonstration of the

link between the Blues

and the spiritual. A rock-

Blues number but with

an R&B feel added by

the keyboards. The

whole thing is reminiscent of The Doors, and there is certainly

that Baptist choir thump to its whole make-up. The only way to

describe ‘Backside’ is if Jim Morrison meets Blues gospel this

would be what it would sound like! The title track, ‘Kill Those

Blues’, is ‘60s British Blues and Kolvane would not have been

out of place with bands like The Animals or Spencer Davies if

he had played at that time, but with contemporary lyrics. ‘Cool

Baby’ is very traditional of Chicago Blues. ‘Whiplashed’ is the

sound you would get if Ike and Tina Turner met with a Blues

slide guitar. ‘Let Me Love You Tonight’ is a slow Blues ballad

but with a lot of feeling of Nat King Cole. The whole album

showcases Kolvane’s skill. It is a CD of talent.

Carol Borrington

DAVE ALVIN

The Best Of The HighTone Years

HighTone

Dave Alvin first got involved with HighTone and Bruce

Bromberg some twenty years ago when HighTone were having

success with people like Robert Cray. So, with that in

mind, it seems like this compilation is long overdue. Put

together by Alvin himself, it’s a measured self-assessment

of his work. His desire for balance means it is not a chronological

journey but one that allows the eighteen tracks to

connect or at least flow. It is Americana, with appropriate

sprinklings of folk and Blues, and it is roots; songs of storytelling

woes, women and worry. There are four tracks from

his 1998 release “Blackjack David”, all accessible folk

tunes typified by the harmonious ‘Mary Brown’. Alvin’s

deep gruff vocal is best shown off in the rambling

‘Shenandoah’ that also allows some expansive guitar to

add to the vista of the wide country. It’s the previously

unreleased material that particularly grabs the attention

and ‘Dixie Highway Blues’, meant for “Blackjack David”, is

a lovely rolling Blues number that evokes a sensitivity of

depth and clarity. Equally sensitive is the live number ‘Why

Did She Stay With Him’ recorded at the Neighborhood

Church in Pasadena, and the album’s treat that is the duet

with Katy Moffat called ‘The Cuckoo’. Essential.

Gareth Hayes

Blues Matters! 112

CREECH HOLLER

The Shovel And The Gun

Bucket City

Songs of love, lust, violence, murder and mystery – yes, it’s

time for some old traditional music again. Creech Holler, a trio,

originate from the Tennessee/North Carolina area and despite

the presence of a sanctified number, such as ‘John The

Revelator’ – usually associated with Son House these days – I

doubt these guys have ever seen the light, their music is so

dark. Four murder ballads - three of them original, plus ‘Darling

Corey’ like you’ve never heard it before - comprise the listener’s

introduction to this set, their second album. Not that it

becomes happy-clappy after this quartet of songs. Fierce,

slashing slide guitar, powerful, droning rhythms occasionally –

but certainly not always - recalling the southern fife-and-drum

bands or the hill country Blues sound, hints of depraved overamplified

hoe-downs (with a raw fiddle somewhere in the mix),

rough-hewn vocals with equally ragged harmonies and some

originals that fit in perfectly alongside the traditional numbers.

The term ‘Americana’ fits this perfectly – except that it doesn’t

really convey just what a fine release this is – as long as you’re

not looking for a sing-along to put a smile on your face!

Norman Darwen

ISSA BAGAYOGO

Mali Koura

Editions Mail/Six Degrees

John Lee Hooker's records inspired Ali Farka Toure in Mali,

West Africa. In turn, Ali was the influence on a small musical

movement known these days as 'desert Blues'. Singer Issa

Bagayogo is backed here by various combinations of traditional

stringed instruments (kora, n'goni and others) and western

instruments, such as electric guitar, sax, and keyboards - plus

drums, African or programmed!

The sounds produced

- recorded in both

Mali and France - are equally

diverse, ranging from

modern-sounding rock, jazz

or funk inflected tracks (try

'Dunu Kan' for a real

groove) to some that recall

occasionally the propulsive

approach of West African

popular music and on to

venerable sounding 'folksongs'

(for lack of a better category). And, of course, there are

plenty of numbers that are indeed akin to the desert Blues

sound, whilst one or two could be distant relatives of the

North Mississippi hill country Blues. Don't use this as an

introduction to Africa's Bluesy sounds, but if you already

have the taste, by all means give this a listen.

Norman Darwen

TOMMY LUDGATE

Wall Of Words

Noodlehead

22-year-old Tommy Ludgate used slicethepie.com to fund her

debut album – it was literally funded by donations from her

fans! So does that make this a vanity project? Actually, no, it

means that she has made an album on her own terms. It also

means that the end result is the music that she has been playing

and showcasing for her fanbase for the last few years –

they actually did get what they paid for! She has a fine voice,

TONY JOE WHITE

Live At The Basement

JOHN CAMPBELLJOHN

Hook Slide + Sinker

Pepper Cake/ZYX

The Basement in question on Tony Joe White’s album is in

Sydney, Australia, however, as to when this recording was

made is not exactly clear - there is no accurate information

contained within the very basic sleevenotes. This lack of attention

to detail is an irritation to an otherwise excellent album.

Capturing here the growling vocals and, yes, trademark

swampy guitar sound that is Tony Joe White is to get a glimpse

into the very essence of the man. Tony is on great form over

nine tracks that include many classic cuts. Blasting out the starting

blocks with 'Undercover Agent For The Blues', you are immediately

aware that live is probably the best way to experience this

man. I loved 'Steamy Windows', 'Rainy Night In Georgia' and, of

course, the ubiquitous 'Polk Salad Annie'. There is a real bit of fun

going on in 'Even Trolls Love Rock 'n' Roll' that the audience are really

into. No such sleevenote deficiencies with Canadian slide player John Campbelljohn's

album. You get the works, including lyrics, production credits and more. Sixteen tracks, and all bar two of them

self-penned, this is a good old-fashioned rocking Blues album. There are no frills on the production and this is how it

should be, back to basics and it's all the better for it. For example, 'Johnny Rock & Roll' is pure Chuck Berry and a

nice tip of the hat to the master. 'I Wanna Get Up' reminds me of Status Quo around the time of "Piledriver". There

really is a lot to enjoy on this album. The faster version of Robert Cray's 'Phone Booth' works well but it is the quality

of his own writing and, of course, excellent playing that shines throughout this very fine album.

Graeme Scot

jazzy and soulful, and she writes some pretty good songs, as

well. The opener, ‘Nothing To Say’, is jazzily funky with the band

laying down a sweet groove and her voice cutting through with

urgency and passion. On ‘Pain’ you really can feel the hurt in

her phrasing and words; ‘Sweet Release’ is definitely one of

the best numbers released as a single recently, and features

some fine guitar and voicebox; while the title track, ‘Wall Of

Words’, shows that her voice is good enough to stand on its

own. Ms Ludgate is sitting in a congested part of the market

but she has a more personal take on her music than the

likes of Duffy or Joss Stone, and she is a lot less produced

than most of her contemporaries. Maybe not yet the finished

article, but one hell of a base to develop from.

Andy Snipper

ARTHUR LOUIS

Black Cat

Black Cat

Arthur Louis should be one of the names that we regularly

incant when we remember the guitar greats. Hendrix, Clapton,

Page, King/King/King, Guy - he has played with all of them and

influenced many others since he first broke out in ’74. He had

Mike Oldfield as a bass

player and ‘gave’ Clapton

his first taste of reggae.

Unfortunately, he never

made an impact on the

listening public, and so

he became one of the

‘nearly men’ of the

Blues. This isn’t quite a

‘best of’, but he has

included his favourite

recordings, as well as a

few new songs, and it shows the breadth of the musical

spectrum he has inhabited for the last thirty-four years.

‘Born To Sing The Blues’ is deep southern swamp Blues

with horns, and his slightly high-pitched vocals taking on a

really soulful feel. ‘Black Cat’ is a highly melodic Blues/reggae

mix. ‘Rescue Me’ is Chicago Blues, with an Albert King

guitar feel and impassioned vocals, and then ‘Fast Car’

comes over all ZZ Top. He made his name with his version

of Dylan’s ‘Knocking On Heavens Door’, which he plays as a

straight reggae piece - frankly, it is probably the best version

I’ve ever heard. Throughout the album, his vocals are a

feature and the self-penned songs are every bit as good as

the rest – ‘Rose A London’ the real knockout.

Andy Snipper

THE CALIFORNIA HONEYDROPS

Soul Tub!

TubTone

There are not enough bands out there playing tub bass. No,

really, and this album by The California Honeydrops is a little

back-porch gem of jazz and

Blues. The four-piece, consisting

of Lech Wierzynski

on vocals, guitar and trumpet,

Chris Burns on piano,

and Nansamba Ssensalo

and Benjamin Malament

on everything else (including

tub bass, washboard

and jug) have come up

with an album which is

totally unique, but also

highly enjoyable. From the

downhome Blues of ‘In My Dreams’ to the swing of ‘Squeezy

Blues Matters! 113

KINGS OF LEON

Only By The Night

RCA

It is not what you would expect from Tennessee’s grimy, rock-laden,

southern sons. “Only By The Night” is a mixture of production adventurism

and bold guitar flourishes. These are hardly the same guys you

knew on “Youth And Young Manhood” - hardly the same recklessness

brash songwriters. Instead, Kings Of Leon’s forth full-length stands as a

flood of sweet melody accented by rumbling six strings. A sound

encased around the increasingly concise vocals of Caleb Followill.

While the diehards of old squirm, “Only By The Night” is without question

a defiant step forward for the preacher’s boys. ‘Closer’ ignites the

flame in swooping effects and delay. Nathan’s drums drive the number

before opening up into chart mainstay ‘Sex On Fire’. It is obvious that

they are not the dirty, bearded, barn-dwelling, rock’n’rollers of their youth. The recording is tight. Different is

the usual sloppiness of Caleb’s vocals, which were closely tended to for “Only By The Night” and chosen

over the course of three separate tracks. ‘Revelry’ is a melodic gem, while ‘17’ feeds the under aged itch. The

melodies of ‘Notion’ freeze time before ‘Be Somebody’ speaks the perfect message. The alcohol-laden ‘Cold

Desert’ caps the disc. The only thing keeping this recording from a perfect rating is four, overgrown, mustaches.

Do yourself a favour and dig the change.

Martin Halo

Breezy’, “Soul Tub!” is a lot of fun. Lech’s trumpet solos are a

delight to listen to. This guy knows his jazz. Nice! And the solos

are spot on. Like The Subdudes, the joy of this music lies in its

simplicity, with all four players riffing and having a ball. It’s a

jambaya of various American music styles, but the accent is on

fun and good times. Try listening to ‘Cry For Me’ and not ending

up with a big smile on your face. Go on, I dare you!

Jamie Hailstone

HOLLY GOLIGHTLY

& THE BROKEOFFS

Dirt Don’t Hurt

Damaged Goods

This is the band’s follow-up to the successful 2007 release

“You Cant Buy A Gun When You’re Cryin’”. There is confidence

now. Its musical roots reaching below the earth’s mantel, with

Holly and Dave’s vocals reaching into the core. The guitar work

is top notch in technique and feeling, as it compliments the

lyrics throughout. The CD

paints a tapestry of moods

and the use of genre blending

produces a solid Bluesrooted

yet unique format of

musical treasures. ‘Up On

The Floor’ is a country

Blues ballad, with tender

lyric and vocal duet. ’My

45’ is Blues, with a touch

of black satire that Holly

and Dave can impart into

not only their lyrics but in

their rendition of songs. ‘Indeed You Do’ takes the Blues into a

sinister world of the emotional entanglement of love, with

its dark yet emotive guitar riffs and its haunting vocals.

‘Getting High For Jesus’ is pure contemporary 60s R&B -

fast moving, mean harp and very typical of The Manfred

Mann sound of the period. Good stuff! ’Cora’ is a Dave

solo reprising the ‘Navaho Blues’ of 2007! In a just world

this band would be main stage at Glastonbury 2009!

Carol Borrington

Blues Matters! 114

INDIANA PHOENIX

Laugh At The Devil

indianaphoenix.com.au

Dirty, raw and honest boogie led Blues with a southern rock

edge made this band right up my street from the outset. Led by

vocalist Brian Cain, who also adds acoustic guitar and Blues

harp, the band are augmented by several guitarists. The title

track opens with harp and slide blending to an almost oboe

style sound before some gritty

Blues comes in. ‘I Stand

Beneath The Flag’ is a slow

gritty boogie with a nod to

George Thorogood, while

the uptempo ‘As Long As

It’s Blue’, with its wailing

solo, is more up the street

of Nicky Moore’s Blues

Corporation. Between harp,

lead guitar, slide, and even

violin, you’re never short of

either a solo or a high end

Blues riff standing clearly above a boogie rhythm. A nod to

Canned Heat, there’s a strong working of the style of Blues

that still lingers in AC/DC’s background. That said,

‘Heartbreaker’ has a more acoustic rhythmic riff, the electric

solos and big vocals adding an extra dimension. Very

enjoyable - I’d like to see this lot live!

Joe Geesin

JOE TEX

Get Way Back: The 1950s Recordings

Ace

Joe Tex was never the ‘star’ he should have been. Although he

left us with an all-time classic, ‘Show Me’, he only charted once

in the UK in 1977 with ‘Ain’t Gonna Bump No More’. Known as

‘The Rock’n’Roll Cowboy’, Tex had a tough, growly voice with a

passionate delivery and could cut it in many styles, from

straight R&B to almost Sam Cooke level – listen to ‘I Had To

Come Back To You’, featured on this twenty-seven track compi-

lation. These are all Tex’s ‘50s singles and it’s a fine piece of

compilation work by Ace’s Tony Rounce, who also tells the Joe

Tex story in fascinating detail in the accompanying twelve-page

booklet. This music may be half a century old, but it’s lost none

of the original infectious quality which so characterised Joe

Tex’s work. He could rock like crazy – as illustrated on tracks

such as the near enough Little Richard soundalike ‘Yum Yum

Yum’, complete with one of the cheesiest organ solos you’re

likely to hear. Perhaps he covered too many styles – when he

sings ‘Grannie Stole The Show’, there’s everything in there

(Everly Brothers and the Coasters, for example), then his voice

suddenly soars in a heavenly fashion with the beautiful ‘I Want

To Have A Talk With You’. There are no weak links in this CD –

it’s a delight, and although of its time, what a time it was.

Roy Bainton

MIKE WHELLANS

Fired-Up & Ready

Temple

Mike is a brand of musician that is almost in a class entirely on

his own. We often use the term one-man-band, however, in

Mike's situation that is exactly what he is. Sitting in front of his

kick drum and hi-hat, various guitars to hand and with a harmonica

around his neck, he is totally self sufficient. I first saw

Mike play back in the mid-60s on the folk circuit, but even then

much of his set was based on the Blues. Here we are in 2009

and, with this new release, I am pleased to say that he has lost

none of his drive and fire. "Fired-Up & Ready" is a terrific album

containing thirteen studio cuts, plus a couple of bonus live

tracks. The title track starts things off in fine style and at a

good pace reminiscent of Sea Cruise before a nice shuffle,

'The Boogie Man'. In the sleevenotes, Mike acknowledges the

influence of John Lee Hooker on that song but next up is a

cover of Rory Gallagher's

'Going To My Home Town'.

Anybody who does Rory is

just fine in my book, and

this just works wonderfully.

Other highlights include

'Winding Track' and 'Diving

Duck Blues'. Add in

'Lonesome Road' and

'Pinetop Moon/Sandy

Cameron' and this should

be enough to satisfy the

tastes of all Blues lovers.

Unique Mike is, but I like this individuality in a genre so

often populated by a certain blandness.

Graeme Scott

CHERRY BRAKEWELLS

First Bite

Ramshakle

A trio of girls singing and playing their own brand of R&B - not

the sort of R&B most generic soul/dance/pop vocal groups

laughably try to pass themselves off as. Yes, it is modern but

it’s very funk oriented, with a nod at the soul/funk end of

Hendrix and Zeppelin. ‘7th Sun’ is a slower number, with a

good guitar line, very much a sunset feeling, while ‘Cover Me’

nods at power ballad done harsh soul style - very moody.

Elsewhere, the vocal layering and interplay sounds almost conversational.

By the time you get to ‘Sheep In Wolf’s Clothing’,

you’re deep into stripped down Blues territory with some touches

of slide guitar. Then you get the heaviness of ‘Child On The

Highway’, which points strongly at Mother’s Finest. And then

there’s the cover of ‘Long Tall Sally’ to close. Something there

Blues Matters! 115

for many girl groups to learn from! My only criticism of the

album is the awful drum sound. They sound hollow, trebly,

muffled, programmed and distorted - all at the same time!

That said, even with little help along the way (occasional

additional guitar and keyboards), it’s a fine debut.

Joe Geesin

JAY McSHANN

In Copenhagen

Storyville

Kansas City can stake a strong claim to be the birthplace of

the Blues shouter. Count Basie's band roared out of there to

international fame with 'Mr. 5 By 5', Jimmy Rushing shouting

the Blues, whilst Big Joe Turner worked there as a Blues

singing bartender. Jay 'Hootie' McShann never quite hit those

heights - for many years he was recalled chiefly as the employer

of a certain groundbreaking sax player called Charlie

'Yardbird' Parker, who forged

an early reputation with

Hootie's swinging big band

before striking out on his

own, though some might

have also recalled Jay's big

and influential 1941 hit

with vocalist Walter Brown,

'Confessin' The Blues' - and

the Blues was what Jay

and band played, no doubt

about it. The big bands fell

from favour, though, and

this set was recorded in 1977 during Jay's later career, when

he frequently worked as a Blues singer/pianist - sometimes

solo, sometimes with a small group. Here he does both on a

Blues Matters! 116

programme of vintage Blues and boogie (plus a 'Yardbird Waltz'

in honour of the saxman). Nice notes from Paul Oliver complete

an admirable reissue from a figure unjustly overlooked.

Norman Darwen

THE FORTUNATE SONS

The Fortunate Sons

Rollin’

Glaswegian folk/Blues/country/roots – you put a pigeon hole

around it because I can’t and, truth be told, I would hate to

limit them by doing so. They

obviously love The Band as

well as (early) Doobie

Brothers, and there are

hints of Crosby Nash Stills

& Young, but this is their

music, and they do their

thing so well. Sam West

lays down a raw and

whiskey edged vocal performance,

and his rhythm

guitar carries songs like

‘Wasted Time’ like a

speeding steam train. Graham McGeoch plays fiddle like a

demon, as well as delivering some fine backing vocals, and

Calum McCann plays guitar throughout with more delicacy

than you might expect, but a whole lot of heart. ‘Slave Chain’ is

a perfect example of the band laying down soulful, gospel

Blues, with all four members of the band adding something to

the mix – Michael Law’s dreadnought percussion rooting the

song in hardship and giving a real bedrock to the sound. They

play softer stuff, as well, including a couple of really lovely, lilting

ballads - ‘Over Again’ being a perfect example. Being

Scottish, there always has to be some C&W tendencies

showing through, but ‘Starlight’ still has a rollicking feel to

it, and some real passion in the vocals.

Andy Snipper

ZEN BLUES QUARTET

Again And Yet Again

Shunyata

Any album with a song entitled ‘I’ve Had Harder Times From

Better Women Than You’ has got to be worth listening to.

Fortunately, the Zen Blues Quartet deliver a tune worthy of

such a great title. You might not be familiar with the band itself

but, between them, Mike Finnigan (Hammond B3 and vocals),

Steve Ferrone (drums), John March (guitars) and Tim Scott

(bass and vocals) have played with everybody. Their collective

CV includes stints with Hendrix, The Rolling Stones, B.B. King,

and Bob Dylan, and many, many more. Their experience

means they have the chops to deliver some rocking and very

funky Blues. This self-produced CD, which is their second, is as

solid and rocking as anyone else. The karmic chant of ‘Again

And Yet Again’ might feel a bit out of place amid the rocking

Blues, but these guys were born to play this kind of music.

Their experience and ability makes this a great romp.

Jamie Hailstone

THE STUMBLE

Houngan

thestumble.com

According to the sleevenotes ‘Houngan’ (Hoon-Gan) is a male

High Priest in the Voodoo religion. I can only take the band's

word on that fact, however, I can take on the idea that this is a

good album. Thirteen songs, eleven of which are strong inhouse

creations, along with one Howlin’ Wolf cover and one

Porter Grainger & Everett Robbins number. This is the first studio

release from the band

and it is pretty clear that

they had fun making it. I've

said it many times before,

Blues like this should have

an element of roughness

and a basic approach to

the recordings. You are left

with the feeling that if you

stumbled (sorry!) across

this band playing in a club

somewhere you would

leave at the end of the

night having had a terrific time. I know that they are garnering

a lot of rave reviews for their live shows but until you get the

chance to sample that experience then you can do a lot worse

than invest in this CD. It moves along from the starter of 'It's A

Lie' by way of 'Bus Stop', the nice slow Blues 'Nobody's

Business', 'Georgia Sun', 'Sugar Don't Taste So Sweet' to the

apt closer 'Meet Me At The Bottom'. A fine British Blues outfit

well equipped to carry on the tradition of UK acts taking

America's Blues legacy and making it sound fresh.

Graeme Scott

BLACK STONE CHERRY

Folklore And Superstition

Roadrunner

Third album from this Kentucky group, who have been much

linked with the southern rock scene; think more Black Crowes

DAVE GROSS

Crawling The Walls

GINA SICILIA

Hey Sugar

Vizztone/SwingNation

The packaging of “Crawling The Walls” is misleading.

You see the hip young ‘dude’, black shirt and

guitar, and immediately think it must be another hardrocking

gunslinger with more riffs than you can shake

the proverbial stick at it. However, Dave Gross is anything

but another Stevie Ray Vaughan-clone. He is an

accomplished guitarist, arranger and vocalist with his

own voice. On “Crawling The Walls” he recreates the

old-time jazz, Blues and swing of the ‘40s and ‘50s with

an astonishing amount of accuracy. Such is his love for

this music that there are times when you are convinced

you are listening to some lost classic from the Chess

archive. There’s a real lightness to this record and songs like ‘It

Was Born In The 20s’ and ‘Rock In My Shoe’ are tremendous fun

to listen to, and you can tell all the musicians are having a ball.

Dave Gross is not just your average musicologist; he really eats,

sleeps and breathes this stuff. Dave has also produced “Hey Sugar” by

label-mate Gina Sicilia. Her big, booming voice can handle any song which is thrown at her.

