064 - Blues Matters

BLUES
MATTERS!
“The BLUES without the blinkers!”
TONY McPHEE (UK)
NICKY MOORE (UK)
ALLEN TOUSSAINT (USA)
GRAINNE DUFFY (IRE)
MORELAND & ARBUCKLE (USA)
THE BADDEST BLUES BAND (UK)
WILL JOHNS (UK)
IZZY YOUNG (USA)
TAJ MAHAL (USA)
THE MYERS BROTHERS (USA)
Grainne Duffy
Taj Mahal
Feb 12 Mar 12 l Issue 64 l £4.50
www.bluesmatters.com
Hubert Sumlin

Come along to the final of the New Brunswick Battle of the Blues on 27th March to
see and hear some of Britain’s best-unsigned Blues artists and discover whom
Tourism New Brunswick will be taking to play at the Harvest Jazz and Blues Festival in
New Brunswick, Canada later this year.
Five great acts will take to the stage and will play some of their own original material in
front of an international panel of judges, and whilst the judges reach their decision last
years winners 24 Peso’s will headline.
So join us on the 27th March at:
The Garage 20-22 Highbury Corner, London N5 1RD.
Admission is by ticket only (£7) and is sure to be popular so buy your tickets now from:
www.hmvtickets.com or www.ticketweb.com
All proceeds from the ticket sales will be donated to charity, details of which will be
announced on the night.
To learn more about the Harvest Jazz and Blues Festival, or more about the New
Brunswick Battle of the Blues visit: www.tourismnewbrunswick.co.uk
or www.facebook.com/newbrunswickbattleoftheblues
Blues Matters! 2
www.TourismNewBrunswick.co.uk

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BLUES MATTERS!
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EDITORIAL team
Alan King / Gez Morgan: editor@bluesmatters.com
Founder
alan@bluesmatters.com
Contributing writers:
Liz Aiken, Roy Bainton, Andrew Baldwin, Adam Bates,
Duncan Beattie, Adrian Blacklee, Bob Bonsey, Colin
Campbell, Bob Chaffey, Mark Cole, Martin Cook, Norman
Darwen, Dave Drury, Linda Fisher, Jamie Hailstone, Stuart
A. Hamilton, Beryl Hankin, Nat Harrap, Brian Harman, Alan
Harvey, Gareth Hayes, Steve Hoare, Tony Holmes, John
Hurd, Billy Hutchinson, Peter Innes, Duncan Jameson,
Edward Killelea, Martin Knott, Brian Kramer, Frank Leigh,
Geoff Marston, Ben McNair, Vicky Martin, Michael Messer,
Martin McKeown, Martin ‘Noggin’ Norris, Merv Osborne,
Mike Owens, Frankie Pfeiffer, Thomas Rankin, Clive
Rawlings, Paromita Saha, Graeme Scott, Dave Scott,
Andy Snipper, Richard Thomas, Tom Walker, Mel Wallace,
Darren Weale, Kevin Wharton, Rhys Williams, Philip
Woodford, Vicente Zúmel, Roser Zúmel.
Contributing photographers:
Christine Moore, Liz Aiken, Annie Goodman, Marilyn
Stringer, Vicky Martin, Philip Woodford, Paul Webster,
others credited on page
Production-Art/Layout
Christine Moore: christine@bluesmatters.com
Advertising:
ads@bluesmatters.com
Tel: 01656-745628
Subscriptions/orders:
Jenny Hughes: jenny@bluesmatters.com
IT/Web Management:
Diana Stone: diana@bluesmatters.com
Stand Manager:
Christine Moore: christine@bluesmatters.com
Event Manager: events@bluesmatters.com
Printers
Pensord
© 2012 Blues Matters!
Original material in this magazine is © the authors. Reproduction
may only be made with prior consent of the Editor and provided
that acknowledgement is given of the source and copy is sent to
the editorial address. Care is taken to ensure that the contents of
this magazine are accurate but the publishers do not accept any
responsibility for errors that may occur or views expressed editorially.