The slow-burning ‘Jack And Jill’ is a killer song, and the New Orleans-inspired second-line of ‘So Attracted To You’

is a real highlight. Most of the songs are what you might describe as real belters, but the stripped down ‘I Pray Most

Everyday’ really showcases the depth of her singing. Gina has a fantastically rich voice, with a commanding presence

on this record. “Hey Sugar” might not be as subtle and as intricate as “Crawling The Walls” but they are both

solid releases with excellent production values. More please!

Jamie Hailstone

Blues Matters! 117

than Lynyrd Skynyrd. There’s also a strong element of the

rough end of AC/DC and Led Zeppelin. Right from the opening

track, ‘Blind Man’, it’s a full throttle, in your face feel; it’s not as

Bluesy as it could be, but does show well the Blues influence in

rock and metal. The Blues does show in the riffs, with

‘Soulcrack’ showcasing the big vocals. ‘Long Sleeves’ adds a

sleaze edge and, like many tracks, moves away from the southern

sound for which the band are known. Some very heavy

crunchy riffs, and the occasional upbeat stoner direction, are

the order of the day. Touches of keyboards (‘Devil’s Queen’)

add a good southern feel, though. The twin guitars from Chris

Robertson and Ben Wells interplay well, and Chris’ vocals are

strong. Heavy metal on the southern rock outskirts.

Joe Geesin

J T ROSS

Loaded

South Side

J T Ross’ father is a highly acclaimed Blues portrait painter,

whose work has been featured in the Rolling Stone magazine.

A native of Chicago; his artistic parents ensured that, from a

tender age, his mind was exposed to many of his home town’s

greatest Bluesmen, including Howlin’ Wolf and Hound Dog

BOB MEYER

Threefold Return

Malicious Damage

The follow up to his

2006 debut "All This

Is That" sees the “for

real” truck driving man

picking up on his

Leadbelly and Son

House influences,

running them through

an English lens, mixing

them up with a

Robert Johnson template

and coming out the other side with a very

enjoyable album. Apparently, after a childhood dalliance,

Mr Meyer didn't pick up a guitar again until

the age of 31. With the help of a “Teach Yourself

Guitar” book, he was soon off and running, something

that should bring hope to many folks who

thought guitar picking was something for the young

'uns. This outing sees him progressing from

acoustic Blues into the world of the singer/songwriter,

something that doesn't particularly work for

me, but will have fans of Tim Hardin drooling. I

was happiest when he rattled off into instrumental

territory, fingers a-flashing on 'Rollin' Pt 3' and

'Fast River Of No Return' where he does things

with his guitar that are probably illegal in several

Catholic countries. On the vocal turns, it's the gut

wrenching 'Mary Lou' that comes out a winner, with

his raw rasp burning away. Most of his songs are

straight from “The Big Book Of Blues”, with tales of

life gone bad, but his instrumental prowess, sandpaper

voice and passion for the material, makes

for an out and out winner. For those who find

Seasick Steve a bit too polished!

Stuart A Hamilton

Blues Matters! 118

Taylor. Ross first picked up the harp at only 2 years of age and

is entirely self-taught, although influenced by the likes of James

Cotton and Junior Wells. He plays both types of harmonica, and

after featuring in a number of bands, he was introduced to

Jerry Rosen of South Side Records by South Side Slim. As a relatively

young Bluesman, he has an immediate appeal to the

youth, and his debut album is a solid reassurance that traditional

Blues is alive and well and embodied in this now LA resident.

This album, produced by Jimmy Morello, was recorded at

the legendary Pacifica Studio, and Ross was joined by former

members of William Clarke’s band. The whole album is a harp

tour de force, bringing to mind the feel of Little Walter, in a contemporary

setting. It is all enhanced by Ross’ warm vocals, for

example in the topical ‘Too Much Crime In The City’ and ‘I Need

Some Money’. The album’s high spot is the slow Blues road

song ‘I Need To Go Home’ where Rick Reed’s guitar embellishes

a tune - the harmonica tone is simply magical.

Noggin

TODD WOLFE & UNDER THE RADAR

Borrowed Time

Hypertension

Todd Wolfe is a straight down the middle Blues-rocker. Once

upon a time he was the lead guitarist in Sheryl Crow's band,

before heading off into solo waters, although this album does

still feature a co-writing credit for Ms Crowe. His sound harks

back to the power trio sounds of Cream and Mountain, which

would explain the appearance

of Leslie West on 'Baby

I'm Down', a cover of the

song from West’s first solo

album "Mountain". It's predominately

original material,

although he also has a

bash at the Fleetwood Mac

chestnut 'Oh Well'. The

playing is top notch, but I

didn't find myself taken

with his vocals, which is

why the two tracks that do

stick with me are 'If This Is Love', featuring Mary Hawkwins on

vocals, and the duet on the Sheryl Crow co-write 'California'

that sees Susan Cowsill stepping up the microphone for harmony

and backing vocals. Musically, there are some really

good songs, and the stripped down two-man-band on 'You're

Not The Only One' and the Howlin’ Wolf cover 'Who's Been

Talking' sees the players really firing on all cylinders. A special

mention must go to drummer Dave Hollingworth, who

does a bang up job the whole way through. There is a lot to

enjoy here for fans of that powerful ‘70s sound.

Stuart A Hamilton

JEFF BECK

Performing This Week… Live At Ronnie Scott's

Eagle

I have never really understood why Jeff is not a much bigger

star than he is. For sure, Blues guitar and music lovers appreciate

him, but I have always felt that he is a relative unknown.

That is kind of strange considering he is a true living legend of

the guitar. Perhaps, because of his lack of 'hits', he has

remained in the shadow of other maestros. It could be argued

that this is a good thing, as it has allowed him to develop a

very unique style of playing. Blues and rock based for certain,

and yet it is the infusion of jazz to his mix that separates him

from the mainstream. Ably supported by Tal Wilkenfeld (bass),

Vinnie Colaiuta (drums) and

Jason Rebello (keyboards),

any would be buyer is

rewarded by sixteen

absolutely wonderful, imaginative

interpretations of

some classic Beck tracks

from across the spectrum

of his very considerable

career. Recorded back in

2007, and finally getting a

release, this is a great first

purchase of 2009. Tracks

include 'Beck’s Bolero', 'Led Boots', 'Where Were You', 'Angels

(Footsteps)' and 'Cause We’ve Ended As Lovers'. Add in a

stunning take on The Beatles’ 'A Day In The Life', plus his

own 'Big Block', and it leaves you in awe at just what is possible

with six bits of wire attached to some wood.

Graeme Scott

BOTTLE UP & GO

These Bones

Kill Normal

At just over twenty-one minutes, and seven tracks, Bottle Up

And Go’s “These Bones” is hardly a mass collection of Blues

standards. Nor is it finely tuned to perfection, with the finest

session musicians from around the world. Some purists of the

Blues may turn their noses up at it. Essentially, it is a bombastic

kick in the face of music that doesn’t want to be anything

than a singular form. Clapton comes to mind. At the same

time, “These Bones” refuses to be a mess. It sounds a little bit

like what rock’n’roll might have sounded like to someone who

was still listening to big band music in the early-60s. In any

sense, it doesn’t deserve comparison to anything conventional

because it is quite obvious the boys are not looking for that. If

anything, there is a comparison to be made with contemporaries

White Denim, but it is not a serious one. In fact, I’m not

sure it needs any comparative backing. From the confused and

anxious ‘Wayward Son’ to the remorseful ‘All My Trials’, “These

Bones” makes the impact and leaves. It seems to be something

that works in their favour, whilst never leaving behind less

than bigfoot-shaped footprint on the ear drum of the listener.

Matthew Clarke

PAUL MARK AND THE VAN DORENS

Blood & Treasure

Radiation

Recorded in Memphis, Tennessee in 2008, “Blood & Treasure”

is the seventh release from the talented Paul Mark and the follow

up to 2006’s “Trick Fiction”. Although hailing from New

York, multi instrumentalist Paul and his equally talented band

conjure up all the musical

flavours that

Memphis offers, blending

Blues, soul and rock-

’n’roll on eleven enjoyable

tunes. ‘Wrong Pair

Of Shoes’ could have

easily come out of Sun

records fifty years ago

and there is a strong

Stax feel on ‘Don’t Get

Me Started’ and ‘Raise

The Roof’. Paul’s guitar

and voice are good throughout and his tone and tasty licks

shine through on tracks like ‘Perp Walk’ and the instrumental

Blues Matters! 119

‘Ruff House’. Paul Mark is unlikely to get the nod for the next

Eric Clapton Crossroads shindig, but although there is nothing

particularly remarkable about the musicianship or material on

“Blood & Treasure”, I would suggest you give it a try.

Davide Styles

NED EVETT

Middle Of The Middle

Empty Beach

Ned Evett is a singer/songwriter, guitarist and film-maker from

Idaho, USA. Renowned as one the best fretless guitar players

on the circuit, he plays a left handed fretless guitar right handed

with glass-neck fingerboard. He first performed with a fretless

fifteen years ago and this is his latest CD output. He wrote

and produced the CD, and

all instrumentals, with

exception of the drums, are

played by Ned. Ned’s vocal,

throughout the CD, has

good range and intonation.

He’s is a complex songwriter

of quality material

and there is a lot of comment

on life in his lyrics, as

he poetically bonds words

and concepts. The instrumental

is good throughout

but there is also, as one would expect, some exceptional examples

of his guitar work woven into the fabric of the music. ‘Soul

Inside’ is a rock Blues ballad with a lot of soul inside. Title track

‘Middle Of The Middle’ has a distinct aura of Crosby Stills Nash

& Young, but with more Blues feeling to the song. ‘Living

Machine’ is rock-Blues with that unique sounding fretless guitar

wailing in intricate patterns throughout, with the mastery

of a specialised player and has inflections of

Wishbone Ash. ‘Back To England’ is a war protest song

based around a Crusades theme. It is lyrical, almost folk

mode, but underpinned with a solid Blues guitar riff.

Carol Borrington

JOHNNY CASH

At Fulsom Prison: Legacy Edition

Sony BMG

The latest Fulsom Prison release features a double CD of the

live show together with a DVD. The music is well known to most

people but they may not have heard the full concert, complete

with support act and announcements! The package includes

lively openers from Carl Perkins, with ‘Blue Suede Shoes’ and

‘The Old Spinning Wheel’,

and some startling vocals

from the Statler Brothers,

who contribute four

tracks - ‘The Ole House’,

in particular, is a stunner.

Cash is on top form

with a collection of

songs ranging from well

worn classics such as

‘Orange Blossom

Special’ and ‘The Green

Green Grass Of Home’

to dark numbers, such as ‘Cocaine’, ‘Busted’ and, of course,

‘Folsom Prison Blues’. Given where he sang it, it’s surprising

that ‘25 Minutes To Go’ (to being executed) raised a laugh and

a cheer. A brave choice of song! The DVD provides more than

two hours on the day of the first recording ever made in a

Blues Matters! 120

prison, including new photographs and interviews by people

who were in the audience, as well as Merle Haggard and

Rosanne Cash. It is well put together and evocative of a historical

moment in US history. This is four hours of history presented

in a way which entertains. At under £20, it’s a steal!

Kevin Wharton

DUB COLOSSUS

A Town Called Addis

Real World

Not so much removing the Blues blinkers as taking them

to the end of a very long pier and throwing them seaward

as far as you can. Ethiopian music may not seem to have

much in common with traditional Chicago Blues but some

of the general sound is similar to that of the Arab-inflected

'desert Blues' style, and as followers of the acclaimed

“Ethiopiques” reissue series will know, the country's popular

musicians have also been responsible for some amazing

re-imaginings of US funk. Dub Colossus? Well, dub

grew out of reggae, which in turn evolved from ska, which

was largely based on, yes, American rhythm & Blues and

jumping jazz. Although the links from the music on this

album to the Blues itself may be tenuous, they are definitely

there. Sometimes it can be the feel or approach or

the technique, other times it might be something more

ephemeral - a guitar riff, a slide across the strings (listen

to the slide guitar on the remix of 'Shegye Shegitu'), a

piano riff that could be Blues, a sax line that recalls

Chicago - or the blistering big-band closer 'Mercato Music'.

Yes, you need broad taste and open ears, in addition to an

absence of blinkers, but if that description fits you, do, by

all means, check this out.

Norman Darwen

PAUL RISHELL & ANNIE RAINES

A Night In Woodstock

Mojo Rodeo

Paul Rishell and Annie Raines first performed together in a

Boston bar in 1992. Paul already a well respected, versatile

Blues guitar player/singer and Annie a young, talented Blues

harmonica prodigy. Seventeen years later and the duo have

built a strong reputation

for playing traditional

pre-war Blues styles. But

as this, their fifth

release testifies, their

grasp and ability to play

electric Chicago Blues,

and even laid-back jazz,

is equally impressive. “A

Night In Woodstock”,

recorded live in 2005

as part of a documentary

about jug band

music, kicks into life with Paul Rishell’s National guitar, backed

by Annie’s’ excellent and tasteful harmonica, on a vibrant version

of Blind Boy Fuller’s ‘Custard Pie’. ‘Canned Heat Blues’

shows what a strong, soulful voice Paul has and, if this isn’t evidence

enough, listen to the medley of ‘It’ll Be Me/I’ll Be

Looking For You’. Annie takes lead vocal on ‘Got To Fly’ and

‘I’m A Lover Not Fighter’, but it’s her harmonica playing that

steals the show on both tracks. The unaltered production puts

you right into the club and, whether it’s the acoustic guitar/harmonica

combination of the first few tracks, or the band joining

in when things turn electric on ‘Can’t Use It No More’ or

PATRICK DRONEY

The Other Side

Reform

What do they feed

their kids in the US

and Canada?

Bonamassa at 12,

Tintinalli at 14 and

now a prodigious

young talent called

Patrick Droney at only

16 years of age.

Having already played

the Montreal Jazz

Festival, Antone’s, B.B. King’s Blues Club and

more, he was awarded the Robert Johnson Star

Award Recipient for 2006 as the country’s most

promising Blues musician at only 13 years of age.

“The Other Side” is his CD debut, and all twelve

tracks therein are self-penned - there isn’t a bad

one amongst them. This young man has absorbed

the current music scene and presented a fresh

view on some old themes, incorporating many

touches from bands spanning different genres. To

me he comes over as a Jack Johnson or James

Morrison but with an electric edge and attitude, his

songs borrowing from the Blues but sitting easily in

the rock idiom - many of his songs are also very

radio friendly. His guitar work is phenomenal for

such a youngster, yet the album is more about

melody and lyrics, with the majority of his solos

toned down behind the song. Space prevents me

from waxing lyrical, but try ‘Save Me’ with its instant

sing-along line, including Soundgarden and Zack

Wylde undertones. The future of rock and Bluesrock

is safe in hands like these. Excellent stuff!

Merv Osborne

‘Moving To The Country’ (with a few jazzy moments in between

including a wonderful version of Louis Armstrong’s ‘Old Man

Mose’), there isn’t anything you won’t enjoy about this CD.

Davide Styles

ROXY PERRY

In My Sweet Time

BluePerry Hill

This lady has a big voice, strong presentation, real presence

and a sense that she has lived the Blues. Roxy’s music incorporates

swing, jazz, Blues and big-balled ballads, and all of the

tracks on this, her third album demonstrate that she both

enjoys what she does and knows the history of the music she

is making. ‘Roadmaster’ is a case in point: a big swing number

with horns tootling away, piano tinkling and her voice strident

and leading. When she sings softly on a ballad like Hank

Williams (Snr) ‘I’m So Lonesome I Could Cry’, with a simple

piano and picked guitar backing, she has a soft vibrato in her

voice but none of the Mariah Carey warble. She can funk it up,

jazz it softly and play soul, and she demonstrates - song after

song - what a confident and fulsome singer can do with a good

number. Standout ‘That Night In Memphis’ has a funky Blues

groove with the potential of being a blockbuster live number -

Perry plays her own harp and she is excellent – but if you

Blues Matters! 121

DAVE SPECTER

Live In Chicago

MISSISSIPPI HEAT

Hattiesburg Blues

BYTHER SMITH

Blues On The Moon:

Live At Natural Rhythm Social Club

Delmark

If you enjoy the current crop of Chicago musicians and,

let’s face it, there are a good many of them, then you won’t

find three better albums than this. Dave Specter’s was

recorded in 2007 at both Buddy Guy’s “Legends” and

“Rosa’s Lounge”, with the basic foursome augmented by the

silky vocals of Tad Robinson, Jimmy Johnson (vocals/guitar),

as well as Sharon Lewis singing on two tracks. Opening with

the instrumental ‘Boss Funk/Riverside Ride’, the band stretch

their licks, with some great keyboard work from Brother John

Kattke, before Tad steps up for three songs, and Dave steps stage

left where he both drives the band and solos sublimely. Try the slow

Blues of ‘How I Got To Memphis’ for some beautiful smoky vocal

chords from Tad. Johnson’s voice is the extreme opposite to Tad,

and his guitar work is quite different from Specter’s in both tone and style, but the

pairing works well. Try ‘Feel So Bad’, where the laid-back fingers of Specter contrast starkly to

the pinch and rush of Johnson. When Lewis hits the stage, the proceedings lift a notch as Specter’s chops suit

the deep, gruff voice whilst Miss Lewis commands the boards, his jazz style playing on ‘In Too Deep’ perfectly underscoring

the scene. Mississippi Heat’s second album for Delmark is a great production where Chicago Blues meets the

Latin tempo. Crafted much more around the band as a whole, the success here is in the overall feel and togetherness

of the players rather than individual performances. Guitarists include Cark Weathersby, Lurrie Bell and Giles Corey,

whose solo on ‘Calypso Blue’ would sit comfortably with the Santana band. ‘Forgot You Had A Home’ stands out as a

masterpiece. Byther’s “Blues OnThe Moon” was recorded on Chicago’s south side amongst a community that originally

gave rise to the Blues. This raw, uncompromising and unpretentious performance of a mix of original and cover songs

recalls the halcyon days of true Chicago Blues. A solid performance by Smith and his backing band.

Merv Osborne

favour soul/gospel with a smouldering tone then the title track

is the one to listen out for. Thankfully, there are still ladies out

there who know how to put a number over and the likes of

Adele and Duffy could do a lot worse than listen and learn.

Andy Snipper

DEB CALLAHAN

Grace & Grit

myspace.com/debcallahanband

Only two albums in a decade of high activity on the mid-Atlantic

live scene may not be a good return, but this effort comes in at

an hour and, with some fifteen tracks, gives us a great chance

to witness the powerhouse that is Deb Callahan. In your face

Blues with sideshows of gospel and soul, tracks like ‘How

Many Times’ and

‘Obstacle Of Love’ show

off her attitude and

range. Think Etta

James. Think Bonnie

Raitt. Most of the songs

are penned by

Callahan, or co-written

with guitarist Allen

James or producer

Chris Arms. It’s tight

throughout and

engages like a live album. Standout track, right in the middle,

and right in the middle of the eyes, is ‘Guilty’, one of those

eight minute ‘rather-go-blind’ anthems that you immediately

want to play again once it’s over. To compensate for the draining

and scorching, she slots in three tracks that come in at less

than a minute. Each a nod to, as she puts in her sleevenotes,

“Nina, Ray, Aretha, Joni,” which is fair enough but really just an

opportunity for us to draw breath. She goes funky and funny on

‘No Taxi Driver’ without losing the pace and pulse before slowing

it right down for what she does best, a soaring Blues-gospel

hope-filled anthem, ‘Big Wide Space’. A terrific album, where

the title itself is the best description of the content.

Gareth Hayes

RICK VITO

Lucky In Love: The Best Of Rick Vito

Hypertension

For over twenty years, Rick Vito has graced and enhanced,

recordings and performances of the likes of Bob Seger, Bonnie

Raitt, John Mayall, Roy Orbison and, of course, Fleetwood Mac.

His recent tour with The Mick Fleetwood Band refocused attention

on what a great frontman, singer, songwriter and guitarist

he is. The nineteen track CD begins with ‘Mr Lucky’, the John

Lee Hooker and Al Smith song, which Vito covers with classy

vocal, fluid slide guitar and some get down Blues. ’Rhumba

Diablo’ is a self-penned instrumental with hints of Peter Green

Blues Matters! 122

and Santana - the guitar on this track demonstrates Vito’s

prowess as a top guitarist with Blues latino chorusing throughout.

Peter Green’s ‘I Loved Another Woman’ is a sensational

track. To imitate Green takes courage! ‘Meet Me At Midnight’,

with its West Coast feel, gives a full taste of Vito’s sultry vocal,

backed-up with some sexy riffs. Sam Cooke’s ‘A Change Is

Gonna Come’ is the cherry on the CD’s cake. The slow deep

felt guitar riffs touching the very soul. The guitar playing

throughout displays the phrasing of a master of the instrument.

Blues from the ‘50s and ‘60s into the 21st century!

Carol Borrington

DRUMBO

City Of Refuge

Proper

John ‘Drumbo’ French was drummer and musical director of

the Captain Beefheart Magic Band. The CD is dedicated to the

late John Peel, like so many others in music, who was the

Magic Band’s mentor - ‘To The Loft Of Ravenscroft’ is a direct

dedication. Drumbo’s mission in producing this CD was to put

new impetus into the work of the legendary Magic Band, whilst

producing a piece of

work that could stand

in its own right - no

mean feat! Drumbo is

joined in his quest by

former Magic Band

members Bill

Harkelroad (aka Zoot

Horn Rollo), Mark

Boston (aka Rockette

Morton), Greg

Davidson (aka Ella

Guru) and John

Thomas. Instrumentally, Drumbo achieves the early Blues,

rock and experimental roots of the group, this is apparent on

tracks like 'Bus Ticket Outta Town' and 'Abandon'. At the same

time, the music stands in it own right. “City Of Refuge” hold its

own in the past and present as a piece of instrumental music,

the combination of instruments all doing their own thing,

sometimes even sounding in opposition, yet they have the

knack of coming together seamlessly. Where the CD had a flaw

was in the vocal, Drumbo appeared to putting too much effort

into making it sound dated, which did distract from the whole.

Carol Borrington

THE SEATSNIFFERS

Turbulence

Sonic Rendezvous

This is Belgium’s premier rock-roots/rockabilly band. Musically

sound and full of fun. Definitely a collection that should be welcomed

by most retro rock’n’roll fans. The first half dozen tracks

are all highly danceable, slapping bass, prominent sax rockers.

Then, just as you start to feel it’s all getting a bit samey, track

seven, ‘Boat’, sees the sax being dropped. This coincidently

provides the album with what is probably its most memorable

track thanks to a great hook in the chorus, which unfortunately

is not fit for print. We then progress to a bit of late-70s pub

rock on ‘(You Need A) Checkup From The Neck Up)’. For the

final three tracks, a foray is made into the world of simple

country rock, with ‘Dark In My Heart’, ‘Three Words’ and

‘Thing’. Like many songs from the genre, the tracks here tend

to be short, simple and high impact. Thus, for your eleven offerings,

you get a running time of only thirty minutes.

Thomas Rankin

PLANET FULL OF BLUES

Planet Full Of Blues

planetfullofblues.com

Listening to this CD, the trumpet was overly intrusive, the

Hammond organ was mixed too far up, the vocals were merely

strained growls, and the tunes just missed completely. But

then, as if by magic, the funk fairy decided to drop in on the

recording sessions, sprinkling her dust, and turned the album

completely on its head. Songs like 'Got The Blues' and 'You

Can't Always Be Right' left me cold, however, once they

launched into the funky 'Money' and followed it up with the fantastic

'Dirty Pains', I was wreathed in smiles and dancing like a

fool. Well, tapping my

foot relentlessly. From

then, until the end of the

album, it was like a

whole new band had

checked in to the studio.

I even read the sleeve

carefully just to make

sure it wasn't a split CD,

and that I hadn't

noticed first time

around. Heck, even the

horn section settled

down and started grooving with the best of them. Essentially, a

two-man-band of songwriter and guitarist Johnny Ray Light and

drummer Brock Howe, supported by guest musicians.

Kudos has to be given for making the leap from covers

band to original material. Hopefully, next time round, they'll

make a whole album as good as the last five tracks here.

Stuart A Hamilton

WILLIAM CLARKE

One More Again!

Watch Dog

This is the latest recording to be issued from the archives of

previously unreleased material from the late great Mr Clarke.

The ten tracks included in this collection were recorded live at

an unnamed club in Los Angeles in 1993. As well as underlining

what a wonderful harmonica player he was, these songs

provide ample evidence of what a fine songwriter and excellent

vocalist was lost when he passed in 1996 at the age of 45.

Hailed as a master, within the Blues community, of both the

diatonic and the more difficult chromatic harp, he experienced

only limited commercial success until the early-90s. In fact, he

only toured professionally for the five years prior to his death.

His work during this period would earn him four W.C. Handy

Awards. On this album, recorded at the height of his powers,

there are a couple of tracks which surprisingly do not feature

heavily on his virtuoso playing, but they do allow us the opportunity

to admire his rich, smooth Blues vocal. Most, however,

provide us with an insight as to why he is regarded as such an

influential figure. There are also two untitled instruments which

truly show what he could do. It may be that this is a new name

to you. If so, and particularly if you are a harmonica fan, it’s

time you made an addition to your collection.

Thomas Rankin

BUSHMASTER

Live & Blue

myspace.com/bushmasterblues

As the title suggests, this is a live CD from Bushmaster. The CD

kicks off with ‘Night Shift’, a laid-back funky Blues number;

Blues Matters! 123

Gary’s gritty Blues voice handing over to deep heart felt guitar

solo with fluidity. This in turn is passed onto chest gripping

modern Blues bass solo from Jay Turner, and then tossed to

drummer Mark St Pierre to show he is own talent. ‘Have You

Ever Been Mistreated’ is a slower Blues ballad reminiscent of

the playing of Clapton and Stevie Ray Vaughan. The song is

influenced by an improvisation on material by Sonny Boy

Williamson II, Muddy Waters, Eddie Boyd and Buddy Guy. The

liner notes give a full explanation of how the song has been

combined, but what they don’t tell you is what a fine job these

musicians have done both vocally and instrumentally putting

them together. ‘Drowning On Dry Land’ shows the influence of

Hendrix on Gary and the legacy left by Jimi on a new generation

of musicians. ‘Nappy’s Boogie’ is an instrumental slower

rock Blues, very funky feel to the whole, displaying good vibrato,

string bending and quality phrasing by Gary – and, again,

the prowess of the rest of the band as Blues musicians.

Carol Borrington

JUDE JOHNSTONE

Mr. Sun

Bojak

It is difficult to classify Jude Johnstone’s latest exploration into

songwriting exposition. It’s generally a happy album full of

buoyant themes and optimism, but flavoured like cappuccino,

with plenty of froth and spice around the edges that suggest

loneliness and longing. Influences range from jazz and soul

and, indeed, the Blues, yet it’s clearly a singer/songwriter’s

album with an emphasis on mood and maturity. The second

number, ‘Over Easy’, lays

down the principles of

sexy metaphor with

muted trumpet and mellowness.

And that’s really

what the rest of the

album is about, too -

mellowness. Jazz bar

framing on ‘Echoes Of

Blue’ tell the same

story. It’s sensitive and

sultry and reflective in a

manner that all pianoled

singer/songwriters seem to offer. Blues guitar of some attitude

is called for on ‘Baby, Don’t You Call My Name’ and is

appropriately pitched by the very able Mark Goldenberg.

It’s also the catchiest track that may well get picked up by

another artist - Johnstone has a reputation for writing for

others, such as Bonnie Raitt, Stevie Nicks, Johnny Cash.

The standout, ‘So Bad’ is a simple lament of intimacy. No

need for muted trumpet on this one. The album ends like

it begins, with a series of all too similar ballads that can’t

be criticised but can’t be celebrated either. A refreshing

cup of cappuccino, but just a cappucinno.

Gareth Hayes

BOOGIE BONE

Boogie Bone

Bone Daddy

Boogie Bone have their roots in Portland, Ohio and this is their

debut self-titled CD. This is another band, while solidly Blues

rooted, who are not afraid to mix and match genres and add a

touch of jazz, funk, soul and hard rock to their music. It’s also a

CD which crosses decades and geography, it like a road tour of

American music. ‘Ain’t No Good’ is Blues cross fertilized with

other genres to give an up-tempo rocking Blues. ‘Cheatin

Blues Matters! 124

RAY LaMONTAGNE

Gossip In The Grain

14th Floor

It was at some point

in 2005 that Ray La

Montagne’s star slowly

started to rise. The

title track from his first

album “Trouble” was

getting increased coverage

in the UK -

even though it had

been released over a

year before it was

making an impact. Oddly, by the time of 2006’s “Till

The Sun Turns Black” release, “Trouble” was still

making waves in the album chart. It was one of

those occasions where you felt the timing just wasn’t

right. The general public assumed that

LaMontagne’s second CD was more of the same

and to this point, ‘Trouble’ remains to be his sole

UK hit. So from that, 2008 was a step in a

focussed direction. “Gossip In The Grain” still

keeps its dignity and warmth and super-producer

Ethan Johns continues his work with the singersongwriter

but there is only a few new ideas

thrown into the mix. The opener ‘You Are The Best

Thing’ has all the dynamic horns and multi-layered

vocals of a Motown record, where the eerie stomper

‘Meg White’ sounds like a stalker whispering

into a Dictaphone. The rest of the record fills in

with differing girls’ names and wholesome family

situations. There is some slow guitar strumming

and a few outside instruments, but nothing to tackle

the previous image of a melancholy soul.

Matthew Clarke

Heart’ is slower Blues and jazz combo in the New York vein.

Up-tempo and rocking, all topped with a Blues vocal, with a

hint of jazz and a mean harp driving through some heart driven

bass. ‘What I Need’ takes you in a slower Blues song and off to

Chicago with that harp again, topped with good guitar work

showcasing some tasty violin and highly impressive sax work

and driving drums. ‘Weekend Blues‘ is a swinging jazz/Blues

number that has you tapping your feet and clicking your finger

to the beat. ‘Blues Sea Boogie’ has some great sax work and a

late-50s feel in the vocal. ‘See It Through’ mirrors the transition

period of Blues to rock-Blues. Musically, this is a versatile band,

with good musicianship and vocals – and, if this is their debut,

it shows some really potential for future ventures.

Carol Borrington

MIKE CULLISON

Blue Collar Tired

mikecullison.com

Mike Cullison has released a fine album of country rock music

here, even if, from my perspective, slightly too heavy on the

honky tonkin’ and definitely lacking in real inspiration, although

covering the classic Canned Heat track ‘Going Up The Country’

gets a vote of respect from me. There are some notable players

on this album that have some true musical pedigree,

including drummer Billy Block (New Country) and Johnny Neel

(Allman Brothers) who,

besides providing keyboards,

also produced the

album. While the majority

of material does fall into

the traditional country rock

category, the title track,

‘Blue Collar Tired’, is a real

Blues-rocker, highlighting

the artists future Blues

potential, another strong

track is ‘This Old Heart’,

which benefits from some

tasty lead guitar work. Overall, this is an excellent album highlighting

Mike Cullison’s strong vocals and songwriting skills, yet

interest is only heightened on the harder rockier material.

Adrian Blacklee

TEN YEARS AFTER

Evolution

tenyearsafternow.com

It's over thirty years since Alvin Lee left Ten Tears After. The

band have made a few attempts to reconcile with Lee, and

even managed to make one album, "About Time", but Lee has

left again after each effort. The latest near reformation was in

2001 when the band’s entire back catalogue was reissued,

but Lee declined the opportunity to tour in support of them. So,

the following year, the other three founder members of Ten

Years After - Leo Lyons on bass, Chick Churchill on keyboards

and Ric Lee on drums - got together with the youthful guitarist

and vocalist Joe Gooch. Not content to sit back on their laurels,

they went into the studio for a new album, "Ten Years

After…Now", and they’ve been on the road pretty much ever

since. Now it's time for a new studio release, and "Evolution" is

the result. And it's…well, OK. I wanted it to be more than that,

but it isn't. If it had any other name on the front, I doubt it

would be receiving much attention, as they plod their way

through ten fairly pedestrian pieces of routine Blues-rock.

There are a few beacons of light dotted around here and

there, with 'Slip Slide Away' and 'Tail Lights' well worth

repeated plays, and the Hammond work of Chick Churchill

polishes many a turd. Overall, though, I'd be hard pushed to

pick out more than a handful of songs I'll play again.

Stuart A Hamilton

KATE HART

Alone Again With Friends

katehart.com

Detroit-born Kate Hart delivers her first album for nearly a

decade, as part of a career that goes right back to the’60s.

The best and worst of times are apparent in this fourteen track

exploration into superb Blues and soporific jazz. It’s that

unwanted mix that makes it feel more like a compilation album

than a novel delivery of all-original songs. For Blues lovers,

there is enough here to

make the trip worthwhile,

though. The first three

tracks are true embers of

burning Blues, with the mellowest

harp, courtesy of

Dave Morris, accompanying

Kate Hart’s overflowing

vocals that settle freely into

gospel repeat. They drawl

and drain with pained perfection

and then suddenly,

Blues Matters! 125

with track four, and ‘Bad Girl Blues’, we get coffee-shop jazz-

Blues with floaty keys and a different mood. We then move into

elements of swing and a new era. The gospel element, so

strong early on, has gone and we’re in Marilyn Monroe territory,

particularly on ‘Monkey On My Back’. We even get a Bo Diddley

styled number, ‘You Can’t Go Up’, but without the punch,

before, at last, we return to the emotional sensitivities of the

first three tracks in the tail of the album. Standout of the whole

package comes at the end, with ‘Living The Blues’, a slide guitar-driven

threnody that just about makes things worthwhile.

Gareth Hayes

BIG LINDA

I Loved You

biglinda.co.uk

Hard rock from this quartet, with a feint hint of Blues’n’funk.

Opener, ‘Suddenly Attacked’ is a well rounded full-on track

which is thoroughly enjoyable, and something slightly reminiscent

of Mothers Finest. A good start! A shame, then, that second

track ‘Golden Girl’ is more guitar pop, with that watered

down punk feel. A good

solid number but a letdown

after such a strong start.

‘Another Way’ opens

acoustically, and builds into

indie power ballad, with a

nod at Radiohead. ‘Idelu’

is a strange number, being

largely indie-rock but in

places the guitar sound is

that of mid-90s Robert

Fripp, and the quieter

moments have a stoner

edge. Some nice drum work, though. ‘Windpower’, with its tribal

drumming and Hawkwind intro, nods at the kind of 80s

pop that still hadn’t quite forgotten punk, and the deep

vocal moments nod at the Crash Test Dummies. The mix of

styles goes on, to rock and back. Clearly playing a guitar

doesn’t make you rock’n’roll, and the band seem to be

playing a lottery in trying to find it.

Joe Geesin

EDGAR WINTER

Rebel Road

Evangeline

Edgar has been, over the years, an anomaly of musical terms.

His precocious talent has flirted with differing styles and, whilst

not enjoying the flash of stardom that his brother Johnny does,

he is still there producing records, playing and touring. “Rebel

Road” somehow ties together those elements of Winter’s musical

rebel side, and by inviting Slash to play on the title track, it

opens with a fiery rocking song. In fact, this is Slash at his

meanest and finest. His brother Johnny solos on the Bluesy

‘Rockin’ The Blues’, and again it’s a fine performance from the

guest artist, but Edgar doesn’t need to rely on guests as his

touring band are more than capable of kicking some ass!

Check out the country rocker ‘On The Horns Of A Dilemma’, or

the AOR tinged ‘Freedom’. Edgar’s hard edged voice is on the

nail throughout and there are very few downsides. The weakest

song here is the ballad to his wife, Monique, called ‘The Closer

I Get’. It’s an acoustic autobiographical rendering of his love for

her and sits out of character with the rebel theme as further

expounded in ‘The Power Of Positive Drinking’ and ‘Texas

Tornado’. Overall, this is a good rocking album.

Merv Osborne

Blues Matters! 126

MR. DAVID VINER

Among The Rumours And The Rye

Loose

We Brits should pat ourselves on the back occasionally,

because we’re always doing something interesting and new

with music, if only to prove that we’re more than the “X Factor”.

Here’s a fine example. I was particularly interested in this collection

of original songs written by David and Lucy Viner,

because there’s a familiar name in the line-up, the excellent

bass player John

Cheeseman. Having

lived in Grimsby for ten

years (well, somebody

had to), I was aware of

John as a local legend

on the music scene,

with his hard working

rockabilly outfit the Riot

Rockers, and he was

also landlord for a

while of one of our

favourite boozers, the

Barge. It’s a collection of mainly gentle songs with thoughtful

lyrics performed acoustically. It does rock like hell here

and there, such as on ‘Dig A Hole’, and throughout there’s

a great downhome feel on tracks like ‘Get Through This’

and ‘Old Black Crow’. If you like folk music, spliced with a

touch of Blues/Americana, and poignant songs which make

you think, this is for you, and the title song, ‘Among The

Rumours and The Rye’, is terrific. This is personal, intimate

music crafted with love. Good old Britain.

Roy Bainton

FREEWORLD

From The Bluff

Swirldisc

You might not have heard of FreeWorld, but you will have

heard of their producer on this CD, one Jim Dickinson, and

his sons, Luther and Cody (North Mississippi Allstars), who

also appear on this record. The band, FreeWorld, are actually

one of Memphis’s premier jam bands and have been

going for more than twenty years. This is their fifth studio

record and it features an array of musical talent. The

record is dominated by jazz funk, which in itself can either

be a blessing or a curse. The opener ‘Keep Smilin’ is a

solid piece of Blues-rock, but after that, it goes headlong

into the majesty of jazz, a la Weather Report or Steely Dan.

It’s always a pleasure to hear musicians with real ability to

play, but some of the later tracks do rather merge into one

as the jamming takes over. At times, it feels like a left over

from a certain age when an album wasn’t an album until it

had at least four different solos on each track.

Jamie Hailstone

JOHNNY FLYNN

A Larum

Lost Highway

For a handful of artists, 2008 was a year to show no fear.

When I write those words in this context, I don’t mean mass

genocide or public humiliation. What I do mean is that the

quiet, dignified lo-fi sound that has in many ways infected various

individuals in the last millennium from the medieval man

with a lute and a love song to Tim Buckley has become popular

again. This time it is not Burt Jansch or Joni Mitchell but a

LIL’ ED AND THE BLUES IMPERIALS

Full Tilt

MICHAEL BURKS

Iron Man

Alligator

Lil’ Ed is titled “King of the Slide” and the Blues Imperials

“the world’s #1 houserocking band.” On this album, they

could just convert any non-believers. The opening track,

‘Hold That Train’, is truly ‘full tilt’. A blistering, rousing train

song. Sounds like a classic, but is just one of the many fine

originals, which vary from mainly straight rockers to a couple

of slow tracks and some Chicago Blues. The covers are well

chosen. You get a lively version of the old dance track ‘First I

Look At the Purse’; an excellent version of James Young’s slow

Blues ‘Every Man Needs A Good Woman”, which also allows

Ed to display his gritty soulful vocal; and an exemplary homage

to Hound Dog Taylor on ‘Take Five’. A fifteen track hour of joy.

Michael “Iron Man” Burk is the owner of a gruff, smoky, emotionally

charged vocal with a hard drivin’, stormin’ guitar style full of raucous

riffs and fearless fret-melting, inspired by the likes of Albert Collins

and Luther Allison. It’s part rock, part soul, but all Blues. There is a nice mix in the

pace of the tracks but all are heavily guitar driven. I know nothing of the artist’s love life but the relationship

theme dominates the tracks, as titles like ‘Icepick Through My Heart’, ‘Love Disease’ and ‘Empty Promises’

would indicate. Gifted with lyrics such as “and I don’t even smoke... I believe to my soul there’s another man

sleeping in my bed” and “every time I ask you to make love you say you’re tired and you don’t feel well” (‘Ashes

In My Ashtray’) - you know where he is coming from!

Thomas Rankin

group of hairier, more backwood-looking bunch. The success of

artists such as Bon Iver and Fleet Foxes prove this to a certain

extent, but the ‘scene’ can be derived from far much more

than its success stories.

James Yorkston has

built upon his already

nonchalant presence

with a new album and a

new stake in the festival

hierarchies and bluegrass

deadbeats

Mumford And Sons

have hit a nerve with

the BBC in their Sound

2009 predictions. So

where, you may ask,

does Johnny Flynn fit in? In taking the overly clever route of

mentioning the current climate of folk music, it is humbling to

suggest that Mr. Flynn is at the very highest calibre of this

group of artists. Every melancholy note and strained violin

string is a delight. It is a paen to the broken hearted. The only

suggestible thing would be to witness it, privately perhaps with

a lover in a small shack on the coast of the Isle of Skye.

Matthew Clarke

DAVE ARCARI

Got Me Electric

Buzz

One of the hardest working musicians around, spending a

great amount of the time on the road with his absolutely

unique shows, Dave is a formidable imposing presence on

stage. Quite how he has found time to write and put these

recordings together is a bit of a mystery. Having said that,

when you are just using your voice and guitar, the process is

simple. Okay, so on to the music. Throughout, Dave growls his

vocals, stomps his feet and pounds his guitar as only he can

over these thirteen cuts. Subtle is not really a word to apply to

any of the songs,

although, when he is covering

'Soul Of A Man', at

least he tries to tone it

down. This album is

rough and ready, downhome

Blues of the highest

order. He takes

Robert Burns, yes, the

Scots poet, and blasts

apart 'Parcel Of Rogues'

brilliantly. Yes, there are

still traces of the folk

in there but it just lends itself to a Blues workout.

'Nobody's Fool' is a tale of getting out from under moneylenders,

at least for now. The country tinged 'Homesick &

Blue', 'Hear Me Coming', 'Bound To Ride' and 'Close To The

Edge' are real highlights.

Graeme Scott

JOANNE SHAW TAYLOR

White Sugar

Ruf

This burns with an intensity that you’d associate with a Stevie

Ray or Ted Nugent album, and Joanne has a voice to go with it,

too. Opening track, ‘Going Home’ kicks ass righteously and her

guitar sound is full of menace and real intent. Of course, having

‘Big’ Jim Gaines as your producer doesn’t hurt but he won’t

be able to do anything if you don’t have the talent to begin

with, and playing with the likes of Jimmy Cliff, Dave Stewart

and Candy Dulferwhen when you are 17 will probably give you

Blues Matters! 127

some chops to learn from - and from the sounds of the nine

self-penned numbers here, Joanne isn’t missing anything in

the talent or confidence

stakes. ‘Bones’, the only

number here she didn’t

write, has a swamp Blues

feel to it, as well as a seriously

funky guitar sound,

whilst the title cut shows

that she is very capable

around the Telecaster she

is pictured with on the

cover. The closer, ‘Blackest

Day’ is a stunning introspective

piece with all the

emotional content the title suggests and sung in a smoky

tone that just rivets. Even though she has been playing in her

own bands for a few years (since she was 14), Joanne Shaw

Taylor is a real contender for newcomer of the year on the

basis of this album and, if she is the given the opportunity to

develop, she could be huge in the coming years.

Andy Snipper

ANGIE PALMER

Meanwhile, As Night Falls…

Akrasia

Angie Palmer is a class-act. Production values abound from the

album packaging, artwork and complex website, she knows

how to gift-wrap, and the content of the CD is equally shiny

and glamorous. Her fan-base is growing as fast as the stars

mount up on her back-catalogue and reputation, word-ofmouth

and expectation add to the status. So, what of the

music? It’s pop, folk and folk-Blues - in that order. Superior

story-telling with superior musicianship makes for easy listening

or intense adventure, whichever you want. The best Blues

comes through on ‘Hunting The Wolf’, a novel take on a

favourite fairytale, with delicate breathy vocals shadowed by

haunting guitar giving that dark woodland a hypnotic and fiery

edge. Angie Palmer’s vocals become a notch more husky on

‘Hey Lazarus’, as guitar, banjo and mandolin compete for her

attention. It’s a pleasant sound - safe and symmetrical. ‘I Hear

That Locomotive’ carries the railroad folk-Blues banner high

and proud, eschewing predictability without a second thought;

so much so, it works. Fans of Bob Dylan and Joni Mitchell

allure to Palmer’s style and that labels her as much as her frequent

radio-play on Bob Harris does. The marathon, nearly

nine-minute-long album finale, ‘Weeping Wood’, sums up her

folk and fairy tale desires. Building and crafting with artistic

merit, the status is one of stature and arrival.

Gareth Hayes

HOGJAW

Devil In The Details

swampjawbeamusic

Hmm, a band wearing trucker caps, singing songs about guns,

cars, whisky (with an 'e') and swamps. I smell a southern rock

THE JEFF HEALEY BAND

See The Light

Hell To Pay

Feel This

SPV/Blue

At only 8 months old Jeff Healey’s eyes were

removed because of a rare cancer, retinoblastoma.