All rights reserved. No parts of this magazine may be reproduced,
stored in a retrieval system or transmitted in any form or by any
means electronic, mechanical, photocopying recording or otherwise
without prior permission of the editor. Submissions: Readers are
invited to submit articles, letters and photographs for publication.
The publishers reserve the right to amend any submissions and
cannot accept responsibility for loss or damage. Please note: Once
submitted material becomes the intellectual property of Blues Matters
and can only later be withdrawn from publication at the expediency
of Blues Matters. Advertisements: Whilst responsible care is taken
in accepting advertisements if in doubt readers should make their
own enquiries. The publisher cannot accept any responsibility for any
resulting unsatisfactory transactions, nor shall they be liable for any
loss or damage to any person acting on information contained in this
publication. We will however investigate complaints.
EDITORIAL
A belated Happy New Year to you all.
We trust you are recovered from your
Christmas celebrations and looking
forward to a good Blues year. Good to hear that the
Burnley Blues festival has new backing and is back
to its usual three day format though it has moved
its dates to May.
This issue we have interviews with Tony McPhee
formally (and still occasionally) of The Groundhogs,
the legendary Taj Mahal, JJ Grey, Nicky Moore
ex Samson & Mammoth singer whose son Jnr
is taking over the voice in the renowned Blues
Corporation), Moreland & Arbuckle from Kansas,
the new girl on the block Grainne Duffy (suggested
that she may be the UK’s Bonnie Raitt) and
more. Also features on the Blues Scene in Spain
by Vicente Zúmel & Roser Zúmel (Pt.1). Young
and Blues by Brian Kramer (mentioned but not
appearing in our last issue), Slide Guitar Part 3 by
Michael Messer and as always many, many more.
Let’s not forget all the Live Reviews, CD Reviews,
Blue Blood, News and Feedback. We never
mention these but the wonderful Blues Cartoon by
Jay Nocera and Red Licks’ Top 20. Blues Top Ten
this issue is provided by Nicky Moore and Kevin
Wharton’s ‘Least We Forgot’ on Cyril Davies.
You may have heard by now, the legendary Hubert
Sumlin has died. In this issue we have two tributes
to him by two people who knew Hubert well, Bob
Angell (Hubert was his friend and mentor) and
Stephen Dale Petit (recently in the studio with
Hubert). Hubert Sumlin was best known for his
celebrated work as guitarist in Howlin’ Wolf’s band.
The EBU (European Blues Union) have asked
Blues Matters to select an artist to represent Britain
next year’s ‘European Blues Union Challenge’. Ben
Poole won the best newcomer in the ‘BM Poll’ (See
issue 62). We’ve asked Ben and he accepted.
Butlins Skegness Rock N’ Blues Festival - This
year’s line up on the BM Jaks stage is set to be a
cracker. As always the BM HQ team and writers
will be present. The Jaks Stage will now be open
all day Sunday into the evening for the first time as
many of you have been asking for so we talked to
Bourne Leisure and gained agreement for you. So
more acts to come and enjoy. We hope to see you
all there.
Apologies to Mike Owens who was not credited
for his ‘Blues In Schools’ article in issue 63 and
Richard Thomas name was incorrectly spelt.
Alan & Gez and all the BM ‘Team’
HAPPY NEW YEAR!!!
Dont forget your feedback to us :-
editor@bluesmatters.com / or use the
‘contact us’ on the website

Regulars
8 TOP TEN
Nicky Moore’s
12 HAPPENIN NEWS
Blues News
94 CD REVIEWS
Over 85 reviews
118 GOT LIVE
Heinrik Freischlander, Imelda May,
Joanne Shaw Taylor, John Mayall & Oli
Brown, Kenny Wayne Shepherd, Nimmo
Brothers, Rev Payton’s Big Damn Band &
The Straits, Robin Trower etc.