He first picked up a guitar at age 3, and

perfected his own virtually unique method of playing.

This involved (mostly) sitting down, placing

the guitar lap steel style on his knee and fretting

with all digits of a down-turned left hand; this gave

him great control and power, deriving a particular

tone in his rock and Blues playing. He was discovered

in 1985 playing Albert’s Hall in Toronto by

Albert Collins and, the undisputed leader of the

mid-80s Blues revival, Stevie Ray Vaughan. This

eventually led to a recording contract with Arista. It

is hard now to imagine the enormous impact of the

international discovery of this brilliant Canadian guitarist in

1988 and 1989; the buzz on BBC Radio and the early fascination

with his style of playing was huge. These remastered digipaks are rereleases

of his first three full-length studio recordings. He always attracted the attention

of fellow musicians, and covered material by John Hiatt (the massive US hit ‘Angel Eyes’) and ZZ Top

(‘Blue Jean Blues’) on his debut, and incidentally finest, album. Then on “Hell To Pay” he enlisted Mark Knopfler to

back him up on ‘I Think I Love You Too Much’ and George Harrison on the previously untouchable Beatles/Clapton

classic ‘While My Guitar Gently Weeps’. However, Healey was much more than a cover artist, and songs like ‘I Need

To Be Loved’, ‘Life Beyond The Sky’ and ‘Evil And Here To Stay’ are fine examples from these albums. Tragically,

after being cancer-free for most of his short life, it returned with a vengeance and he passed away just a few days

short of his 42nd birthday, and a month shy of the release of his new release “Mess Of Blues”. Although the initial

shockwaves subsided with each release, and Healey himself became wearied of the rock scene and turned to his

first love of jazz, the brilliance of his early output cannot be over-stated.

Noggin

Blues Matters! 128

MAVIS STAPLES

Live: Hope At The Hideout

Anti-

Baring her soul to a

totally enraptured

audience at The

Hideout in Chicago, in

the early summer

2008, this new album

reflects very well the

magical elements that

on occasions conspire

to create a special

atmosphere. Backed

by a three-piece band and some additional folks

on backing vocals, Mavis began, surprisingly, with

a fine cover of 'For What It's Worth'. Straight into

'Eyes On The Prize', 'Down In Mississippi' and

'Wade In The Water' - if you ever needed a good

example of the close relationship between gospel,

Blues, soul and R&B look no further than those

three tracks. You've got the lot right here, call &

response gospel lines, deep soulful rhythms, heartfelt

Blues and a respect for music of the southern

States that, even if you do not particularly have a

religious faith, you can not help but be carried along

by her remarkable talent. Listening to this album

moves you, uplifts you and, should you be feeling

down, then I would suggest it could banish those

Blues and heal your pain. Ever possessed of a

social conscience, Mavis belts out standards such

as 'Will The Circle Be Unbroken', 'We Shall Not Be

Moved' and 'Freedom Highway' with such passion

that when she closes with 'I'll Take You There', you

would gladly get onboard. Outstanding stuff.

Graeme Scott

band, and a mighty fine one at that. Fronted by vocalist, guitarist

and chief songwriter Jonboat Jones, Hogjaw take a basic

southern rock and Blues template, run it through a

Leadfoot/Corrosion Of

Conformity/Pride & Glory

metallic burner, and

come out the other side

with a hot and nasty,

21st century version of

God’s own music.

There's a hint of stoner

and desert rock about

them, as well, but these

boys seem more

inclined to greet a stoner

with a 12 gauge

shotgun than a bong. However, there's nothing here that would

give a Molly Hatchet fan undue cause for concern with

'Before Monday Come' riding hard on a 'Beatin' The Odds'

style riff. And they're not averse to a Lynyrd Skynyrd type ballad,

with 'The Fog' filling the position nicely. Being good southern

boys, though, they follow it up with the gun toting

'Gitsum'. It's a storming album from start to finish, and anyone

with a hankering for some red hot southern rock and

Blues would be well advised to check this out.

Stuart A Hamilton

RUTHIE FOSTER

The Truth According To Ruthie Foster

Blue Corn

Ruthie Foster is on a roll at the moment recordings wise.

Possessed of a glorious voice that lends itself to gospel, Blues

and soul, she is a delight to listen to at any time of the day. In

concert, you get to experience the full range and power available

in her pipes, and it is,

at times, strange to think

that it comes from a little

lady. On record, it is just as

pleasurable to listen as she

wraps her vocal chords

around these eleven songs.

The vibrant 'Stone Love'

gets us underway then a

nice reggae groove, 'I

Really Love You', takes

over. I loved her take on

Patty Griffen's 'When It

Don't Come Easy' - filled with heartbreak, as is 'Tears Of

Pain'. When she sings, in the title song, "truth is where you

are," she nails the sentiment that permeates this album just

brilliantly. There is not a bad vocal performance here.

Backed by stellar musicians, this should surely elevate

Ruthie to the highest levels of this wonderful world of music.

Graeme Scott

BLUES BASEMENT

Seven

Arctic

This Norwegian band, going by the seemingly very popular

name of Blues Basement (according to my search engine’s

results anyway), have been established for twenty years and

have released at least five CDs in their home country. The

band site their Blues heritage as being John Mayall and Eric

Clapton, and this clearly shows in their musical output, which is

basically late-60s guitar led Blues-rock, whilst all the material is

self written and dominated by the guitar dexterity of Eric

Stensvik a la Clapton himself. While the musicianship is strong

throughout, the vocals are the weak link. I do not wish to be

overly critical, as I appreciate that English is the second language

here, but a good vocalist would really enhance the

band’s sound and take them to the next stage. This CD does

highlight the diversity of Blues music being played around the

globe today, while not a recognised Blues hotbed, these guys

have certainly put Norway on the world Blues map, particularly

with the penultimate track ‘Plaintive Blues’, which includes

some good keyboard work from Rune Pettersen.

Adrian Blacklee

THE JIMI HENDRIX EXPERIENCE

Electric Ladyland:

40th Anniversary Collectors Edition

Universal

This retrospective package, comprising a sixteen-track CD and

DVD, is re-released yet again - this time, to celebrate the 40th

anniversary of the original release of the famed double album

in the troubled times of 1968. The DVD is an interesting if

somewhat disjointed rockumentary about the making of the

album. Poignantly it includes sound bites, amongst others,

from all three original members: Hendrix, Noel Redding and

Mitch Mitchell, and producer Chas Chandler - all sadly now

passed away. The chaotic work of the genius Hendrix frustrated

Blues Matters! 129

the producer and band members alike, if not the indulgent

engineer. Some of the still photography is by Linda Eastman,

and it had been Hendrix’s wish to use this on the album

sleeve. The album is highly experimental and innovative. It

certainly demonstrates that its leader had moved light years

from the tight rock band that burst onto the scene with the

seminal “Are You Experienced?”. Mates like Jack Cassady,

Mike Finnigan, Dave Mason and Steve Winwood drop in. The

songs include some of his best, especially the propulsive

‘Crosstown Traffic’, straight ahead rock of ‘Come On (Let The

Good Times Roll), brilliant Dylan interpretation ‘All Along The

Watchtower’ and massive hit ‘Voodoo Child (Slight Return)’,

but also some of his increasingly inaccessible material. Chas

Chandler sought the concise and commercial; Hendrix

obsessed over the creative and eclectic - the tension is palpable.

This could have made a brilliant solo album if it had

been edited to the sum of its finest parts.

Noggin

NEW GUITAR SUMMIT

Shivers

Stoney Plain

Well, I certainly wasn't expecting this. After all, you've got Jay

Geils from, um, the J. Geils Band; Duke Robillard, a Blues legend

who, amongst many other accomplishments, replaced the

seemingly irreplaceable Jimmie Vaughan in The Fabulous

Thunderbirds; and Gerry

Beaudoin, a well

respected jazz guitarist.

Heck, they even went

and brought in Randy

Bachman of Bachman-

Turner Overdrive to

handle the two vocal

turns on this largely

instrumental release.

Now, I missed out on

their debut release

back in 2004, and on

the follow-up DVD, so was ill prepared for the late night,

smooth jazz stylings that came trickling out of the speakers.

Where was the smoking hot Jay Geils Blues guitar I loved so

much? They've turned the clock back to the smoke filled backrooms

of the ‘30s for a very sophisticated set, fairly evenly split,

of originals and covers. If I tell you that they revisit classics by

the likes of Benny Goodman, Fats Waller and Lionel Hampton,

then you'll know where they're coming from. Don't get me

wrong, this is actually a very good album, especially when

Randy Bachman turns up for the two Mose Allison covers, but

me, I had to head off and dig out "Live Full House" - the legendary

1972 J Geils Band album - just to recover from the

shock. Recommended for the more sedentary among us.

Stuart A Hamilton

MORIARTY

Gee Whiz But This Is A Lonesome Town

Naive

Moriarty are made up of members from London, LA,

Boston, Paris and Cincinnati – and this diversity is reflected

in the album’s twelve self-penned songs. Lead vocalist

Rosemary Moriarty has a very distinctive and unique voice.

It has good range and intonation but it is also able of performing

vocal gymnastics - from the sultry and sexy to, at

times, menacing and dominating. The instrumentals are

unique, and labelling is difficult as the group dip their toes

Blues Matters! 130

in folk, Parisian jazz, rock, Blues, prog, country & western,

and elements of world music. Opening track, ‘Jimmy’ is a

rootsy country & western ballad, with Rosemary’s timeless

vocal telling the tale. ’Loveliness’ is an extreme contrast,

defying any box, being diverse throughout in genre and cultural

influence. A musical melodrama of contorted lyrics

and sounds, all acting out an abstract plot. ‘Private Lily’ is

a song with deep satirical lyrics about youth and war

through the eyes of a female recruit. An intense and condemnatory

song, again with a surrealist edge built on the

early-60s folk protest model. The strangely titled ‘(…)’ is a

short instrumental break hinting at primitive prog rock.

‘Whiteman’s Ballad’ is country & western with a hint of an

Irish lilt; political lyrics are driven by musical highs and

lows. This CD is very different, but excellent.

Carol Borrington

GATOR COUNTRY

Live

Go West

Molly Hatchet are, without question, one of the great

southern rock and Blues bands. Of course, the Molly

Hatchet that's still touring and recording lacks one essential

element - an original member. There's not one in the

Molly Hatchet of today, thanks to the joys of the legal

world, although Dave Hlubek has been in and out of late.

This is where Gator Country comes in. They can number

four of the classic Epic Records era band in their ranks.

Factor in the strange addition of former UFO guitarist Paul

'Tonka' Chapman and, on paper, they should be world

beaters - age and infirmity allowing. And they are! From the

moment the riff to 'Bounty Hunter' kicks in, a shiver run

down my spine and didn’t leave until 'Boogie No More'

crashed to a close an hour or so later. As someone who

heard the Jimmy Farrar fronted Hatchet first, it's a joy to

hear his powerful voice is still intact. And with a classic

three lead guitar line-up in place, the music just rocks your

Blues away. The album is dedicated to the late, great Molly

Hatchet guitarist Duane Roland and closes with a cracking

studio number, 'Oh, Atlanta', featuring the man himself. An

absolutely essential purchase for fans of the genre.

Stuart A Hamilton

DYNAMO’S RHYTHM ACES

What More Do You Want In Life?

dynamosrhythmaces.co.uk

There is a fine line to tread when you cover a well-known

song in a new or unusual genre. Get it right and the results

can be truly electrifying,

get it wrong and you

end up with what seasoned

music critics like

to call a “dog’s breakfast.”

Dynamo’s

Rhythm Aces are a trio

of guys who love their

retro ‘40s and ‘50s

jazz, swing and rockabilly

almost as much

they love their modern

“beat combos.” “What

More Do You Want In Life?” is the band’s fourth CD and

features skiffle and swing covers of everything from

Aerosmith’s ‘Walk This Way’ to The Clash’s ‘Rock The

Casbah’. Some of the covers work better than others. Their

DUWAYNE BURNSIDE

Live At The L.A. Mint

TOMMY MCCOY WITH TOMMY

SHANNON & CHRIS LAYTON

Triple Trouble

NORTH MISSISSIPPI ALLSTARS

Phantom 51

ROB TOGNONI

Ironyard Revisited

Blues Boulevard

Mississippi born Duwayne Burnside was joined in 1998

by family members Cedric Burnside (drums) and famous

father RL Burnside, plus friends known as the Mississippi

Mafia, for this live recording in Los Angeles, and now reissued

under licence. Duwayne, long time rhythm player in

his father’s band, this time takes lead guitar duties

throughout. The band gets off to a blistering start with ‘Bad

Bad Pain’, and deliver standards like ‘Crosscut Saw’ and

‘Dust My Broom’ with panache; the latter driven along by

accordion accompaniment. The real letdown is a near nineteen

minute plod through the hackneyed and tedious ‘Hoochie

Coochie Man’, and one wishes space had been found for more originals.

Veteran Tommy McCoy’s album, recorded in Texas, had been in the can for

some years, and was made as a result of a long friendship with the late Stevie Ray Vaughan.

The inclusion of the Double Trouble rhythm section in the title only applies to six of the thirteen tracks, but

that does not detract from what is an excellent and belatedly released album. There is an apparent topical preoccupation

with money which forms the subject matter of no less than seven tracks, including versions of Pink Floyd’s

‘Money’ and ‘Money (That’s What I Want)’, covered by The Beatles and Buddy Guy et al. The music is in the vein of

southern rock and Blues, and McCoy’s keen songwriting, strong vocals and tasty guitar work combine to produce an

excellent album. “Phantom 51” is the second album from North Mississippi Allstars, and, when originally released in

2001, cemented their reputation as the purveyors of rootsy Blues infused rock. Brothers Luther and Cody Dickinson

emerge as talented songwriters, and, from the opening bars of the title track to the sound effects introducing the hypnotic

rhythms of the closing song, ‘Mud’, this is essential and wonderful Americana. Junior Kimbrough’s ‘Lord Have

Mercy’, the Allstars version of Pops Staples’ gospel infused ‘Freedom Highway’, psychedelic ‘Circle In The Sky’ and

‘Leavin’’ show a harmonious and welcome sensitive side to their music. On the other hand, Tasmanian native, Rob

Tognoni returns with this typically uncompromising and often frenetic set. It was indeed a defining moment for Tognoni

when at age 14 he attended an AC/DC show, and their influence is most apparent in this Blues-rock CD. Most of the

tunes were laid down earlier this year, but are occasionally interspersed with older rarities going back a few years,

including his uninspiring live take on ‘Hey Joe’ and the alarmingly titled live ‘Blow Your Nuts Off With A Gun’. The best

examples of his talent are displayed in the slow Blues instrumental ‘The Ironyard’ and choppy ‘Can’t Take Lovin’’.

Noggin

rendition of The Arctic Monkey’s ‘I Bet You Look Good On

The Dancefloor’ is excellent, while their take on Pulp’s

‘Common People’ is a slight misfire. The swinging beats

and vocal harmonies show the trio of William Waine,

Daniel Kear and Peter Lane really do know their stuff, and

you know that they must be a lot of fun live. Quite what

AC/DC fans would make of their version of ‘Back In Black’

is another matter. For those about to swing, Dynamo’s

Rhythm Aces salute you!

Jamie Hailstone

JAKOB DYLAN

Seeing Things

Columbia

Even if you were living isolated from all news forms, if this

album came to you there could be no doubt about half of

Jacob's parentage. Not only would the name give the game

away, but also there is something unmistakable about the

eyes. They bore straight into you, demanding your attention,

and so it is with the music. Produced, or should that

be under produced by the extraordinary Rick Rubin, this

CD is quite exquisite in its simplicity. Voice, guitar and, of

course, the songs are given the magic treatment of less is

more. Dare I say that he has a more musical voice than his

father does? Ten strong songs make for a slight difficulty

in picking particular ones to highlight, however, 'Will It

Grow', 'Something Good This Way Comes', 'Up On The

Mountain' and 'I Told You I Couldn't Stop' most certainly

are options. Mind you, how could I leave out from that list

'Evil Is Alive And Well' or 'Valley Of The Low Sun'? Stepping

out from his time within The Wallflowers has allowed Jakob

and his music to shine.

Graeme Scott

Blues Matters! 131

JACK BLACKMAN

Around five years ago I found a 1970s Jedson

Telecaster copy in the loft and set about meeting a challenge

set by my dad: ‘Learn ten chords properly and I’ll

get you a decent guitar!’ A week or so later I plugged

the guitar into his old WEM amp and blasted out the

chords. I was 9 years old and totally hooked by the guitar

and especially to playing the Blues.

“I’m 14 now and the last year or so has been amazing.

I passed my grade 8 guitar exam and successfully

applied to the BBC for an instrumental bursary. This

money paid for my American 1952 re-issue Fender

Telecaster, which is now my main guitar.

“On 12th March 2008, my 14 birthday,

Paul Jones phoned, responding to a letter

from dad. He invited me to do a number

sitting in with The Blues Band at

Cox’s Yard in Stratford upon Avon.

“I turned up with the Tele and an amp

(a borrowed Mesa Boogie), as nervous

as anything. Tom McGuinness and Dave

Kelly were already there and called me

up for the sound check, which went pretty

well. Towards the end of their first set,

Paul called me up with a jaw dropping

intro: “I recorded this song in the 1960s

with Eric Claptonso, no pressure,

Jack!” The crowd laughed as the band,

with me as guest, launched into the old

Powerhouse number ‘I Want To Know’. I

took a solo and loved every second. At

the end of the song, the audience

cheered loudly.

Jack Blackman: taking

his opportunities!

“The Blues Band link gave me a foot in the door at

the Upton-on-Severn Blues Festival where I played a

short acoustic set, including Rev.Gary Davis’ ‘Hesitation

Blues’ and Blind Lemon Jefferson’s ‘Bad Luck Blues’.

“The Gloucester Rhythm & Blues Festival was another

cool gig, where I opened the show at the docks. I

played my full set electric and acoustic, including a

Gary Moore arrangement of Thin Lizzy’s ‘Don’t Believe

A Word’ and B.B. King’s ‘Sweet Little Angel’.

“I’m determined to be a professional musician, and

welcome every opportunity to play.

Jack Blackman

myspace.com/jackblackmantheguitarist

ANDY GUNN BAND

BM: How would you describe your sound?

Andy: I might say, we have a sound that acknowledges

the forefathers of the music from the southern states, and

gladly soak up the electrification of Elmore James and

Muddy Waters, but also try to now put our own stamp on

it, and take it into the next century for the new generation.

What stands you apart from other bands today?

I think we have enough experience with the music to know

where we're coming from stylistically, but are free enough

to not be hindered by the tight constraints of any specific

genre or sub genre. Also, we are at home with who we are

culturally and often feature Scottish traditional instruments.

What tracks of

yours are you particularly

excited

about and why?

'Back On Song'. It's a

really mellow song

that has some nice

harmonically interesting

changes in it, with

some soulful Bluesy

guitar and is topped off

with some lovely three

part harmonies. It's the

direction I'd like to go in.

Doors open for

Andy Gunn.

Blues Matters! 132

THE DIRTY ROBBERS

A couple of years ago, I was lucky enough to get the

job of guitarist with Mike Sanchez, when Andy Silvester

had to have an operation on his arm. I was a big fan

and, by going to lots of gigs, got to know the guys and

Andy quite well. Peter Green is my guitar hero, and

Andy was good friends with him during the ‘60s, so I

would often pester him, and he used to tell me some

great stories. I'd spoken to Andy about getting my own

band together, and he put me in touch with his nephew,

Jesse Webb, who turned out to be Stan Webb’s son,

also! Small world! I met up with Jess a couple of times,

and his playing was great, a real

original sounding rawness and

relaxed feel on the beat.

“I always wanted to get a band

together that started in the right

place - the Blues. All the memorable

bands started off playing the Blues -

The Rolling Stones, The Beatles,

Fleetwood Mac etc - and I think the

reason they are so much better than

any modern band is that they play the songs with a feel.

“Because of this, we thought it would be a good idea

to start with the basics, getting us playing well as a

band, and getting that groove going. The best stuff for

that is the simple ‘50s Chicago Blues - those Freddie

King instrumentals! Also, no-one else seems to be covering

this area of R&B on the circuit.

“We needed a piano player, and I'd heard of a young

guy playing boogie woogie who would be into the stuff

we were doing, Matt Foundling. He was playing with

King Pleasure And The Biscuit Boys, and I went to see

him at London’s 100 Club. I was blown away with his

playing, and approached him after the gig, and had a

The Dirty Robbers

steal from the past.

chat about the possibility of

getting something together.

“We had a couple of

rehearsals, and got Craig

Rhind in on bass. It all sounded

great, so we decided to

record a CD - a covers album.

“I've been in new bands

before, and really struggled to

get them off the ground. It can

be frustrating, as we all play

with quite high profile bands on

the circuit, but no-one seems to

want to give new bands a go,

which is why we're featuring

here. It would be really great if

we could do some gigs, and get

this project off the ground.

Oliver Darling

myspace.com/thedirtyrobbers

What are your ultimate aims and ambitions?

I suppose when we were younger, we probably wanted it

all, with double expressos, but, as you get older, priorities

change. I'd really just love to be able to be reasonably

busy and to make a living from the music.

What does the Blues mean to you?

The Blues to me is a feeling; it's an expression of what's

in your soul. It's soul music.

How do you see the Blues scene currently?

I think the Blues scene is doing okay by the looks of it -

lots of young folks coming up... Even though the marketing

people re-package and give it a new coat of paint, it's

still just the Blues to me!

myspace.com/andygunnmusic

What Blues artists do you listen to, and why?

II’ve always liked Lightnin' Hopkins - he had that low down

drunk’n’dirty thing going on. I always feel I'm getting the real

thing with him. Of the newer folks, I like Doyle Bramhall II - he

stays true to the roots but lets the music grow, too.

Blues Matters! 133

TRAFFIC

Live At Santa Monica

Cherry Red

Recorded live at the 3000 seat Civic Auditorium in Santa

Monica in 1972, this is a beautifully filmed concert performance.

Shot shortly after the band had released ‘Low Spark Of

High Heeled Boys’, it finds this very talented band blending

Blues, jazz, folk and rock on tracks such as the aforementioned

‘Low Spark…’, ‘Light

Up Or Leave Me Alone’ and

‘Freedom Rider’. Its running

time is a little over an hour,

but the footage is taken

from numerous camera

angles, hovering above,

peering over shoulders and

side of stage shots. Whilst it

hasn’t been re-mastered,

and it does look a touch

grainy, at times, it doesn’t

detract from the no-frills

performance. Steve

Winwood sounds great on

guitar and vocals on ‘Dear

Mr Fantasy’, whilst the

whole band, in their post

hippie garb, gel superbly on the jazz tinged ‘Glad’, with Chris

Wood leading the melody on saxophone - even the psychedelic

interlude doesn’t last too long. This has been available

in bootleg format for several years, but it’s nice to see an

official release of the band at their creative peak.

Andrew Baldwin

Blues Matters! 134

SAFFIRE

Hot Flash

Jo/Roadside

“Hot flash” is a documentary about a female band who

dared to dream the impossible - and succeeded. Saffire are

celebrating their 25th year (and splitting up) in 2009, and

this iTunes available film is a fitting recount of their career.

It’s the story of an all female band who began their career in

1984 - when all in their forties! Saffire is made up of Gaye

Adegbalola (guitar/harmonica/vocals), Andra Faye (bass/fiddle/mandolin)

and Ann Rabson (piano/guitar/kazoo/vocals).

Since 1984, they have made nine recordings with Alligator

Records, outselling many of their more illustrious male counterparts.

They have performed thousands of gigs and gained

an almost cult following. As well as making the Blues fun and

accessible to a very wide audience, the ladies can play and

they are not afraid to tackle socio-politically sensitive topics

straight on. They play self-penned Blues which is roadhouse

style, witty, bawdy and with a dash of sauce! The DVD tells

their story in a forty minute film, with clips from throughout

their careers and a series of interviews with the band’s members

and additional comments from members of the music

business, including their strongest supporter, Alligator’s

Bruce Iglauer himself. The DVD is a fascinating story of the

struggle for success by three senior, female musicians who

tackled all barriers placed in their path including, including illness,

personal problems, age and gender prejudice. It is the

story of the continuing Blues legacy in a post feminist age.

Carol Borrington

JOHNNY WINTER

Live Through The ‘70s

MVD

Both Winter brothers are legends in the Blues fraternity - both

albinos and both incredibly talented. Guitarist Johnny made

several live TV appearances, which are collated here with

some live concert material and interviews, too. The Danish TV

performances that open the DVD feature brother Edgar, too,

who mixes keyboards, saxophone and drums - one song features

a drum solo with both drummers bouncing off each

other, and Johnny providing

some blistering guitar. And,

of course, as it’s TV, it’s well

recorded, if a little refrained.

More blistering, the kind of

electric performance fans

will know, are three tracks

from the Royal Albert Hall

(again 1970), and again

featuring Edgar on keyboards

and saxophone.

Nods to boogie and jazz,

but in the main Bluesy

hard rock - one minute

Johnny is tearing round the

stage, the next he’s getting

absorbed in a guitar solo.

Here, the cover of ‘Johnny B Goode’ is

one of the fasted you’ll ever hear. In the main, the performances,

mainly from Germany (Rockpast) and the USA, feature

Johnny’s own band, but the Chicago ’74 tracks feature a host

of guests - Buddy Miles and Dr John, to name but two. The

interviews see Johnny talk about his attitude to music, a useful

insight, but I can guarantee that much of this footage will positively

surprise and please many Blues-rock fans.

Joe Geesin

BILLY GIBSON

Live At The North Atlantic Blues Festival

billygibson.com

This DVD gives a very good impression of what Billy Gibson is

about, and what he has put together as stalwart of the Rum

Boogie Café on the corner of Beale St., Memphis. Billy manages

to never let his breathlessness violate the mic, as he

jumps around stage and blows like hell. Such is his energy; he

has to bring it down alternatively throughout his set. What Billy

JOE COCKER

Cry Me A River

Eagle

This was recorded live at The Berlin Metropol in 1980 for the Rockpalast

TV series. It also includes eight bonus tracks from The Rockpalast,

Loreey Festival filmed in 1983. It runs for two hours. The filming lacks

the sophistication of modern technology but the music and live performance

showcased throughout do make-up for the archive feel. Unlike the

trend of rehashing ‘greatest hits’ material, especially as much of it is

generally unseen, it adds to the sum of the knowledge of Cocker’s

career. This DVD showcases the raw cutting vocal of Joe Cocker with

that very unusual, almost robotic stage performance, allied to his wild

man of the wilderness appearance of his earlier incarnations. The musicianship

throughout is superb, featuring not only Cocker’s impressive

vocal performance but vocal harmonies, which at times add some wonderful

interweaves of gospel and soul in Cocker’s deep seated Blues.

The instrumental contributions are first class. The footage shows some

of his innovative renditions of classic covers. Each one is fashioned into

new and different formats by Cocker who builds on and advances the

original. There are creative covers of ‘Whiter Shade Of Pale’, ‘I Heard It

Through The Grapevine’ and ‘The Letter’. There are a lot of Cocker’s own classics here also, with ‘Delta Lady’,

‘You Are So Beautiful’ and ‘With A Little Help From My Friends’ all top class live performances.

Carol Borrington

does best is using his dynamics well, allowing even a big crowd

to feel an intimacy. However, the sound is low in play back, the

video quality isn’t great and rapid frame changes agitate –

plus, Billy’s accompanists lack individual flair. The once

“Prince of Beale St”, a local term for the winner of the Beale St.

Entertainer Of The Year (2005), plays a funky style of Blues in

which he likes to boogie and have a party atmosphere. Billy’s

maracas cum rattlesnake shakin’ riffs on harp are utilised well

becoming his calling card. Though Billy was one of the artists

to tour Iraq recently, as part of the “Bluzapalooza” Blues showcase,

he needs to put some soul into the slow numbers, and

be supported by a backline that bristle.

Billy Hutchinson

THE GROUNDHOGS

Live At The Astoria

Eagle

This DVD was originally released ten years ago, and has now

been released as a double-disc set - the other being the audio

CD of the same show. Filmed at London’s Astoria club in early

1998, it was then the first ever complete Groundhogs show to

be filmed. The band were touring in support of their “Hogs In

Wolf’s Clothing” album, a

tribute to the great Howlin’

Wolf. The set opens with a

short intro from

guitarist/vocalist Tony

McPhee, before the band

launch into ‘Shake For Me’.

The DVD consists of eleven

lengthy tracks in the Bluesrock

vein, taken from all

stages of the band’s

career. Although the band

have been on the scene for

donkey’s years, I was unfamiliar

with any of their

music, and hearing this

set, I feel like I haven’t missed a thing. Bland, dull guitar work

throughout, lyrics which are incomprehensible at times (‘3744

James Road’), and generally a tedious hour and a half’s viewing.

Nothing more interesting here than your average band’s

pub rock - McPhee sounds, at times, like he’s playing with mittens

on. Strange camera work also grates, with blurring and

pausing of certain shots, looking very homemade at times.

This DVD has no redeeming features for any serious Blues

lover. I think I’d have been a little bored had I been in attendance

of the actual gig. There’s so much better stuff out there

to spend those hard earned pennies on.

Andrew Baldwin

LOUIS VAUSE/SEAMUS BEAGHEN

Boogie And Blues Piano:

The All New Beginners Guide

Loumus

Most music tutorial DVDs are about as interesting as the history

of beige. Without wanting

to make sweeping generalisations,

they tend to be hosted

by anoraks, who have all

had a personality bypass,

and filmed by cameramen

who have little or no regard

for the viewer. This DVD succeeds

where others fail

because it is well put

together and hosted by two

engaging musicians, Louis

Vause and Seamus

Beaghen. Not only are they

brilliant pianists in their

own right, who have played

with the likes of Desmond

Dekker, Paul Weller and Graham

Coxon, among others, but they are also both diamond geezers,

who have a deep affinity for the Blues. The DVD is split into ten

Blues Matters! 135

chapters, where they show you different boogie and Blues

piano riffs. They also talk about artists like Fats Domino,

Professor Longhair and Fats Waller – giving the viewer a crash

course in Blues pianists. The dynamic duo of Vause and

Beaghen might lack the smugness and showmanship of

Jools Holland, but they make excellent teachers, and their

ability is first rate. You will need some basic piano skills,

though, as this is not really suitable for total beginners. But

having said that, you can rewatch the keyboard sections

again and again, and there is also a twenty-four page transcription

booklet. A great introduction to boogie-woogie.

Jamie Hailstone

RONNIE EARL AND

THE BROACASTERS

Hope Radio Sessions

Stony Plain

This DVD complements the “Hope Radio” CD and features brilliant

instrumental performances by Ronnie Earl And The

Broadcasters. The unit are so tight and classy that they could

be placed in the same league as Blue Line and another brilliant

exponent of the guitar,

Robben Ford. Recorded over

two nights in front a small

audience at Wellspring

Sound Acton,

Massachusetts last year, we

are treated to stretched out

and improvised versions of

some truly wonderful and

deeply soulful instrumentals,

like ‘Blues For The

Homeless’ and the simply

gorgeous ‘I Am With You’.

The authentic biting tone

during the ten minute

‘Blues For Otis Rush’ is

mouth-watering. Ronnie Earl is blessed with masterful and delicate

touch and phrasing, performs such flowing runs and has

an intuitive feel for the music. He is one of the few musicians

who can pull of such a set, without the need for vocal augmentation.

In a low-key but illuminating interview, Earl recalls early

influences, such as Koko Taylor, Earl King, and the original

Fabulous Thunderbirds. Speaking of his unique style, he

admits to being unable to play other people’s tunes, and thus

was developed his own style, where depth of soul and feeling

was the true essence. He comes across as a spiritual individual,

who humbly recalls the grey sound of his years of drinking

and drugging, ill health and then his subsequent rejuvenation.

Noggin

ROLLING STONES

Shine A Light

20th Century Fox

The Rolling Stones’ enduring contribution to the history of rock

music primarily is their live music. For the better part of half a

century, they have defied the death of founder Brian Jones,

ephemeral fashion and trend, their own rock’n’roll excesses

and now, finally, sheer old age. Even now there still is a certain

fascination to Jagger’s shameless energy, Richards’ affected

menace, Wood’s musicality and Watts’ affable smile. The mercifully

short introduction to this show came from former US

President Clinton at the Beacon Theater show. The concert performance

is interjected by occasional old interview footage;

one from the mid-60s shows an earnest Jagger suggesting that

the band were “pretty much set up to last another year.”

Richards was not drawn on how he had survived his lifestyle,

merely expressing gratitude that he had. Many of the Stones

well known songs are covered in this loose and relatively intimate

set, though one could argue indefinitely about inclusions,

like the weak ‘Connections’, and omissions of personal

favourites. That aside, the charm of this set is the variety of

styles; straight ahead rock, Blues and country. ‘Satisfaction’

morphs into a garage band jam. Special guests include Buddy

Guy on ‘Champagne & Reefer’, Jack White on a shambolic per-

B.B. KING

B.B. King At Sing Sing Prison:

The Complete 1972 Concert Movie

Chrome Dreams

Whatever Johnny Cash achieved at Folsom and San Quentin, then B.B.

King was hot on his trail. This concert DVD is a fascinating documentary,

too, giving you a real insight into the US prison system. By comparison

Folsom and San Quentin appear as Butlins holiday camps next to Sing

Sing. We get to talk to the prisoners, see the intimate details of their tiny

cells (as one inmate says, “Yeah – that’s my toilet – twelve inches from

my head”). The concert starts with the uplifting Voices Of East Harlem,

and there’s even a snappy comedian on stage, Jimmy Walker. Joan

Baez was a brave woman to wade chest-deep into this heaving pool of

cell-bound testosterone, but this is ultimately B.B. King’s show, and in

1972 he was at his performance zenith. We first meet him in the film

being roused from his bed on the day of the concert - and those of you

used to the portly “fine old gentleman of the Blues” of the past two

decades will be amazed at this lithe, much younger King. When he

sings ‘Somebody Really Loves You’, you form an emotional bond with

these tough, incarcerated men, who are reduced to tears. Yet B.B. also raises some big laughs with ‘I Think

You’re Cheating On Me, Baby’ and others. This is a very important film, and a very revealing one. As the credits

roll, you wonder what became of those unfortunate men who enjoyed that stirring day so much.

Roy Bainton

Blues Matters! 136

formance of ‘Loving Cup’ and, most impressively, a sassy

Christina Aguilera duets with Jagger on ‘Live With Me’.

Noggin

BETH HART

37 Days

Provogue

Beth Hart is one of a line of rock queens with a story to tell,

that story is her journey, and even though it is only three or

four albums long, it’s worthy of this showcase DVD. Mirroring

the album of the same name, it’s a live version shot in the

studio (Burbank), so whether it has over-dubs and how many

shoots were required is unclear. That doesn’t matter, as it’s

very clean, and shot and

played with passion. The

title, “37 Days”, tells us

how many days it took to

cut the album, so the full

band feel must be true.

She sits and sings at her

piano with gravitas and

confidence for the earlier

songs before she lets go

and hollers into the microphone

with a hoarse gutsy

speedy rock anthem,

‘Sick’. Guitar riffs take

over for ‘Face Forward’

and the closest we get to

aggressive Blues-rock.

‘Soul Shine’ may be the star track, with simple

melodies and break away guitar solo from Jon Nicols. Each

track starts with a ten to twenty second conversation

between band members, and while interesting and additive,

it could take away from the flow whilst adding to the concept

of the whole piece. But then, with the wonders of DVD technology,

you can select ‘music only’ – wonderful! And I guess

that makes the CD of the same name redundant.

Gareth Hayes

JOHN MAYALL’S BLUESBREAKERS

Live At Iowa State University

Quantum Leap

Featuring young Walter Trout and Coco Montoya, this DVD

offers a good, if a little too short band performance. Filmed

around 1987, it finds Mayall alternating between organ,

guitar and harmonica, and it is guaranteed to get the viewer’s

foot tapping. It has no special features worth mentioning,

and the picture quality is only of average quality, but

watching Trout rip it up on ‘Rolling With The Blues’, where

he lays down a soulful but animated solo, and Montoya on

‘Room To Move’, where he literally sits in the audience, is

great viewing. Mayall was in his mid-fifties at the time of

this gig, and was in fine voice, and he gets most of the

action, including a frenetic harp workout on ‘Parchman

Farm’, but Trout gets plenty of soloing time, and he is

clearly having a ball. Only nine tracks are featured, but

‘Stepping Out’ gets the audience rocking with some fine

organ work from the leader, and there isn’t a weak selection

on here. Unfortunately, it’s all over just as the band

are really starting to cook – although, they return for a

short encore. This was a fine era for the Bluesbreakers,

and this document goes to prove what a cracking little

band they were. Poor packaging, but great music.

Andrew Baldwin

NORAH JONES

Live From Austin TX

New West

This DVD was filmed in June 2007, live in Austin, Texas for

Austin City Limits television show. The DVD’s technical quality

only being topped by the Norah Jones - this DVD highlights

what a fine performer she is vocally, with good range and intonation,

and her love and feeling for music comes through in

every note she sings and plays. She has surrounded herself by

musicians not only of class but who are master of instrumental

multi-tasking. The diversity and changes of instruments

throughout is impressive but the creativity and skill they are

played with is excellent. There is an air of total commitment

between Norah and her fellow musicians that comes through

visually and musically throughout - ‘Sinkin Soon’ is true pedigree

New Orleans. From the gentler ballad tones, Norah’s voice

takes on a more sinister tone, allied to the emotive trombone

playing of guest performer J Walter Hicks. Let Norah’s voice

and music take you to a mood of peace and tranquility.

Carol Borrington

BOB DYLAN

Inside Bob Dylan’s Jesus Years:

Busy Being Born…Again!

Wienerworld

Like most great artists, Bob Dylan’s state of permanent personal

revolution imbues him with that odd quality of unpredictability

which leaves fans scratching their heads – what’s he

going to come up with next? Thus it seemed remarkable to

fans that, as a Jew, in 1978 he should find himself suddenly

embraced by Jesus Christ.

Long time, hard line Zimm

fans usually consider “the

Jesus years” to be Bob’s

nadir, but it did at least give

us one memorable track,

‘Gotta Serve Somebody’.

However, if you inadvertently

bought this DVD thinking

you might enjoy either live

performances from the

period, then you’d be disappointed.

This film, directed

and produced by Joel

Gilbert, is for Dylan completists

only. It is a remarkably

well-made documentary,

beautifully shot and edited, and

you get the full low-down on Bob’s Bethlehem years from such

talking heads as Jerry Wexler, who produced “Slow Train

Coming”. Songwriters, preachers - they’re all here, yet what we

see of Dylan is grainy amateur footage of him plying his JC

gospel material. Bonus features include a photo gallery from

the period 78-81, full soundtrack mp3s and an interesting contribution

from the wrongly imprisoned boxer, ‘Hurricane’ Carter,

a man who became a cause célèbre for Dylan during this time.

Roy Bainton

DADDY MACK ORR

Plain Man Blues: Daddy Mack Orr’s

Inspiring Story Of Struggle And Triumph

Seamus

The stories of certain Bluesmen have been well documented.

In some cases, such as Robert Johnson, the men have

Blues Matters! 137

DAVE SPECTER

Live In Chicago

Delmark

For seventeen years, Dave Specter has been a Delmark recording

artist, alternating between the genres of Blues and jazz, as well as flirting

with soul and funk. He has backed up the likes of Tad Robinson and

Lynwood Slim, and worked with Ronnie Earl in his long, though not

spectacular career. The thirteen tunes on this DVD are taken from two

live performances in Chicago in August 2007 at Buddy Guy’s Legends

and Rosa’s Blues Lounge. The shows feature three guest vocalists, to

augment Specter’s invariably tasty guitar licks. In the first show he is

joined by buddy Tad Robinson, who plays some sweet harp and takes

lead vocals on his self-penned ‘What Love Did To Me’, and ‘What’s

Your Angle?’ plus Tom T. Hall’s soulful ‘How I Got To Memphis’. After a

further instrumental, Specter is joined on stage by Jimmy Johnson for

three numbers, including ‘Out On The Road’ (Jimmy Rogers) which has

some delightful guitar interplay, and Willie Cobb’s ‘You Don’t Love Me’.

The second show on the DVD starts with two jazzy original instrumentals,

in which the clean picking and sympathetic backing is smooth and

stylish. The final three cuts feature strong Blues vocalist Sharon Lewis,

who sings two of her original compositions, as well as ‘Every Goodbye Ain’t Gone’. Dave Specter is completely

without pretension and histrionics, and is a consummate stylist, whose background support to others’

vocal talents and feel for his instrument is sheer class.

Noggin

become myths. It also seems that these stories, often of men

overcoming great hardships to play the best damn Blues they

can, is fitting for Hollywood. What makes “Plain Man Blues” different

is that it often feels that it is an independent feature of a

man who is still struggling. The film’s subject is “Daddy” Mack

Orr, a Bluesman in the vein of B.B. King, a man who, like many

others, forced himself up to Memphis from the South. It is an

encouraging story of a man who has worked all of his life in

order to provide for his family. Unlike a biopic, they are no

drugs or alcohol addictions and Orr has always been faithful to

his wife, and she has always been supportive of him. However,

as we discover, Orr reluctantly picked up a guitar at age 45 and

has since only recorded three independent albums. He is now

reaching an age where it feels like the opportunities have

come and gone for The Daddy Mack Blues Band.

Matthew Clarke

FEATURE FILM

Solidbodies: The 50 Year Guitar War

Lightning Lab

If the producers had taken the courage to put Joe Bonamassa

and Derek Trucks in big bold letters on the front of the DVD -

rather than in very small print on the back - then it would surely

fly off the shelves. The other featured artists may not be as

household but even they (Henry Garza, Gary Hoey, Wes Jeans,

John Roth, Steve Selvidge...) would give it some identity ahead

of straight forward documentary or, as it bills itself, an actual

film of a guitar competition. At an hour long, it is a very interesting

history lesson, with great examples of the Stratocaster versus

the Les Paul. From Fender and Gibson to flame-lacquered

maple, from British Blues of the ‘60s to Stevie Ray and the

Allmans - it covers the lot. The featured artists give a lot of

insight and there are clips of them in performance, and some

star virtuoso clips at that, but don’t forget that this is a documentary,

so don’t expect to be able to get stuck into the music.

Still, it serves guitar aficionados, as well as newcomers.

Gareth Hayes

Blues Matters! 138

THE YARDBIRDS

The Story Of The Yardbirds

Voiceprint

This is a documentary charting the short story of one of the

founding British Blues groups of the ‘60s. Covering 1963 to

1968, it tells the story through footage of live performances

and interviews with band members and associates.

Interviewees include Jeff Beck, Eric Clapton and Jimmy

Page, as well as longer serving members Chris Dreja and

Jim McCarty. Also an interesting

contribution from

Peter Grant, who went on

to manage Led Zeppelin.

Unfortunately, the film

goes back to 1992, so

there’s nothing new

revealed by the DVD. The

opening shots are naturally

in black & white, so give

a feel of an era gone by,

and set the background

for a trip into the London

scene of the swinging

‘60s. Hard to believe it

was really like that! There

are thirteen songs supporting

the interview footage but

none are played the whole way through, which I found irritating.

The footage is from TV appearances in the UK,

Germany, Belgium and Germany, and shows a group wearing

matching suits and ties - a real sign of a bygone age.

Naturally, given the age of the material, the picture quality

is somewhat less than sharp and presentation a bit pedestrian,

and the sound is poor, being in mono. In all, an enjoyable

trip down memory lane with some of the people who

went on to be household names in the business.

Kevin Wharton

LINK WRAY

The Rumble Man

Cherry Red

This interview and concert footage DVD was originally

released a little over ten years ago, and now appears with

a further thirty minutes of live footage. The music comes

from two shows in London and Manchester, whilst Wray

was in his mid-sixties, but he and his band are full of punklike

energy. All his instrumental hits are performed, such

as ‘Rawhide’, ‘Jack The

Ripper’ and, obviously,

‘Rumble’, which was originally

recorded and

released in 1958, and

was at the forefront of the

birth of rock’n’roll. Many

cite the instrumental as

the most important in the

history of the genre. The

interview part was of

more interest personally,

with Wray having a story

to tell, and barely letting

the interviewer get a

word in. He tells some

amusing anecdotes

about Jerry Lee Lewis,

Keith Moon and the like. He also explains the creation of

‘Rumble’ and his early career. He looks the epitome of

rock’n’roll, with his greased back (long!) hair, black leather

biker jacket and dark shades - it’s just a pity no early

footage of him is featured.