130 COMPETITION
Win Books
94 CD REVIEWS
ARTHUR, BIG PETE, ‘BIG BOY’ CRUDUP,
BILL WYMAN’S RHYTHM KINGS, BLUES
BAND, BLUESFREAK, DAVE O’GRADY, DAVID
YOUNGS, EARL GREEN & THE RIGHT TIME,
EMILY O’HALLORAN, FILLIGAR, JC BROOKS
& THE UPTOWN SOUND, JOHNNY OTIS,
MARIELLA TIROTTO & THE BLUES FEDERA-
TION, MATT ANDERSEN, MIGHTY MO RODG-
ERS, MORELAND & ARBUCKLE, PIGNOSE,
RAMON GOOSE, ROXI & THE BLUE CATS,
SHAUN MURPHY, SLEEPY EYES NELSON,
SON ROBERTS, STRETCH, SUGAR RAY &
THE BLUETONES,THE DEADLY GENTLEMEN,
STEVE ROUX & THE WHITE KNUCKLE BLUES
BAND, TIM AVES & WOLFPACK, TOBY WALK-
ER, TOMMY EMMANUEL, WHITEBOY JAMES
AND THE BLUES EXPRESS, BARE BONES
BOOGIE BAND, D’MAR & GILL, GRAINNE
DUFFY, LANCE LOPEZ etc. etc.
Blues Matters! 6
Your latest copy of
Blues Matters! delivers!
Features
14 INTERVIEWS
Grainne Duffy, Taj Mahal, The Baddest
Blues Band, Will Johns, Tony McPhee,
Nicky Moore, Izzy Young, Allen Toussaint,
The Myers Brothers, Moreland &
Arbuckle.
54 FEATURES
54 Hubert Sumlin
68 Spanish Blues
76 Blues Jive
78 Michael Messer on Slide Guitar
82 Young and Blue
128 Before We Forget
86 FESTIVAL FEVER
Cambridge Rock & Blues, J Hospice,
Carlisle Blues Festival, New Brunswick,
Plumpton Festival, Torquay..

Cover feature
Taj Mahal
Born 27th May 1942, Henry Saint Clair Fredericks.
In the course of his 50 years in the business he
has done much to reshape the definition and scope
of blues music. He fuses blues with nontraditional
forms, including Caribbean, African and South
Pacific.
Three times over American Grammy winner, other
awards have been bestowed on him. He has released
countless albums, DVD’s and movies.
Many artists have included him on their albums.
Such is the respect which he has with fellow artist.
We wish him well in all his future musical ventures
and hope to enjoy his company for many years.
Izzy Young
Taj Mahal
Moreland & Arbuckle
Nicky Moore
Will Johns
Grainne Duffy
The Baddest Blues Band
The Myers Brothers
Allen Toussaint
Blues Matters! 7

Blues Matters invited Nicky Moore, and his two talented
sons Junior and Timmy, to list his top 10 Blues tracks of all
time. Nicky quickly came up with a list, and then another
list he liked as much, and another, but we kept him to his
first choice. One which doesn’t appear in the list deserves
a mention: ‘The Thrill is Gone’. BB King’s classic is Nicky’s
favourite song to cover and it appears on his own live
album.
1. Howlin Wolf - ‘Smokestack Lightning’
The first Blues I ever heard, when I was 15 or 16 years old. The
Wolf’s songs feature absolutely amazing guitar by the late Hubert
Sumlin. That was the track that inspired the next 40 years of my
career, and is my favourite of all time. Howlin’ Wolf was my God.
2. Lorraine Ellison - ‘Stay With Me Baby’
photo by Christine Moore
There are two great versions of this song, the other by Terry Reid. But this version is just the most
soulful, genuine thing I’ve ever heard.
3. Bobby Bland - ‘It’s Not The Spotlight’
I first heard this sung by Rod Stewart, but I was completely bowled over when I heard Bobby Bland
sing it. This and the other song in this list, plus ‘Stormy Monday Blues’. were among the songs on the
seven albums I first heard, in one go, by Bobby Bland and which made a massive impact on me.