Andrew Baldwin

JOHN MAYER

Where The Light Is: Live In Los Angeles

Sony BMG

This concert DVD is split into three distinct sections and all

of them show John Mayer in a good light. Whether it is a solo

acoustic set, where his James Taylor-like vocals and sweet

picking work to generate an intimate and close feel; in a trio

format, where he allows others to take centre stage but

delivers a stunning version of Tom Petty’s ‘Free Falling’; or in

the full band ensemble, with his guitar work as Bluesy and

raw as it needs to be. His band is just stunning, featuring

Robbie McIntosh and JJ Johnson, as well as Pino Palladino

on bass in the trio, but it is John Mayer who naturally takes

the lead and lays down classic guitar slinger magic. What

amazes me, time after time, is the variety of styles and

sounds he seems able to master – one minute a B.B. King

riff and another he is in Stevie Ray territory or laying down

some classic Iceman – this guy has lots of chops and isn’t

afraid to play them. He does a very tasty Hendrix and when

he goes into slow Blues mode (‘I Don’t Trust Myself’), he can

do that. too. The additional little insights into the man himself

are not intrusive as much as instructive.

Andy Snipper

LYNYRD SKYNYRD

Sweet Home Alabama

Eagle

One of the most popular, successful and influential southern

rock bands, Lynyrd Skynyrd were captured here post reformation

for the Rockplast broadcast at the Loreley Festival in

1996. By this time, onetime

Skynyrd drummer and

Blackfoot mainstay Rickey

Medlocke was part of the

triple guitar attack. Most of

the songs they run through

are the early/original material

(‘Workin’ For MCA’,

‘Down South Jukin’’, ‘That

Smell’ - all the classics),

which does indicate at the

strength of the material

over the more recent work.

There is plenty of power,

Blues and slide guitar, but

Skynyrd’s Americana take

on southern rock has definitely

been given more of an AOR feel

post 1987. I wouldn’t go so far to call them a tribute act, with

original members Gary Rossington, Leon Wilkinson and Billy

Powell still there, but there is a hint of movement in that direction.

Johnny Van Zant does do a fine job up front in memory of

his late brother Ronnie, but there is an occasional touch of

going through the motions. The reason all this is so obvious is

the bonus three tracks, recorded in 1974. Here the original

line-up perform ‘Workin’ For MCA’, ‘Freebird’ and ‘Sweet Home

Alabama’. There’s just no comparison, really.

Joe Geesin

ERNIE HAWKINS

Rags And Minstrel Show

Songs Of Rev. Gary Davis

Stefan Grossman’s Guitar Workshop

Reverend Gay Davis was a genius. His technique was dazzling,

but what was more impressive was his sheer range

and knowledge – everything from jigs and reels to show

tunes, old pop melodies

and gutsy Blues and intricate

rags. Well, fellow axemen,

if you want to get

close to the great man,

and echo his talent on

your own frets, there’s no

finer passport to pukka

playing than this 2DVD

set. Ernie Hawkins is a

gentle, calm teacher who,

at times, seems slightly ill

at ease in the lens, but

the way he plays Davis’s

material, and the sharp,

clear way it’s been filmed

make this a delight. You

get an additional window on the

screen to show you the right-hand picking style, whilst the

main body of the picture shows you very clearly where to go

on the frets. The trouble is, it all sounds – and looks – too

damned easy, but I’m already 20% proficient with ‘Devil’s

Dream’ and ‘Sally Where’d You Get Your Liquor From’ just by

watching my DVD mate, Ernie, and I might even try ‘Buck

Dance’ in a few more sessions’ time. But even if you don’t

play guitar, the music is a standalone thrill, and there’s

some original playing by the legend himself, too. Good old

Stefan Grossman – he deserves a medal. A fabulous DVD

and neat music book – just go out and treat yourself.

Roy Bainton

Blues Matters! 139

photos: Tony Winfield (bluespics.co.uk)

Keith Christmas

Blues Matters! 140

ORKNEY BLUES FESTIVAL

Friday 19th – Sunday 21st September 2008

The Orkney Isles, off the north coast of Scotland, host one of our favourite Blues festivals. Based mainly in Stromness

at three venues - The Stromness Hotel, The Ferry Inn and The Royal Hotel - there were four artists from the mainland

and six Orkney bands. As always, the bands performed in more than one venue during the weekend. The first act for us

was festival survivor Keith Christmas.

Our vinyl collection includes two albums of Keith’s from the early-70s, which perfectly demonstrate his prolific songwriting

talents. These days his music is more Blues orientated, while retaining his unique style, drawing influences from the

early days in the Delta. Keith is a very accomplished musician with a melodic fingerpicking acoustic guitar style and a good

vocal range. He sang a memorable collection of his own songs, from stirring ballads to upbeat country Blues.

Next up, with two sets that went long into the night, were Edinburgh based Stevey Hay And The Rayvons. As their name

suggests, there was more than a nod of tribute to a certain Mr Vaughan and Double Trouble, but they played a good mix of

rock and Blues that had the discerning Orcadian music fans dancing in every available space. A solid rhythm section with

neat guitar work by Stevey Hay and complimented by Angus Rose on keyboards.

Saturday’s entertainment kicked off with excellent local band Last Train. A true feast for any Blues gourmet, as their set list

demonstrated an extensive insight into Blues history by unearthing many gems from little known artists. Fabulous musicians,

with a very tight sound, all six band members gave a first class performance, in particular vocalist Kevin Coffey, guitarist

Robert McGregor and Mike Fairbairn on harp. We were shocked to find out later that it was only their second gig together.

We left the Stromness Hotel and headed to the Royal Hotel for a solo set by Alaska born Son Henry. Son is one of our

favourite artists, and Orkney seems to bring out the very best in him. In our opinion, the best lap steel guitarist on the circuit,

and just as handy on a standard axe - whether it be acoustic or electric. He played a relaxed set, his original numbers grounded

in authentic Delta Blues, the lyrics holding the audience, as did the wonderful tales that he told between numbers.

In stark contrast, local band BWB gave one of the most energetic sets of the weekend. Frontman Sinclair Bremner on

vocals gave an energetic in your face performance, with powerful backing from the band and, notably, some excellent guitar

from John Pettigrew. They put a modern twist on old classics and the crowd were particularly delighted when they covered

a couple of Joe Bonamassa songs.

To round off the evening in The Royal Hotel, Son Henry took to the small stage again - this time with his band, featuring

Dean Stewart on bass and Kevin Oliphant on drums. This set was more up tempo with a selection of rocking Blues covers,

as well as original numbers from his recent and forthcoming albums. With several changes of guitar, including the awesome

lap steel, they blazed through numbers such as 'Granite City Shuffle' - written for the folk of Aberdeen; 'I Don't Want

To Be Your Dog' from the upcoming album; and, by popular demand, a stunning version of 'Voodoo Chile'.

Sunday afternoon saw us in The Royal Hotel once again for another local band, The Bad Liars. The vision of vocalist

Lorraine McBrearty in a purple and black ball gown promised

something different from the usual Blues-rock. The

five-piece band, complete with a double bass, gave a ‘40s

style swing accompaniment to Lorraine's authentic vocals

on many old favourites, including 'Summertime', 'New

Day', Cry Me A River' and 'Blue Moon Of Kentucky'. A particular

favourite of ours was their unique arrangement of

Jagger/Richards’ 'Out Of Time'.

We have become accustomed to the inherent musical talent

on Orkney, but we were amazed - yet again! - when the

next local band, Bad Taste, began to play. A new four-piece

band who had little time to practice together, they

impressed everyone. Vocalist Ian Craigie, at times, had the

sound and stage presence of a young Paul Rodgers, while

guitarist Andrew Tulloch played with the ease and confidence

of an old master. Ably backed by Marcus

Cordock on bass and Dylan Pepper on drums, it

was hard to grasp that these boys were all still in

their late teens, such was the maturity of their performance.

The audience were wildly appreciative of

their arrangements of Cream, Stevie Ray Vaughan,

Hendrix and ‘70s classics, together with some

Chicago Blues standards. Ian's rendition of FREE's

'Wishing Well' was the highlight of the set.

The finale of the weekend took place in the function

room of the Stromness Hotel. Starting off the

evening in front of an expanding crowd was

Glaswegian Peter Nardini. Singer, songwriter, guitarist

and harmonica player, Peter delivered a new

dimension to British Blues. His songs are stories put

to music - some topical, some amusing and some

touching. He kept the audience rapt as his stories

unfolded, and we enjoyed them all, especially 'A Kiss

From Wishaw Cross' and ‘By The Way'. Definitely one

Blues Matters! 141

to see if you get the chance.

In a similar vein, Keith Christmas was up next

with his brand of enthralling storytelling. Another

excellent set, telling tales and making friends with

the audience. We especially enjoyed 'Why You Fell

In Love With Me', a love song he wrote for his girlfriend

and witnessing the début of a brand new

song. Keith had been writing 'The Words That Will

Never Be Spoken' for a while, and found the inspiration

from the Isles to finish it. Amazing!

Local band Blue Rooster followed and offered a

change in tempo and volume, which had the

dancers on their feet.

These were one of our

favourite bands from last

year's revelries and tighter

than ever, with Ian Cooper

showing absolute mastery

on guitar and John Adams

and Pete Phillips producing

the powerhouse

rhythm. They confidently

blazed through a variety

of covers, including

Hendrix and Cream.

These guys have quite a

following across the

islands and beyond.

Stevey Hay And The

Rayvons charged

through another rocking

set, their best of

the weekend, as

appreciated by the

lively dancers and

crowd. This time they

included more of their

own material, which

went down as well, as

did their proficient covers.

The Son Henry Band brought the evening to an

end in spectacular style. No two gigs are ever the

same with this guy and, once again, we were

treated to a mix of old, new, original and arranged

- as only this man can. Spontaneous, fun and

bursting with energy, the magic of Orkney does

something to him and the set was truly electric. Son claims he drinks a certain caffeine based soft drink to calm down!

Throughout the weekend, the artists mingled freely with the festival goers. There's no backstage - this is no place for

divas. It's an experience unlike any other festival, and enjoyed by all.

Tony Winfield & Sue Hickling

LONDON RHYTHM ‘N ROOTS FESTIVAL

Tuesday, 28th – Thursday, 30th October 2008

Dingwalls was an ideal venue for the inaugural London Rhythm ‘N Roots Festival, with its history of hosting great Blues

and jazz, and the reputation as a venue of great importance on the London music scene.

Tuesday saw the London debut of Simon McBride and the new four-piece Matt Schofield outfit. Simon was debuting his

new album, and quickly demonstrated the kind of electric Blues that made countryman Rory Gallagher such a favourite.

He delighted the crowd with a forty-five minute set that was full of good music. McBride was using an old Paul Reed Smith

guitar throughout and he had a fine, fat sound with a lot of Blues in it. Numbers like ‘Fat Packets’ and ‘Rich Man’s Fallen’

got the crowd going, and his version of ‘Little Wing’ was terrific, with a lot of interplay between the guitar and the bass.

Matt Schofield has never been shy of trying new things, and with Jeff ‘The Funk’ Miller appearing playing bass, he was showing

a new direction and band members. Alain Baudry was playing drums and gave a new impetus to Schofield’s music, with

his New Orleans background. However, the story was really about the interplay of Matt Schofield and Johnny Henderson’s

Hammond, and the addition of the bass player took some of the rhythm duties away from Henderson and allowed the organ

and guitar to really stretch out more than ever. Schofield was also debuting some new songs and, musically, the formula was

very much the norm with Schofield – long jams with a mesmerising quality and positively superb feel. When Matt Schofield

Blues Matters! 142

Bushy’s Big Wheel Blues Festival will celebrate its 10th Anniversary on

Saturday 2nd and Sunday, 3rd May 2009 – the event being moved to

Saturday and Sunday nights, “the added bonus of which is a second afternoon

on which to showcase the Island’s excellent roots and blues musicians

on the free stages at the Pavilion.” Headliner for the Saturday night is

Jerimiah Marques And The Blue Aces, whilst the

Kyla Brox Band will headline the Sunday.

Other acts confirmed to appear include:

Rogue Dolls, Miller Anderson and the Eddie

Martin Trio. Both nights will be ticket-only

events. Tickets are priced at £16.50 per

night. bigwheelblues.com. Ashburton

Blues Festival will be staged over the weekend

29th – 31st May 2009 in the ancient

Stannary town on the fringes of Dartmoor.

Acts booked to appear, include: The Animals,

Nine Below Zero, Paul Lamb And The

Kingsnakes, Aynsley Lister, Bert Deivert, Mike

Whellans and Big Mac's Wholly Soul Band.

ashburtonbluesfestival.com. Larmer Tree

Festival (awarded the 2008 UK Family Festival

Award), will take place between Wednesday,

16th and Sunday, 20th July 2009. The intimate

festival (4,000 capacity crowd), “set in the spectacular

backdrop of the lush Larmer Tree

Gardens (Tollard Royal, near Salisbury) with its

resident peacocks and macaws,” takes in a

range musical styles, street theatre and workshops.

Jools Holland has already been confirmed

to open the event with special guest Dave

Edmunds. larmertreefestival.co.uk. Burnley

Blues Festival, staged on Friday, 10th – Sunday,

The return of Earl Thomas. 12th April 2009, is dominated by top international

acts this year, with Lil Ed And The Blues Imperials,

Rod Piazza And The Mighty Flyers, Kenny Neal

Band, Magic Slim And The Teardrops, and Hamilton

Loomis booked to appear alongside British favourites, including Oli Brown and

Eddie Martin. Chris Powers will again MC, whilst Earl Thomas takes up his

customary slot on the bill. Tickets are priced at £75.00 for the full weekend,

with day tickets also available. burnleymechanics.co.uk/blues.

plays at his best, it is simply

impossible not to be drawn

into the music, and this was

an example of him at his

best. ‘Same Old Blues’ and

‘Woman Across The River’

were the standout numbers

but the whole set was

absolute class.

Thursday saw the pairing of Holland’s T-99 and Ian Siegal. The buzz had it that T-99 were something a bit special, so I

made a point of getting there early. I am so glad I did because they were an absolute delight. They were described as

“Chilli-hot Roots Rockers,” but that did them no justice at all. Mischa den Haring is an inventive and unselfish guitarist,

with some serious ‘twang’, and he started off sounding like Link Wray, but his style is more than just a heavy echo and he

played Blues, rock’n’roll and rockabilly with equal aplomb - verging on psychobilly at times! The drums are handled by

Martin de Ruiter, as well as vocals, and he played with no little humour, as well as some truly appalling dancing! Most of

the numbers were from the “Vagabonds” album, with ‘Voodoo Time’ and ‘The Woolf’ standing out. The band were allowed

a full set and didn’t waste the opportunity leaving the capacity crowd satisfied and thoroughly warmed up for Ian Siegal.

I don’t know what there is left to say about Ian Siegal. He was superb. Johnny Henderson played another superb set. Ian

opened with the magnificent ‘Revelator’, sounding as close as possible to Howlin’ Wolf, but playing some terrific guitar with

it. ‘California’ followed - a song about a serial killer moving to the West Coast - and he showed that he hasn’t lost his edge

by describing exactly what should be done to the town of Rotherham. Giles King came on to help out on ‘This Mortal Coil’,

and the harmonica and organ support for Siegal’s guitar was positively electrifying. New songs were presented to the audience,

as well – ‘God Don’t Like Ugly’ showed the humour inherent in the man, and ‘The Thirst Slaker’ was a real love song

from a man who never hides his feelings. Throughout the set he kept namechecking T-99, and Mischa den Haring came

out to help on the encore – ‘Don’t Look Back’ (he gave the impression of a man who is happy to be playing and in control

Blues Matters! 143

photos: Chris Rees

of his music). This set showed

why Siegal is regarded as the

number one British Bluesman

active today.

The format of the festival

worked fine, with the intention

to feature bands with some

connection to one another. Camden Town is famous for its connections to the Blues and roots scenes, so it was good to

see Dingwalls, the old haunt, being used for such a good purpose.

Andy Snipper

TENBY BLUES FESTIVAL

Friday, 14th November – Sunday, 16th November 2008

The picturesque Welsh seaside town of Tenby was rocking throughout the weekend of the third Blues festival, as record

audiences enjoyed a thrilling three days of joyful Blues in all its many forms.

The main venue once again was the beautifully decorated De Valence where the Spikedrivers opened the festival in fine

style on Friday night on the Chevron stage. An inspired piece of programming that set the tone for the whole weekend –

the band were clearly enjoying themselves and their infectious enthusiasm spread rapidly throughout the audience. Set

highlights included an unusual arrangement of ‘Lil’ Red Rooster’ and a storming finale of ‘Shake Your Hips’.

The Spikedrivers were followed on stage by Pembrokeshire based jump jive, zoot suited outfit The Numbers Racket, who

delivered a punchy set of standards, augmented by the West Coast Horns.

Next up was headliner Eugene ‘Hideaway’ Bridges and his band, which also featured a booting horn section. Eugene,

renowned for the combination of his stinging guitar work and soulful vocals - in the style of Sam Cooke - was in fine form,

even though several people left during his set complaining that he “wasn’t Bluesy enough.” It was their loss!

Saturday night at the De Valence followed a similar pattern. Local band Cottonmouth opened followed by rising young

Blues Matters! 144

Blues star, the critically acclaimed Oli Brown, who

nearly stole the evening’s show with his incendiary

guitar playing and equally fiery vocals. He’s a pretty

good songwriter, too, and his rhythm section was

tighter than the proverbial politician’s wallet. Expect

big things from them.

Oli was followed onto the Chevron stage by Sherman

Robertson and his band, Bluesmove. Sherman proved

himself up to the task of performing after Oli, as you

would expect from the seasoned Texan. This was a

master class in fluid, expressive guitar work, coupled

with forceful, heartfelt vocals. The first

highlight of his set was a walkabout in the

crowd, with Sherman never missing a beat or a

note and then, for a finale, he brought Oli back

onstage to duet with him on a version of ‘Shake

Rattle And Roll’. By now, Bluesmove were really

cooking and enjoying themselves, as were the

audience who danced so much there probably

wasn’t a dry sock in the house.

The Sunday lunch concert, transferred from the

smaller Rugby Club because of exceptional ticket

demand, started off in mellow mood (well, it was

noon, and quite a few people had had a late night),

with a powerful, passionate and witty show from slide

guitarist Johnny Dickinson, a former member of Paul

Lamb’s Kingsnakes. Johnny is a lovely fellow who

achieved that difficult thing of seemingly effortlessly

balancing the spiritual with the technical dimensions,

whilst also keeping it simple and in the groove.

Wonderful! But, once more, I heard a few mutterings from

the Blues mafia?!

By the time the hard rocking Sean Webster Band hit the

stage, the audience, fuelled on this occasion more by

strong coffee than strong ale, were in dancing mood once

more. Sean Webster is raw and loud. His rhythm section

is also raw and loud. They acknowledged that the Blues

is a broad church and they were sure as Hell gonna raise

its’ roof! It felt strange to spill out into a gray, cold, wet

Welsh Sunday afternoon after such an uplifting act.

The second venue on both Friday and Saturday was the Rugby Club FBM stage,

where, in more intimate surroundings, performers new to the festival were given a chance to strut

their stuff. As is usual at all good festivals, there were surprises from these new acts. Abi Budgen’s delicate vocals

were in sharp contrast to her abrasive guitar work. She nearly brought the house down with her rendition of ‘The

Muppet Song’ in the style of Blind Blake and Rev. Gary Davies! There were standout performances, too, from Sean

Taylor and the amazing Big Mamma’s Door.

For those who could take the pace, there were late night sessions on both Friday and Saturday at the Fourcroft and

Giltar hotels. At the Fourcroft, Big Mamma’s Door reprised their cool set of ‘50s R&B, and staked a compelling claim for

moving to the bigger stage next year, whilst over at the Giltar, Eugene ‘Hideaway’ Bridges arrived unexpectedly, grabbed a

guitar, and wowed his audience well into the wee hours.

Meanwhile, the pub circuit, which boasted twelve hours of free music all over town, was once again one of the festival’s

little successes. So much so that it became nigh on impossible to get into some of the venues. Next year the

organisers might consider expanding the programme and have some overlapping sets. Highlights for me were the acts

in The Crown, where young Swansea based power trio Hideaway tore the place apart (metaphorically speaking, of

course) in the afternoon, and where Cardiff’s Christopher Rees delivered a sublime, understated set of great beauty.

This is a man to watch out for, although, once again, I heard mutterings that he wasn’t Bluesy enough. Admittedly, he

strays into what might be termed Americana or alt.country – but where the heck does American roots music come

from? Banjos at dawn anyone?

It was good to see that although the organisers have stuck with their established template, they were not afraid to

make a few changes as the festival becomes more sustainable.

The first of these was an attempt to bring the Blues into venues that would not normally feature music, and it was a

delight to see and hear local busking trio Animal Jack (who once featured on a album by The Coral!) give customers in

Fecci’s Fish & Chip shop a battering they weren’t expecting.

The festival has also developed an official fringe. Usually the festival ends with the Sunday lunch concert, but this year

there was a final gig in the Lifeboat Tavern on Sunday night featuring Pat Grover And The Blues Hawks. Pat led his band

through a cracking set that was a fitting finale to a marvellous festival.

BB Skone

Blues Matters! 145

MICK FLEETWOOD BAND

@Alban Arena, St Albarns. 03/11/08

Making a grand entrance, as befits one of the founding fathers of British Blues, Mick

Fleetwood walked onstage at the Alban Arena to a hero’s reception. His Blues band, featuring

Rick Vito (guitars/lead vocals), Lenny Castellano (bass/vocals) and Mark Johnstone (keyboards/vocals),

could probably have been capable of a top performance without dipping into

Fleetwood Mac territory, but this was Mick’s night and it was great to see the huge figure beating

the drum kit to within an inch of its life. That being said, there was also a great deal of subtlety

in his playing, and it was easy to see just why the original Fleetwood Mac were able to

play with the flexibility and verve that Peter Green and Jeremy Spencer demanded. The band

delivered terrific versions of ‘Oh Well’ and ‘Fleetwood Cadillac’, as well as ‘Eyesight To The

Blind’, with Vito playing some superb slide, and more delicate material. The whole thing heated

up as they got into ‘Black Magic Woman’ and ‘Rattlesnake Shake’, and then they moved into

acoustic territory for ‘Black Crow’ and ‘Luck Devil’, before a rattling ‘Shake Your Money Maker’.