4. Bobby Bland - ‘I Got The Same Old Blues’
I play this on one chord – Bobby Bland played it with a full band. It has fantastic lyrics about love lost
and won again. I absolutely love it.
5. Them - ‘Baby Please Don’t Go’
Them played in the era I loved best, when white British Blues was at its peak. with The Animals and
Alexis Korner and others playing. It’s just wonderful. It has guitar playing beyond belief. I love Them.
6. Allman Brothers Band - ‘Statesboro Blues’
The original was by Blind Willie McTell. But listen to the Allman Brothers Band cover from the album
At Fillmore East. It just blows me away every time I hear it. It has a unique tempo to it. That album is
brilliant, and includes a cover of Stormy Monday. I enjoy singing this one live, in my own style.
(check out my live cover on You Tube http://www.youtube.com/watch?v=WtrQT-rREqo )
7. Edgar Winter - ‘Tobacco Road’
This has the greatest ending of any record I’ve ever heard. Edgar Winter is the little brother of Johnny
Winter. He is a fantastic singer and his scream at the end brings up the hairs at the back of my neck.
8. The Jeff Beck Group - ‘Rock My Plimsoul’
This was actually a B side to the single “Tallyman”. It is basically “Rock me Baby” to a massive riff.
Jeff Beck is the most unique guitar player produced in this country. The vocal is by Rod Stewart. I
first saw Rod sing with Steampacket. He is the most fantastic singer.
9. The Staple Singers - ‘We’ve Been Waiting’
If you’re a singer you can’t escape this. Four people having a wonderful time, you just have to sing
along to it. I nearly recorded with Mavis, a real shame it didn’t come off.
10. The Persuasions - ‘People Get Ready’
My odd choice. There’s not an instrument on it. It has a great four part harmony and is just fantastic.
And your best recent track would be?
I had to Go And See Alice - Buddy Whittington from his Six String Svengali album.
Blues Matters! 8

Blues Matters! 9

What you
want to vent!
Festival Saturation Point?
As a devotee of Monica
Madgwick’s wonderful Boogaloo
Blues weekends (jewels in the
blues scene held at locations
across the UK which by the way
predate the other events by
some years) I do at least share
Annabel’s frustration at the date
clash between the Stoke weekend
and the Carlisle festival. That said
Stoke is a very welcome new
Boogaloo venue given the loss
of a number of regular venues in
recent years. In addition I did raise the date issue
with Monica some months ago but regrettably the
Hotel preferred to stick with it. These decisions
are not the promoters alone. It is also true in
my experience at events from Torquay (which is
incidentally run by a local promoter) to Carlisle, that
the majority of attendees are relatively local to the
area, only a small percentage come from further
afield. Whilst not ideal therefore, there should be
room for events spread widely across the UK over
a short period. I do not suppose there will be many
such as my wife and myself attending Torquay
and Carlisle (and not Stoke I am sorry to say for
reasons of personal expedience). Finally I am sure
that all three events will prosper so unfortunate
yes but a death knell? Thankfully no, finally to
seemingly criticize the Boogaloo weekends which
have received favourable footage in BM from
musicians and fans alike because they are not
run by a local promoter is short sightedness in the
extreme.
Bob Chaffey - Plymouth
BM: Hi Bob, indeed let us all hope that more
local fans (and of course many more not so
local fans) attend these events which are
created to further the music and the artists and
hopefully do other local businesses some good
at the same time. Of course in these times of
enforced economies times are tough and many
have to carefully pick and choose which event
to attend when ideally they’d love to go to them
all. At least we know there are organisers and
promoters out there trying to provide good
entertainment and opportunities for all of us
who love the music.
Dear BM,
In my humble opinion, the blues scene in the UK
doesn’t have enough of a cohesive infrastructure.