Inevitably, they played ‘Albatross’ to ensure a very satisfied audience trooped back out into the

St Albans night. It would have been good to hear more original material, as I think the band

are good enough to stand in their own right, but the sound of the original Fleetwood Mac material

was a joy, and Mick can go back to Hawaii with a great deal of satisfaction.

Andy Snipper

LANGHORNE SLIM AND THE WAR EAGLES

@The Bodega, Nottingham. 31/10/08

The first thing I noticed about Langhorne Slim was the compelling enthusiasm

for his music – he also had natural charisma as a frontman. It’s

impossible to put him in a box, the root was Blues, there was no doubt of

that, but he was crossing genres, mixing and matching with musical skill

and efficiency. As a songwriter and a musician, along with The War

Eagles, there was plenty of potential, even on this first viewing.

Langhorne mainly played an electro acoustic, with proficiency and some

good finger work on the fretboard. His vocal spanned the upper middle

and lower registers, with good vocal control, intonation and, most of all,

a lot of passion. Joined on the stage by Paul Defiglia on upright bass

and Malachi DeLorenzo on drums, the combination of musicians

was fluid and tight throughout. The song that took my attention

was ‘Worries’. It began as a solo acoustic ballad of folk,

Blues and country, which was extremely strong in feeling but

not over-fussy musically, and finished as a solid Blues-rocker. It

had a great Buddy Holly - in ‘Peggy Sue’ mode - underpin. The

younger audience members were really taken with this song,

also. Watch out for Langhorne, there is talent there!

Carol Borrington

JOHN MARTYN

@Alban Arena, St Albarns. 23/11/08

Billed as the “Grace & Danger” tour, this was the first time Johm

Martyn had been on tour since losing a leg last year. And with

the knowledge that any gig could be the last time we see the

great man of British electric folk, the audience was prepared for

– well anything, really. What we got was a mixture of the real

John Martyn – fine guitarist and jolly, japing chap – and a cocktail

jazz version, featuring a sax player who could bland out Kenny G.

Blues Matters! 146

The feature of the show was a playing,

end to end, of the ‘Grace &

Danger’ album from 1980, and he

almost pulled it off. The album is full

of difficult material charting, as it

does, the breakup of his marriage

and his own personal issues with

drink and drugs. It has taken nearly

thirty years before he was in a place

to perform the whole album, but the

audience seemed a little surprised

that he was playing so much unfamiliar

material. He relied heavily on

his band, and we were treated to

fewer than usual of his guitar master

classes, and too many sax and

keyboard solos. He was missing the

energy and vivacity that I have

always associated with him. The versions

of ‘Johnny Too Bad’ and

‘Sweet Little Mystery’ were well

received, and his vocal on ‘Johnny

Too Bad’ was possibly his best of

the night. He did begin to come alive

when he swapped the electric guitar

for an acoustic and played some of

his classics, including a fabulous

’Solid Air’ and a happy sounding

‘May You Never’. He was finally

wheeled off – this precluding an

encore – and the audience filed out

a little too quietly – they had come

to praise him but, typically, he never

gave them the chance.

Andy Snipper

MARCUS BONFANTI

@Ginglik, London. 07/01/09

Sitting on a comfortable sofa in a

former underground gentleman’s toilet

listening to the Blues can only

mean one thing. It’s a gig at the subterranean

Ginglik, still hanging on by

the fingertips yet still nurturing talent

across the emotional genres.

Tonight was a balancing

act of grimacing grit and

persuasive perfumery with

aggressive Blues from

Marcus Bonfanti in support

of ambient arch that

is Nathalie Nahai. Bonfanti began with ‘Girl I Knew’, and a hypnotic opening that alerted me enough to double-take that I

wasn’t listening to the chords of Otis Taylor. And then he sang, a gruff smoker’s voice that reminded me more of the tones

of the guy that used to sing with the band Love And Money. He had my attention. Long-haired, bearded and clothed in

heavy scarf and Victorian shirt, he was at home in the venue within a few notes and was ready to go feral with some pure

slow Blues in the tear-jerking ‘Now I’m Gone’. He toured with Robert Cray in 2008 and influences on display may have

been picked up here as he drew us in even closer and tighter. Comparisons are unfair as he exhibited a distinct style but

Blues Matters! 147

again I couldn’t help but look for references and with ‘Hard

Times’ it was the late John Campbell, deep and throaty and

as blue as you can get. A stomping ‘Knock Me Down’ finished

the set and I was drained yet eager for a continued fix. Both

artists were performing solo and if the clandestine convenience

suited the brittle Blues of Bonfanti then the assuage

furnishings were perfect for the patterned mosaics of Nahai’s

music. An hour-glass of crimson, stopping time with each

song, Nathalie Nahai is numinous in performance and personality.

With two new songs in the set, ‘Out From The

Shadows’ and ‘Satan’s Wife’, even more focus was required

as she despatched us into other worlds, noir and noetic.

Confident, like Bonfanti, especially in song, she coolly had

everyone hushed for ‘Softly Now’, alternative folk-styled lullaby-Blues

with essence of eastern spice making me weep

with the oxymoron of happy sadness.

Gareth Hayes

HARPER

@The Musician, Leicester. 17/12/08

Singer/songwriter, harmonica and Didgeridoo player Harper

made a short return visit to the UK, just before Christmas, to

record a Paul Jones session, whilst managing to pull in a few

gigs. His visit to The Musician underlined for the assembled

that there is another talented Blues musician and songwriter

whose name is not getting enough attention from the music

industry in general. Harper is renowned for his socio-political

songwriting, in the storytelling/narrative form. One song he

performed on the night was called ‘Just What You Are

Looking For’ - entered last year in the International

Songwriting Competition, and coming third out of 15,000

entries from over a hundred countries (one of the judges was

John Mayall, who has decided to record the song on a future

album). It is a parody on US drug advertising, where there is

a drug for everything - even a drug to cure the side effects of

the drugs advertised! He tells of a society that has reached

such a low point that it needs a pill just for life! Along with the

highly charged lyric, there was some great call and response

work between lead guitar and Harper on harmonica - the

music rising to a frenzied, delusional feel, evoking the drugridden

mania of the society. Harper also performed a number

he called ‘A Song For George’, and the audience quickly

realised this was directed at a certain Mr. Bush. It’s actually

called ‘One Day’, and was a more sinister and darker Blues

number, deep bass riffs and accusing emotive vocal tones,

being taken over by an equal assertive harmonica piece,

pointing the finger of blame in musical notes. Later a song

dedicated to his mother - named ‘Soul Food’, because she

had always thought there was something odd about her son

wanting to play this “depressing music.” The whole gig was

sensational from a talented Bluesman, including some

expressive, emotively gut wrenching Blues didgeridoo!

Carol Borrington

FUNKYDORY

@The Nags Head, High Wycombe. 07/11/08

We hadn’t seen much of Funkydory during 2008 and, indeed,

not much of The Nags Head either. The venue had been

closed for a while so that it could be sound-proofed, although

with such a history, and a genuine Blues heritage going back

to the ‘60s, one wonders what has gone wrong with the world

that it has to be sound-proofed! Funkydory’s low-key year has

seen them go from five-piece to four-piece and stressed studio

time working on that difficult, darker, second album.

Blues Matters! 148

The Martin Harley Band, including: Brighton The Greys

(2nd March), Cambridge Portland (4th), Norwich The Arts

Centre (5th), Swindon The Arts Centre (7th), Guildford The

Boileroom (11th), Oxford The Cellar (12th), Ashill Square &

Compass (18th), Bristol The Louisiana (19th), Swansea The

Chattery (20th), Bilston The Robin 2 (24th), Oswestry The

Ironworks (26th) and Fareham The Ashcroft Arts Centre

(27th). martinharley.com Black Lips: London Islington

Academy (15th), Bristol Fleece & Firkin (16th), Glasgow ABC

2 (17th), Manchester Institute (18th), Brighton Audio (19th).

myspace.com/theblacklips Stephen Dale Petit/Mick

Taylor, including: Liverpool The Cavern (7th May), Durham

Gala Theatre (8th), Glasgow Renfrew Ferry (9th), London

100 Club (13th) and Wimborne Tivoli Theatre (22nd).

myspace.com/stephendalepetit Bob Log III, including:

Bristol The Lanes (1st April), Canterbury The Farm House

(2nd), Birmingham Cold Rice (3rd), Liverpool Class A Audio

(4th), Brighton Engine Room (7th) and London 100 Club

(8th). myspace.com/boblog111 Nicky Moore’s Blues

Corporation: London Half Moon (21st February), Chislehurst

Beaverwood Club (26th March) and Ripley Blues Club (28th).

myspace.com/nickymooreblues Aynsley Lister, including:

Glasgow Ferry (13th February), Stratford Cox’s Yard

(19th), Lichfield Civic Hall (20th), Hartlepool The Studio

(21st), Chester Telfords Warehouse (31st March), Ebbw Vale

Beaufort Theatre (4th April), Blakeney Norfolk (17th),

Scarborough Cask Inn (21st), Bilston Robin 2 (22nd),

Wimborne Tivoli Theatre (23rd) and Penzance Acorn Theatre

(24th). myspace.com/aynsleylister Paul Leegan And The

Legends, including Harlow The Playhouse (15th February),

Coventry Coombe Club (21st), Haverhill The Arts Centre

(27th), Bilston The Robin 2 (4th March), Lichfield Arts Centre

(14th), Westcliff-on-Sea The Riga Music Bar (21st), Banbury

The Mill Arts Centre (3rd April), Alnwick The Playhouse (4th),

Isle of Wight The Medina Theatre (18th), Langholm The

Beccleuch Centre (24th) and Northampton Roade Jazz Club

(26th). paulleegan.com Tim Aves/Son Henry Band:

Farnham Maltings Cellar Bar (26th March), Maldon Oak Room

(27th), Billericay Barleylands Club (28th), Stevenage Red Lion

(29th), Rochester Roffen Club (31st) and Basildon The

Belvedere (2nd April). myspace.com/thetimavessonhenryband

Joe Gideon And The Shark: Brighton Freebutt (18th

March). myspace.com/joegideonandtheshark Danny

Bryant, including: Liverpool Baby Blue (15th February),

Aylesbury Limelight Theatre (20th), London Half Moon (18th)

and Peterborough Charters Bar (17th April). redeyeband.co.uk

Joe Gideon And The Shark: Brighton Freebutt (18th March).

myspace.com/joegideonandtheshark Pinetop Perkins:

London Jazz Cafe (12th March), London Jazz Cafe (13th) and

London Jazz Cafe (14th). pinetopperkins.com Jersey

Budd: Sheffield Leadmill (16th February), Newcastle The

Cluny (18th), Glasgow King Tut's (19th), London Water Rats

(20th), Leicester Sumo (21st) and Derby The Venue (22nd).

myspace.com/jerseybuddmusic Oli Brown Band, including:

Farnham The Maltings (5th March), Derby Flower Pot

(12th), Norwich Arts Centre (13th), Sheffield The Boardwalk

(14th), Penzance The Acorn (21st), Southampton The Brook

(22nd), Scarborough Blues Club (24th), Newcastle The Cluny

(25th) and Cardiff The Point (28th). myspace.com/oliblues

Bob Dylan: Sheffield Arena (24th April), London 02 Arena

(25th), Cardiff International Arena (28th), Birmingham NIA

(29th), Liverpool Echo Arena (1st May), Glasgow SECC (2nd)

and Edinburgh Playhouse (3rd). myspace.com/bobdylan

Colin Blunstone, including: Swindon Arts Centre (17th

February), Cardiff The Globe (18th), Milton Keynes The

Stables (19th), Sutton Boom Boom Club (21st) and Liverpool

Baby Blue (24th). colinblunstone.co.uk

photo: Tony Winfield (bluespics.co.uk)

Confidently opening with their own

‘Good To Be Free’, at a tempo and

edge that also allowed them to

get used to the dynamics of a

room, now full, that had been

empty for the sound-check. The

partnership that is Lorna

Fothergill on vocals and Jules

Fothergill on guitar then seamlessly

fell straight into the fans’

favourite Blues punch, ‘Northside’; a tricky number mixing sinewy Blues with contorted rock. Pumped up, they didn’t drop

the pace with ‘Mercy’, the first track they ever wrote, before giving the swaying audience their first taste of two new songs

and Funkydory’s evolving sound - ‘Hard Shoes’ and ‘She Never Could’. Both maybe have less funk than the titular bandname

demands (amongst rumours of a name change), yet have a deeper more penetrating rhythm, courtesy of the very

tight coupling of Ian Maurizio (bass) and Hayden Doyle (drums). Massively dependant on the constantly climaxing vocals of

Lorna and Jules he-sounds-like-he’s-playing-more-than-one-guitar-at-once Fothergill, it was hard not to just stare at the performance

rather than jump, sing and sway along. ‘Whipping Post’ was the usual, boastingly bigger and drainingly detached,

fifteen minute version, with astonishing virtuoso guitar that surely deserves a wider audience. Another cover, and a brave

diversion to challenge the emotions, came with ‘Knockin’ on Heaven’s Door’, before surprise guest Russ Blaber, from

Helium Soul, joined the band on stage and the Allman-styled guitar rock turned up the frenzy on stage a notch higher for

‘Sugar’. Ending with another new number, ‘Hole’, the time away was forgotten and forgiven in a fun encore and a desire

from all for a repeat performance soon by these four Blues-rock dynamos.

Gareth Hayes

Blues Matters! 149

DAVE ARCARI

@The Jolly Brewer, Lincoln. 15/11/08

Seeing mild mannered, hard-gigging Glaswegian

Bluesman Dave Arcari (looking like an over-caffeinated

Johnny Vegas) chatting pre-set, sporting a

dodgy Ramones short-sleeved shirt, it was clear it

could go either way tonight. With a shelf full of

album releases he seemed, nevertheless, to postpone

starting a few times, which suggested a few

nerves, till finally grabbing one of his electric steel

guitars and hitting a foot to the pedal for opener

'Another Chance'. It took a split second for a massive

persona shift to occur - from that of regular

bloke to that of a man ripe for detailed psychiatric

assessment. Heart and soul, this was a man now

possessed. Instantly into that territory of edgy, uninhibited,

full-on manic - that meant he was saving

nothing for a rainy day - it was all or nothing, whiskyfuelled

music. The guitar, while being weapon of

choice, was whipped around plenty while being

raked with steel picks taped to his fingers - along

with plenty of flashes of reckless slide playing to

keep it well mixed up (strings eventually started to

fail under such ferocious attack). The dramatic posturing

was classic punk and entertainingly adrenaline

rich, and the vocal, ooh yeah, a two octave

plunge from his speaking voice (think Tom Waits

gone thrash metal, think pit bull, think horror film

trailer…) - well it was also hard, fast and, yeah, fairly

disturbing, actually. All good stuff, then. Covering

Blind Willie Johnston's 'Soul Of A Man', he was then

happy to oblige some teen girls in the audience with

Johnny Cash's 'Blue Train', which was now suitably

mental. He then explained we were now to be treated

to a smoochy little love song, 'Red Letter Blues',

which he’d just written. So, no surprises then when

it kicked off at maximum velocity and turned out to

be the meanest badass song of the night. The

beautiful ‘20s art deco style mural of the Jolly

Brewer was an unexpectedly perfect backdrop for

Blues based sounds.

Perhaps as the first

Blues recordings were

being made around

that era. The incongruity worked much in the same way as mixing Blues with punk - it shouldn’t, but it did. All in all, the

effect of such a collision is to make you feel better about the world and glad there are people like Dave in it.

Pete McGovern

THE PAUL JONES CHRISTMAS SPECIAL

@BBC Studios, Maida Vale, London. 15/12/08

The recording of Paul Jones’ Christmas Special for Radio 2, with The Blues Band and special guests, showed you can have

fun and celebrate in style with the Blues. Dave Kelly and kicked the show off on lead vocal and slide guitar with ‘Blue

Christmas’. The Blues Band then continued with a great version of Hank Snow’s 1950 song ‘Movin On’. Drum-driven, harmonica

wailing, chest thumping bass rhythm and expressive lead guitar, all topped off with Paul’s vocal, produced wonderful

musical imagery of a train moving endlessly down the track, steel on steel, whistle blowing and passing through dusty

Blues Matters! 150

prairie, with tumbleweed rolling in a lonely and desolate

landscape. US saxophonist, composer and

arranger Pee Wee Ellis joined the group on stage

next for his composition ‘Ham’. Great call and

response solos on this by Pee Wee’s sax and Paul’s

harp, all underscored with top class instrumentals

by the rest of the band. Mike Sanchez was the second

of Paul Jones’ guests to join the assembled

throng, and they did Little Willie Littlefield’s ‘Baby

Shame’. A rocked up Blues number, which

offered a wonderful late-50s jam session feel

between the boys on stage. The third of Paul’s

guests was Elkie Brooks and her keyboard player

Andrew Murray. Elkie went into a cracking

performance of ‘Crossroads’. Her great husky

Blues vocal pumping those immortal words, with

harp and slide complimenting throughout. Pee

Wee Ellis then joined The Blues Band, before the

music was then handed back to Mike Sanchez for

a sizzling version of ‘Come Back Baby’, with Mike

going off stage and doing antics on his knees, as

the audience clapped and sang. After a couple more

numbers from The Blues Band, Elkie Brooks

returned to the stage with ‘Red House’ and ‘Baby You

Want Me To Do’. These were both sensational performances

from Elkie, and what vocal sustain she

has. The whole finished with everyone, including the

audience, joining for ‘Shake Rattle And Roll’.

Carol Borrington

MAXIMUM RHYTHM ’N’ BLUES

@The Derngate, Northamptonshire. 24/10/08

It is hard to do justice to this show in a short review. It

contained Blues and R&B, with forty years of pedigree

at its best. The value of the collective musicians on

display stepped back to the days of the burgeoning

R&B scene of London clubs like Ricky Ticks, Eel Pie

and Ronnie Scott’s. Where the British Blues scene took the

legend of the Blues, forming a myriad of genres that form today’s modern music.

The show opened with The Manfreds (including Paul Jones, Mike D’Abo, Tom McGuiness, Simon

Currie, Wayne Elliott, Rob Townsend and Mike Hugg), stalwarts of the ‘60s scene, with an impressive,

harmonica augmented rendition of their 1964 hit ‘5-4-3-2-1’, with Jones on lead vocal. The

music featured throughout depicted The Manfreds’ career over forty years, Paul Jones and Mike

D’Abo sharing lead vocal and showcasing their own input in the various stages of evolution. There

was nothing old and dusty about this performance. Songs of long standing pedigree may have

been on show but true Blues and R&B style, innovation, creation and spontaneity were the order of

the day. Giving a feeling of freshness and the promise of more to come for the future, with a new

CD due in 2009! Mike D’Abo took the lead on the classic ‘Fox On The Run’. It had a far more Blues

feel than original, impressively underscored instrumentally, with good audience participation. The

Mansfreds were then joined on stage by “Scotland’s Janis Joplin,” Maggie Bell. She hit that stage

running, and in musical perfection, with ‘No Mean City’, set off with beautiful instrumental backing, and then thrilling the

crowd with song after song. Alan Price, ex-The Animals, took the stage also in a guest spot. Apart from his very Dickensesque

rhetoric, he also took the crowd through an impressive selection of his music, including a sensational and innovative

version of John Lee Hooker’s ‘Boom Boom’. Great gig!

Carol Borrington

NICK CAVE AND THE BAD SEEDS

@The Brighton Centre. 23/11/08

The positive response to “Dig!!! Lazarus Dig!!!” spawned two international tours for Nick Cave And The Bad Seeds. This was

the second time they played the UK. Unlike the show on their first tour, the group focussed on songs that travelled well

throughout the career, rather than aiming to play the latest album from cover-to-cover. Out of the songs missing were

‘Night Of The Lotus Eaters’ and ‘More News From No Where’ - two tracks, in particular, that I believed worked well. In fact,

there was a completely different atmosphere. Where their previous show at the Hammersmith had a tense edge to it, the

air of hostility was completely vaporised and you truly felt Cave was at home. Brighton, being his adopted home-town, was

much more welcoming to the band and, in return, Cave was much more receptive, even allowing audience requests and

communicating more with the crowd. Even the sound quality was better, Warren Ellis choosing not to pummel his violin as

Blues Matters! 151

hard as usual and, in turn, producing a much more eloquent sound. However, where this was much

appreciated for those wanting to hear the music, rather than being engulfed by it, there was a feeling

that tracks like ‘Tupelo’ and ‘Red Right Hand’ suffered from the lack of electricity and manic musicianship.

This makes no accounting for the incredible performance of ‘Papa Won’t Leave You Henry’,

and the wall of sound was breached on several occasions with the title track from the latest album

and ‘Deanna’, a song which has generally been cranked up since Cave’s wanderings with side-project

Grinderman. In retrospect, the group’s performance could not be seen in a light anything other than

positive. After over twenty years, it was good to see the old boy wasn’t slowing down just yet.

Matthew Clarke

SERIOUS SAM BARRETT AND DAVID BROAD

@Sanctuary Café, Brighton. 12/11/08

Roots music seems to be misunderstood more than appreciated as of late. Sure, there is a revival,

but when isn’t there one? In honesty, bands that play the Blues like Clapton or The Rolling Stones

have missed the point. They play from the head rather than the heart. On a cold evening in Brighton,

by complete coincidence, I came across a man who played about what he knew and what he didn’t

know, and in a style which was older than he was, but in a voice that couldn’t be anyone else’s. The

truth with Sam Barrett seemed to be that there wasn’t one. His guitar playing had been moulded from

what seems to have been years of listening and loving the Blues. He happily cited Robert Johnson,

Blind Willie McTell and Son House as influences, but his tongue couldn’t have been

more representative of where he grew up if he tried. Barrett

wasn’t alone, though. He was touring with

fellow enthusiast David Broad, a man with

as much insight to the genre and as much,

if not more, heart. They took it in turns to

play covers and originals. They played

songs that told tales of folk living on hard

times, running from the law and taking

cross-country trips on the boxcar. They

played to roughly twenty people, none of

whom said a word throughout, and none of

whom could move their eyes away from the

stage. Twenty minutes from the end, Barrett

rejoined his partner on stage for an old-fashioned

hootenanny performance and together

they raced through tracks which were more

about living in Leeds than on the railway. It was

an uncompromising performance by two men

playing what they felt - a soulful escape by two

men refusing to be bounded by cultural or geographical

borders.