There’s a pitiful amount of radio air time for blues
Blues Matters! 10
artists and no touring support
scheme such as the one in the
jazz world. With the amazing
tradition and history of the British
blues scene it’s scandalous
that it should be relegated to
the status of a second class
citizen….. by a long way. Thank
heavens then for ‘Blues Matters’
with its brilliant presentation, very
substantial content, and most
importantly its unbiased overall
view of the musicians who are
keeping the music alive. I was
especially pleased to see a Blues Matters ‘poll’
which reflected the choices of reviewer’s who are
exposed to, and listen to, all the new albums week
in and week out. So often polls have a ‘predictable’
feel or slant to them.
Rob Koral - Poole, Dorset.
BM: Hi Rob, we here at BM couldn’t agree
more about the air time for Blues music. There
are some radio stations which offer Blues but
only for an hour a week while Pop and Dance
receive weeks of airplay. Rock for example has
its own stations (Kerrang etc.) and gets a few
plays on the prime time stations. Where are the
Blues radio stations? Radio 1 and others play
what is popular in the charts or top of iTunes.
Regarding touring support, I must admit you
will have a much better idea than us on that
one as you’ve played in Jazz and Blues bands.
Finding it hard to answer this one, maybe this
is something we can touch on in a future issue.
Dear Blues Matters,
With reference to the request for us to write about
some of the best Blues CD stores may I say I can
HIGHLY recommend ‘THE COMPACT DISC’ run by
Martin Salisbury in Sevenoaks, Kent. The store has
a vast Blues section with many imports that you do
not get at most shops. Martin is very helpful and
will always play CDs before you purchase.
Geoff Pine - Broadstairs, Kent.
BM: Hi Geoff, thanks for this. So readers, if
you’re ever in the Kent why not check out
Martin Salisbury store. With imports and try
before you buy, sounds like a good deal right?
I’ve thoroughly enjoyed my first year of Blues
Matters. Keep up the good work, great stuff!
J. Stuart Ashworthy, Lancaster.
BM: Thanks Stuart, and we have a load of great
stuff ready for 2012.

BILL WYMAN’S RHYTHM KINGS:
‘Live Communication’
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‘Anyway The Wind Blows’ REP 5172
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BILL WYMAN’S RHYTHM KINGS:
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‘Double Bill’ REP 5174
‘Just for A Thrill’ REP 5246
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THE BLUES BAND
‘Few Short Lines’
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THE BLUES BAND
‘Best Of The Blues Band’
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Coming soon:
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‘Ready’
CHRIS SPEDDING
‘Pearls’
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CHRIS SPEDDING
‘One Step Ahead Of The Blues’
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ROBIN TROWER
‘The Playful Heart’
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Also available:
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‘Another Days Blues’ REP 5244 Digipak
‘What Lies Beneath’ REP 5243 Digipak
STRETCH
‘Unfinished Business’
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A Collection’
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‘You Can’t Beat Your Brain For
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‘Lifeblood’ REP 5084 Digisleeve
Blues Matters! 11

HAPPENIN’
Latest
news
from our
Blues world
The Burnley Blues Festival Is Back For Three Days In 2012
After lack of sponsors/backing meant the long running event was sadly restricted to just one day in 2011 so
with new financial backers it is back to full three days, also the festival is not over Easter, the new dates are
4 - 6th May
Chingford Man Launches Britain’s First National Blues Archive
Britain’s first Blues music archive has been set up by a local retired law lecturer. Peter Harvie, 62, set
up the British Blues Archive with BBC Radio 2 presenter Paul Jones in October and hopes to capture
the music, memorabilia and magic created by some of the UK’s finest Blues musicians. Mr Harvie, of
Polehill Road in Chingford, took early retirement from his job at the University of Westminster to focus on
the project, and told the Guardian he has had a huge response from Blues fans in the short time since
launched the archive.
He said: “I have loved the Blues all my life. It’s a once in a lifetime opportunity to do this so I decided to take
the chance. I’m completely overwhelmed by the number of people wanting to join the archive, it’s incredibly
successful. “I created a Facebook group and the next time I logged in there were 200 people who’d joined
it.”
He decided to create the group to preserve the history of British Blues from the 1950s to today at a time
when some of its pioneers are reaching old age. He has already interviewed John Mayall and hopes to
speak with other greats including Eric Clapton.
Mr Harvie is also collecting memorabilia for the archive which is based at Loughton Library, in Traps Hill,
alongside the National Jazz Archive. It already has thousands of books and magazines and a plectrum
from the Sun Studio in America, where Elvis Presley has recorded.
But he also hopes the archive will highlight the talented blues artists based in Waltham Forest. “We’re
documenting local Blues played in the pubs and clubs around here because the standard is so high, it’s
quite incredible. I play the saxophone but I’m afraid to come on stage after some of the acts that play,” he
added.
The archive is launching the Blues Legacy Festival at The Coach and Horses Pub in Leyton High Road,
Leyton, on Sunday, November 27.
Marcia Ball Receives Grammy Nomination For Roadside Attractions
Texas-born, Louisiana-raised pianist/vocalist/songwriter Marcia Ball has received a 2011 Grammy Award
nomination in the ‘Best Blues Album’ category for her critically acclaimed CD, ‘Roadside Attractions’. This is
Ball’s fifth release for Alligator Records and the fourth to receive a Grammy Award nomination.
And Ball is absolutely thrilled. “Wow! This time I’m blown away. Thanks and congratulations really go to
my great band and all the musicians who played on Roadside Attractions, to producer/co-writer Gary
Nicholson, engineers Ray Kennedy and Sam Seifert, and to the great crews at Alligator Records and The
Rosebud Agency. Fingers crossed!”
Gibson Custom And Stratstone of Mayfair Aston Martin Announce Gibson City Blues Jam
Gibson City Blues Jam is a new and exciting monthly event that puts budding musicians up on stage. In
one of the city’s most impressive venues, Boisdale of Canary Wharf. Gibson City Blues Jam will provide
guests with a unique opportunity to perform on stage with the Gibson City Blues Jam house band, Pacifico
Blues.
Dinner guests will have the opportunity to jam with Pacifico Blues using a Gibson Custom guitar in the
exquisite setting of Boisdale of Canary Wharf. A selection of Gibson Custom guitars will be available for
purchase on the night. Gibson City Blues Jam will invite guests to become part of the house band, be
it on guitar, bass, drums, keys or vocals. Pacifico Blues will support and improvise, incorporating each
participant’s style and musical ability. Gibson City Blues Jam celebrates the blues, rock ‘n’ roll, and above
all, a great night out. “It is the ultimate way to be in the band, but without the commitment.”
The Gibson Custom Shop in Nashville doesn’t just make the world’s finest and most sought after guitars,
they make dreams a reality. Gibson Custom have been producing the ultimate hand crafted electric guitars
since the 1920s and who hasn’t dreamed of owning a similar guitar played by the masters of their craft,
legends such as Jimmy Page, Jeff Beck, Slash, Eric Clapton, Angus Young, Marc Bolan, Mick Jones, Joe
Bonamassa and BB King to name a few.
Blues Matters! 12

HAPPENIN’
The House Band: Pacifico Blues
Pacifico Blues is a contemporary London Blues outfit featuring musicians from the internationally renowned
AllStars Collective; the session musicians who in their day jobs play with the world’s most celebrated music
artists. The Gibson City Blues Jam offers the incredible “money can’t buy experience” of performing on
stage with some of the music industry’s elite. Former Banker and band leader Paul Pacifico said “I worked
in the City for 10 years before giving it up to follow my dreams in music. It’s fantastic to have the chance to
come back to the City and play music with all the guys that used to be in bands but now just don’t have the
opportunity to play”.
The Richard ‘Hacksaw’ Harney Grave Marker Appeal Was Completed Almost After It Started.
Presently a granite marker is being sourced, and no less than Steve LaVere is coming up with the
inscription. There will be more news in the future, and hopefully pictures of the grave marker in place.