Matthew Clarke

SHERMAN ROBERTSON

@The Running Horse, Nottingham. 20/11/08

Sherman Robertson is a real favourite in Nottingham’s

Blues clubs. He played at The Running Horse to a

near capacity crowd, who were clearly out to enjoy

some hot Texan Blues - and Sherman’s dramatic persona

as a showman. Bluesmove providing backing

with their usual instrumental excellence. Sherman

kicked-off with a funky Blues number, great soul laden guitar

solos, and some impressive keyboard work by “Jools” Grudgings adding the finishing touch.

Sherman moved into the next number like a man on a mission, ‘Long Way From Home’, with a more than willing audience

joining him on the chorus, as he stepped off the stage wandering amongst them and telling them, with a cheeky grin

and wink, "You tell Joe Bonamassa, I’m looking for him!” One interesting aside to the performance was a young artist in

the audience swaying to his music whilst trying to immortalise the essence of the musician through graphite and paper.

One dramatic moment of the night, apart from Sherman’s excellent guitar work, came in the second set. Sherman got off

the stage and wandered out of The Running Horse front door onto Canning Circus and stood there serenading all who

passed by on the road. I’m pretty certain that Nottingham’s own outlaw minstrel, Allen-a-Dale never caused this much

interest on the city’s streets! Gary Rackham, who is a newcomer to Bluesmove, despite playing some excellent bass

rhythm for Sherman’s frequently florid journeys along the fretboard, also displayed that he was unphased by losing the

frontman to the byways of dark Nottingham as he, drummer Mike Hellier and Jools continued with Sherman in spirit if not

corporeal. Sherman proved in this performance that, at present, both as a musician and showman, he deserves more

Blues Matters! 152

photos: Alan White

attention, but in Nottingham, at least,

he seems to have become its semi-official

present day, wandering minstrel.

Carol Borrington

IAN SIEGAL

@Millers Snooker Hall,

Kirby-in-Ashfield. 27/11/08

It is fair to say, with Ian Siegal, you are

always guaranteed a night of great

Blues music, but at Millers there was

something extra. Ian powered into ‘The

Revelator’ like a man possessed, with

all that Siegal grit, fire and feeling. The

whole thing, as usual, being held tight

by some great bass riffs from Andy and

power drumming from Nikolai. Taking

us through the music of “Dust”, and his

previous album “Swagger”, Ian held the

audience’s attention in a grasp of steel.

He gave them rock-Blues, Blues ballads

- and even a love song! - to howls,

cheers and clapping. The favourites

were included, as well - ‘Ground Hog

Blues’ had a little spice added that

night, with a funkier feel and great fluid

guitar licks. There were some impressive

musical rises and falls flowing

throughout adding to the musical

imagery of the piece. Ian is never

allowed to perform without the compulsory

‘Horse Dream’, which, this time,

was done in the swamp style.

Finishing the gig was the most difficult

part of night, with the audience calling

for “three more,” and Ian’s compulsive

love of playing. Ian is the 21st century’s

answer to the days of Howlin Wolf

and Muddy Waters, but he has also

been skilfully bringing into to his

musical armoury the

legacy of the ‘60s

British Blues boom. Ian

is now one of the forerunners

of the Blues.

Carol Borrington

ISOBEL CAMPBELL AND MARK LANEGAN

@The Wedgewood Rooms, Portsmouth. 09/12/08

It’s not a lie that the pairing of Isobel Campbell and Mark Lanegan was one that many were unprepared for. When their

first CD was released, two years ago, it came as an initial shock that the generally rough and ready guitarist, known for his

work in the Screaming Trees and QOTSA, would partner up with indie queen Isobel Campbell. In fact, I doubt there is anybody

more twee than Campbell and less so than Lanegan. Nonetheless, it was quickly established that this was a partnership

that not only defied the rules of contemporary music, but embraced such pairings of an age before this one. Suddenly

the work of Hazlewood and Sinatra was spoken about like it was gospel and the sexual ambiguities of Serge Gainsbourg

was becoming references and explanations to Campbell and Lanegan’s music. On stage, in Portsmouth, none of this mattered.

The two performed with their band with dynamic precision. There was no flailing over each other as if they couldn’t

Blues Matters! 153

Deborah Coleman

photos: Alan White

be separated. There was merely a few

glimpses and one or two strategically

placed smiles, as if they were communicating

in a language known only to them.

The songs that came filled the hour and a

half briskly - the old phrase that time

passes when you are having fun fitted

nicely. The orchestral sweeps provided by

Campbell’s cello gelled perfectly with a regular

rock-band set-up. The night’s performance

assured me they were meant to perform

this epic brand of dark country and

Blues to the point I was no longer watching

two individuals but a band who knew what they were

doing. At the moment they came off stage, before the

encore, I realised I witnessed a beauty in the two that echoed sweetly in the music. No song

was more or less powerful than the one before it and the note for note accuracy of the recordings was never challenged.

There was in no way anything disappointing about this but the pair’s performance of ‘Come On Over (Turn Me On)’ got to

such an intense level that I wondered if there could have been more. By questioning this notion, I felt that perhaps they

were playing safe to the formula, and even though it satisfied my every musical expectation, there was something calculated

about their live performance.

Matthew Clarke

BLUES CARAVAN

@The Stables, Milton Keynes. 09/11/08

A wet windy November was not going to stop Blues Caravan moving its musical way through the UK. The show opened with

support act The Will Wilde Band. Will is the younger brother of Dani Wilde (part of this incarnation of Blues Caravan) and a

mean harmonica player. A band to watch for the future, if this gig was anything to go by. Enter next the ladies of Blues

Caravan, five Amazon warriors all wielding axes with talent and style. I say five, because along with lead musicians Sue

Foley, Deborah Coleman, Dani Wilde and Joanne Shaw Taylor, was guitarist Laura Chavez. Laura stands in her own right as

Blues Matters! 154

“The Voice” of Kyla Brox.

photo: Alan White

a lead, joining the rest of the female Blues team as an equal partner. Dani, Deborah and Sue kicked off the opening number

with Dani taking lead vocal and the show progressed with interchanging lead and vocal renditions by all. Joanne later

joined in, the gig continued into one of the finest displays of female vocalists, and instrumentalists you could ask to

assemble on one night. The songs were a mixture of Blues, soul, gospel and rock, all carried out in vocal and instrumental

precision. Honours go equal to all in this performance - it is impossible to pick out one musician that didn’t give a 110%

effort in all they performed. The highlight of the show came at the end, as all five girls played Led Zeppelin’s classic

anthem ‘A Whole Lotta Love’. It seemed a fitting end to this show, as the original was influenced by Robert Plant’s love of

Willie Dixon’s ‘You Need Loving’, and the girls launched themselves into their own innovation on the theme. Two generations

of guitarists, taking the Blues of old, into the 60s revival and catapulting the whole thing into the present, with guitars

wailing and the audience joining the chorus, clapping and cheering.

Carol Borrington

KYLA BROX

@Millers Snooker Hall, Kirby-in-Ashfield. 11/12/08

Kyla “The Voice” Brox opened her set with Blues ballad ‘Painter’, written by her father, and sung with just a hint of soul,

you could see the crowd’s body language start to tune in - ears pricked up for every nugget of musical gold echoing from

Kyla’s lips. The lady can sing - there is no doubt about that. Her vocal register covers the range with consummate ease.

She has good microphone technique, her breathing control is superb but, more than this, Kyla hasn’t fallen into the trend

of many young musicians of leaning towards the schooled, almost clinical vocal. Kyla’s vocal is natural and very clean but,

most of all, it has a depth of feeling. She took us, vocally, through a range of changing emotions, from the pain of lost love

to the joys of living. The gig was all topped off by some fine instrumentals from the rest of the band. Kyla and bass player

Danny Blomely had a subtle feeling of yin and yang in their interactions. Kyla’s feminine vocal and flute contrasted with

Danny’s deep emotive bass riffs. The band got the musical recipe just right, with fine lead guitar licks taking the middle

ground, complimenting, underscoring and then, in its turn, adding some well-structured and impressive solo spots. Tony

Marshall’s tenor, alto and soprano saxophones gave the whole a cascade of musical colours and it was held tight and driven

home by Phil Considine’s percussive drumming. On ‘Coming Home’, Kyla’s vocal melted round Millers like warm velvet

chocolate, with a sound to be savoured. Her rendition of Nina Simone’s ‘Do I Move You’ underlined, if anyone needed it,

what a fine, talented Blues lady this is. Top class and still young enough to fly!

Carol Borrington

Blues Matters! 156

PRAISE BE

Courtesy Wienerworld, we have 3 copies of “Inside

Bob Dylan’s Jesus Years: Busy Being Born Again!”

to giveaway. Through the Vineyard Christian

Fellowship Church, the Jewish Dylan came to Jesus,

and recorded three gospel albums, winning a GRAM-

MY for the song ‘Gotta Serve Somebody’. Through

revealing interviews with close sources, including

Dylan’s Bible class teacher, Pastor Bill Dwyer, this

DVD chronicles Dylan’s life from 1978-1981, with rare

photos, exclusive live footage and a 1981 interview

with Dylan himself. To gain enlightenment, tell us:

Who produced Dylan’s 1979 album, “Slow Train

Coming”, featuring ‘Gotta Serve Somebody’?

THE KING

We have 3 sets of 3 great new albums to giveaway -

King Clarentz’s “Day Of The Supermodel” courtesy

Super Sweet Records; Fred Eaglesmith’s “Tinderbox”

courtesy Lonesome Day; and Greg Zlap’s “Road

Movie(s)”. All three albums are reviewed this issue, with

King Clarentz’s unique punk twist on Delta Blues gaining

particular praise. “This is raw, energetic, hypnotic and a

little different, but it’ll appeal to most Blues lovers,” concluded

our reviewer, who had earlier singled out ‘Down

On The Burying Ground’ (“chugs along infectiously in a

boogie Blues”) and ‘Rim On The Koochie’ (“a saucy,

humorous tale that needs no explaining”) for praise. For

your chance to win three alternative takes on the genre, tell us:

What was the name of King Clarentz’s 1999 debut album?

TO ENTER...

For your chance to win any of these great prizes, send your answer(s) to:

comps@bluesmatters.com*. Closing date: 20th March 2009.

*Alternatively, post to the usual PO Box address.

Blues Matters! 157

ODETTA

31st December 1930 - 2nd December 2008

Influential recording artist and human rights activist, Odetta passed away on 2nd December 2008 following a heart

attack, after being hospitalized for kidney failure. She was 77.

Born on New Year’s Eve 1930 in Birmingham, Alabama, Odetta Holmes was to become the “The Voice of the Civil

Rights Movement”. She was influential in the folk revival of ‘50s and ‘60s, and a key influence in bringing on a new

generation of musicians, including Bob Dylan, Joan Baez, Mavis Staples and Janis Joplin. Yet

one genre was too small to hold a musician of Odette’s talents as

she also moved through Blues, jazz and spiritual music.

Following her family’s move to Los Angeles, Odetta started

to learn the guitar, and went on to study music at The

Los Angeles City College, funding herself by working in

domestic service. Subsequent theatre work with the national

touring company led to her discovery of the San Francisco

folk scene. Playing some of the more upmarket mostly white

nightclubs, in 1956 Odetta recorded the album “Odetta Sings

Ballads And Blues.” Her interpretation of traditional favourites

on this album brought her to widespread attention (Dylan has

since hailed this album’s influence on his own career).

Odetta became a pivotal figure of the folk boom, as she

worked through the mediums of folk, gospel and Blues, and,

by the beginning of the ’60s, no civil rights rally was complete

without her presence and her rendition of ‘We Shall

Overcome’.

In the ‘60s and ‘70s, Odetta added acting to resume,

although her recording career enjoyed a renaissance in the

‘90s, recording for M.C. Records, earning a W.C. Handy Award

and two GRAMMY nominations (the period of 1999 to 2006,

saw the rerelease of forty-one of her CDs, whilst she made

guest appearances on fourteen new albums).

In 1999, Odetta was presented with “The National Medal Of

Arts” by Bill Clinton. The Library of Congress gave her its “Living

Legend Award” in 2003, and this was followed by the The

A true leader: Odetta. Visionary Award in 2004. Her last major performance was in San

Francisco’s Golden Park on 4th October 2008.

AL TAIT

13th March 1950 - 6th November 2008

Blues Matters! contributor Al Tait passed away on 6th November 2008, following a long battle with cancer.

Despite the deterioration of his health in recent years, Al remained a keen advocate of the Blues, interviewing

the likes of The Wiyos and Catfish Keith for the magazine, and insisting on receiving materials for review

right up until his passing (in 2008, Al covered CDs from Luther Allison, Man, Keef Hartley Band, Solomon

Burke, and many more).

Al’s support to the magazine, as a contributor and spokesperson, was greatly appreciated, and we are

deeply saddened to lose such an enthusiastic member of the team.

Our best wishes go out to his partner Lucy.

Blues Matters! 158

DELANEY BRAMLETT

1st July 1939 - 27th December 2008

Delaney Bramlett passed away after complications from gall-bladder surgery on 27th December 2008.

Born in Pontotoc, Mississippi, Delaney settled in Los Angeles after a stint in the US Navy, establishing himself as a

songwriter and becoming a regular on TV screens as part of the “Shindig!” house band.

In 1967, Delaney met Bonnie, marrying seven days later,

the duo formed Delaney & Bonnie & Friends – a travelling

rock’n’roll road show, whose players included, at one time or

another, George Harrison (whom Delaney taught slide), John

Lennon, Duane Allman, Gram Parsons and, most notably,

Eric Clapton – Delaney produced and co-wrote Clapton’s

debut solo album, co-wrote the hit ‘Let It Rain’, and Clapton

has since credited Delaney for pushing him to sing.

Delaney & Bonnie released five albums together, including

their revered debut “Home” on Stax Records, and enjoyed success

with singles such as ‘Never Ending Song Of Love’ (which

has been recorded by over 100 artists, including Ray Charles)

and ‘Only You Know & I Know’. The duo also received a

GRAMMY nomination for the song ‘Superstar’, later covered by

the likes of The Carpenters and Usher. Despite their success,

the duo broke-up personally and professionally in 1973.

In 2008, Delaney released the critically acclaimed album

“A New Kind Of Blues”.

Blues Matters! had been in contact with Delaney’s partner

Susan Lanier-Bramlett at the start of December 2008, interviewing

him for an upcoming Bonnie Bramlett feature, with

Susan informing us Delaney had been in UCLA Hospital following

“a botched gall-bladder surgery” on 4th June 2008,

which meant he had “lived with a huge hole in his abdomen.

“We have truly learned the meaning of humility and gratitude.

It has been the roughest time in our lives. I can say,

without question, he is the strongest man I have ever met. Mentored the ‘greats’: Delaney Bramlett.

He has accepted his plight with grace and strength.”

SAM “BLUZMAN” TAYLOR

25th October 1934 – 4th January 2009

Songwriter/guitarist Sam “Bluzman” Taylor passed away from complications related to heart disease at his home in

New York on 4th January 2009. He was 74.

Sam was a recording artist in his own right during the ‘60s, but enjoyed greater success as a bandleader for the likes

of Maxine Brown, The Isley Brothers, Sam & Dave (for whom he co-wrote early hits ‘People In Love’ and ‘Listening For

My Name’) and Otis Redding, as well as penning songs for, amongst others, Son Seals and Jimmy Witherspoon.

Sam fell on hard times by the end of the ‘70s (including a well-documented drug addiction), but began to receive royalties

from the likes of DMX in the ‘90s, as contemporary rap and hip hop artists began to sample his songs (including

B.T. Express’ ‘Everything That’s Good To Ya (Ain’t Always Good For Ya)’, and he released five Blues albums (including

2003’s “Blue Tears”), toured Europe and hosted WUSB’s “Blues With A Feeling” radio show until his death.

“A short, but sturdy man with a charismatic stage presence and a spectacular voice, Sam was a master bandleader,

songwriter, and arranger,” read a statement from producer Bob Corritore. “Sam will be deeply.”

NATHANIEL MAYER

10th February 1944 – 1st November 2008

Nathaniel Mayer, who returned to recording in 2004 after a thirty-plus year musical hiatus, passed away on 1st

November 2008 after months of hospitalization following multiple strokes. He was 64.

Although Nathaniel is better known for his recent releases on Fat Possum and Alive Records, the Detroit, Michigan R&B

singer originally recorded for the Fortune label in the early-60s, scoring a hit with ‘Village Of Love’ in 1962. Unfortunately,

he was never able to follow-up on that success, and after leaving the label, Mayer went underground until Norton issued a

never before released recording from 1968, ‘I Don’t Want No Bad-Headed Woman Telling Me What To Do’.

This release inspired Nathaniel to return to the music industry, with Fat Possum releasing “I Just Want To Be Held”

to critical acclaim in 2004, and the 2007 release of “Why Don't You Give To Me?”, with the likes of Dan Auerbach

guesting, on Alive Records, and this led to his first European tour.

Blues Matters! 159

.B. King has long cited

T-Bone Walker as a

major influence. Most

commentators credit

him with the birth of the

electric Blues guitar,

starting a revolution that

we still enjoy today.

Few major electric

Blues players don’t owe

T-Bone a sizeable debt,

with Eric Clapton, Mike

Bloomfield, Albert King, Duane Allman, Jimi

Hendrix, Stevie Ray Vaughan and Robert

Cray, to name but a few, all publicly acknowledging

his genius

Blues Matters! 160

T-Bone Walker is very well known to the majority of

electric Blues fans simply because the colossus that

is modern electric Blues can be traced back to this

Texas born showman, who began to amplify his

playing way back in 1940, nearly seventy years ago!

Born Aaron Thibeaux Walker in 1910 in Linden,

Texas of African American and Cherokee descent,

T-Bone came from a musical background, with his

stepfather playing bass fiddle in the Dallas String

Band. This was a mighty influence on the young

Aaron who, just like his stepfather, learned the rudiments

of virtually every stringed instrument available

to him.

Jamming with the String Band he would be

joined by experienced old dogs like Blind Lemon

Jefferson, with whom he developed a relationship

which saw him lead the blind guitarist from bar to

bar where he played for no more than a few dollars.

In addition to Jefferson, T-Bone was exposed

to the playing of Charlie Christian, who went on to

transform the jazz world with his electric riffs in

the same way as T-Bone did for the Blues. For a

period in 1933, Christian was one of T-Bone’s

playing partners.

Under the name of Oak Cliff T-Bone, Walker

made his recording debut in 1929 at the tender age

of 19 years, cutting ‘Witchita Falls Blues’ backed by

‘Trinity River Blues’ on Columbia.

In the ‘30s, T-Bone left Texas for Los Angeles to

perform with saxophonist Big Jim Wynn’s band, but

not as a guitarist but as a dancer! The origins of

the many comparisons with Elvis perhaps? Then, in

1939, he was hired by bandleader Les Hite as a

vocalist, with whom he recorded ’T-Bone Blues’ a

year later for Varsity Records. No T-Bone guitar on

this recording, but about this time his experimentation

with the technical aspects of the guitar began

to come to fruition. After electrifying it, he moved to

playing clubs around LA with a new combo, featur-

ing his wailing

instrument. He also

changed the nature

of his act to provide

a new focus

on a more extrovert

entertainment,

doing acrobatics,

the splits and playing

the guitar

behind his back

and with his teeth

to thrill his audiences.

He also

played his massive hollow body Gibson horizontally.

After his wild sets, the stages would

be littered with jewellery, cash, and panties.

It is not recorded what he did with them, but

if they ever come up on eBay...!

However, it wasn’t until 1942 when the T-

Bone style evolved into the style known by

today’s fans. He had, by then, moved to the

fledgling Hollywood company Capitol Records

and cut ‘Mean Old World’ and ‘I Got A Break

Baby’, with boogie man Freddie Slack. It was

during this period that T-Bone matured and

showed the world his fluid elegant riffs and mellow

sexy vocals that a whole host of future players

would try to emulate.

Walker’s next recordings were cut for the label

ran by joint house Chicago’s Rhumboogie Club,

which he used as a home from home. He then

signed a deal with LA based Black And White

records, where his career really took off and he

began to build a massive catalogue. It was with

this label that T-Bone cut the massively successful

‘Call It Stormy Monday (But Tuesday Is Just As

Bad)’, and began to lay down his massive catalogue.

The instrumental ‘T-Bone Jumps Again’ was

recorded at the same session, demonstrating his

impressive speed. Most of his best output at this

time was smoky after hours Blues.

T-Bone’s work with Black And White continued

until 1947, and included the classics ‘T-Bone

Shuffle’ and ‘West Side Baby’, before he joined LA

independent label Imperial in 1950. His four year

stint with Imperial produced a number of classic T-

Bone recordings, such as ‘The Hustle Is On’, ‘Blue

Mood’ and ‘Party Girl’.

T-Bone’s next contract was with Atlantic in 1955,

where he initially collaborated with Chicago giants

such as Junior Wells and guitarist Jimmy Rogers,

before cutting some searing instrumentals in 1957 -

‘Two Bones And A Pick’, ‘Blues Rock’ and ‘Shufflin’

The Blues’ being notable examples. Unfortunately,

this was to mark the end of T-Bone’s peak as, in

common with a host of electric Bluesmen, the rise

and power of rock’n’roll had eclipsed T-Bone’s

uniqueness as an electric player.

In common

with a number

of Bluesmen,

whose careers

were in

decline, T-

Bones made

the journey to

play the 1962

Lippmann and Rua promoted first

American Folk Blues Festival. On the same bill

were players like Memphis Slim and Willie Dixon.

Subsequent to that, a number of European tours

beckoned, and his 1968 work in Paris led to one of

his best albums, the provocatively titled “I Want A

Little Girl”, recorded for Black And Blue Records.

Although he went on the win a GRAMMY for his

1970 Polydor release “...good feelin’...”, it is generally

held that this is nowhere near his best work. He

followed “...good feelin’...”, in 1973, with the disappointing

five track release for Reprise, “Very Rare”.

By then, T-Bone’s health was deteriorating and, in

1974, he suffered a stroke. T-Bone died in 1975.

The album “T-Bone Blues”, released by Atlantic

in 1959, is the indispensible recording on T-Bone

Walker’s searing work in the mid-50s, including a

luscious rerecording of ‘Call It Stormy Monday’. You

will also find some fine work with Junior Wells and

Jimmy Rogers on this album. For the more serious

collector, there is a 6CD box set, “The Complete

Recordings Of T-Bone Walker 1945-1954” released

by Mosaic in 1990. This acts as a time line of urban

Blues, showing the huge extent of T-Bone’s influence

on all aspects of the genre. KW

Blues Matters! 161

Blues Matters! 162

photo: Mattia Zoppellaro

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