There will be one more Blues tourist stop off point in Mississippi (Raymond), and hopefully the Mississippi
Blues Trail Marker will honour us with placing a MBTM close by the cemetery.
Rolling Stone Top 20 Guitarists
1. Jimi Hendrix, 2. Eric Clapton, 3. Jimmy Page, 4. Keith Richards, 5. Jeff Beck, 6. BB King, 7. Chuck
Berry, 8. Eddie Van Halen, 9. Duane Allman, 10. Pete Townsend, 11. George Harrison, 12. Stevie Ray
Vaughan, 13. Albert King, 14. Dave Gilmour, 15. Freddy King, 16. Derek Trucks, 17. Neil Young, 18. Les
Paul, 19. James Burton, 20. Carlos Santana.
Grammy Award-Winning Blues, Soul and R&B Singer Etta James
The voice behind hits like I’d ‘Rather Go Blind...’ and ‘All I Could Do Is Cry’ is terminally ill. The singer’s
doctor disclosed last week that James is terminally ill with chronic leukaemia, dementia and kidney
problems. Although the 73-year-old singer’s health has been declining over the past year, the doctor made
the announcement on Thursday15th Dec, explaining that James’ leukaemia was deemed incurable two
weeks ago. In 1960, James signed a recording contract with Chess Records - a relationship that spawned
several hit numbers for both the singer and the record label. The six-time Grammy winner was portrayed
by Beyonce in the 2008 flick Cadillac Records.
FREE to pickup in musical instrument shops,
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FREE to read at
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playmusic_bluesm.indd 1 19/8/11 09:25:13
Blues Matters! 13

Paromita Saha meets with New Orleans R&B legend
Composer singer/songwriter Allen Toussaint needs no introduction. For nearly five decades, he
has been the chief standard bearer of the New Orleans R&B sound and is regarded as one of
America’s greatest singer/songwriters. Toussaint first became well known in the sixties for writing
and producing hits such as ‘Mother in Law,’ ‘Working in a Coalmine,’ and ‘Fortune Teller,’ which was
eventually covered by artists such as The Rolling Stones, The Who and more recently Robert Plant
and Alison Krauss. In the seventies, he developed a funkier sound while producing New Orleans
greats such as The Meters and Dr John. His reputation led him to work with artists such as John
Mayall, The Band, Paul McCartney, Frankie Miller and Solomon Burke. At the same time, his career
peaked with the release of his solo albums including the seminal “Southern Nights.” Over the
past decade, his career has continued in leaps and bounds from touring, collaborations with the
likes of Elvis Costello and Eric Clapton as well as producing critically acclaimed albums such as
‘The Bright Mississippi.” He has also been the chief torch- bearer for New Orleans music after the
devastation of Katrina. I meet him one afternoon at the Jazz Café, just before his gig in London. As
I walk into the empty venue, the notes of a piano overture resonate across the room. I find myself
standing in a big empty room with Allen Toussaint playing his grand piano. It’s a priceless moment.
Eventually, I am introduced to him and we are taken upstairs to the dressing room, where the
interview takes place. Clad in a sharp suit and his socks and sandals, Allen Toussaint is very much
the debonair gentleman, as described to me, by his peers.
BM: You spent the latter part of last year, performing on the New Orleans Nights tour across the US
with the likes of fellow New Orleans musicians such as Joe Krown, Walter “Wolfman” Washington
and trumpeter Nicholas Payton. How did that come about?
AT: I really didn’t bring those musicians together, as they were already together. I was the foreigner. I was
the stranger. They played together as a group for a while, so they had cohesiveness and they are very
funky. Batiste on drums, Joe Krown leading the way on keyboards, Walter Wolfman on guitar as well as
a great bass player. It was a great situation to drop anyone into. Trumpeter Nicholas Payton was with
us, which also made it very special as he played on the Bright Mississippi album with me. And we had a
chance to do it and that was really wonderful.
I’ve noticed that over the past five years, you have been actively touring and from speaking to your
contemporaries such as Irma Thomas, there has been this drive, in the aftermath of Katrina to get
New Orleans back on the international music map. Has this been your crusade?
It just turned out that way. A series of events that happened after Katrina just led a group of us to be in
certain places. And of course, soon after Katrina, certain questions were asked so we just had to respond.
It had happened automatically. So I am glad that so much attention has been focused on New Orleans
and I am glad that I am around when there’s been focus. Without even trying that’s happened. We have
become ambassadors without trying.
Longevity is quality that is synonymous to you and your New Orleans contemporaries such
Dr John, Irma Thomas, Fats Domino, and Dave Bartholomew. What is that keeps New Orleans
musicians going?
It’s in the water. (He laughs). It just feels good. New Orleans music is filled with syncopation and a large
degree of humor. There’s the second line brass bands that prevail in your subconscious, and bring a certain
pride and stride. There is the frenzy of the Mardi Gras Indians that lives constantly and is full of energy.
The music here is played for different reasons and not for commercial reasons. Those elements live in us.
Professor Longhair had that kind of rumbling. It’s hard to keep it down.
There has been talk of a post Katrina New Orleans sound – does such a thing exist?
I don’t hear this “new sound” of New Orleans. The links in the chain are fully intact to me and I see them
moving towards to the future. We have young talent like Trombone Shorty and Russell Batiste and they are
the links in the chain. I don’t see any great difference that Katrina has made to the spirit of New Orleans. It
was a little hiatus for a moment. I don’t see any contribution that Katrina has made to music.
You must have seen a lot of the New Orleans greats pass away including your beloved teacher,
Fess (Professor Longhair), Ernie K Doe, Johnny Adams, Lee Dorsey and Earl King? As well as
Blues Matters! 14

Professor Longhair, is there anyone you particularly miss?
I understand the process of coming here, being here, making your mark and leaving. These people made
such indelible marks. I can’t really say that I miss them, as I understand the process so well, in that, we
all must travel down that road. I was blessed to be able to meet these people, and be able to perform with
them like Chris Kenner, Professor Longhair, Lee Dorsey and of course, Ernie K Doe. It was a pleasure
being with them and they left such good music here. I can’t use the word the miss. I am so glad that so
much of them are alive to me today. Professor Longhair lives in me, and he is that undercurrent. He’s the
strongest undercurrent. I loved them all. James Booker of course, was my dear friend, even as a boy. They
made such a great marks.
What was the R&B scene like in New Orleans back in the fifties, when you all hung out at J &M
studio with Cosimo Matassa? I can imagine the revelry that must have taken place?
It was a great time. In New Orleans we didn’t see it as business. We were just making music and having
a good time. And I think you can sort of hear that in the music. We weren’t even into the overdubbing or
multi-tracks. We were making music for each other and passing it on.
When would you say you got your big break? Was it playing with New Orleans R&B artist Earl King
as a teenager or being taken under the wing of legendary R&B producer David Bartholmew?
When I played with Earl King that was my rites of passage into adulthood. I was in the adult world playing
with Earl King. Then I did a big tour with Shirley and Lee, which was another big break because I went
on another roll and stayed out for almost a year. When Minit Records started, I was there that evening,
accompanying artists who were going to sing. Afterwards Minit Records asked me if I’d audition, and if
I would like to come on board as a music person. I said yes and as a result, I became part of the record
company. I am glad that was the case. They were very fair with me, and I got in to do what I am still doing.
Did you have any idea of the success to follow?
Oh yes. I went with the flow and I did think that I would always work in music. I would be a part of it. I didn’t
know what to extent and what level. I didn’t think beyond New Orleans. I knew I would always play the
music I loved.
When did you start to develop the Toussaint sound?
I didn’t try to develop the sound and it just came out of what I was doing. I think that happens to everybody
after a while. I remember Al Green was having such a great time trying to sound like James Brown. One
day, somebody told him ‘stop sounding like those guys,’ and he started singing and now we have Al Green.
You wrote hits for the likes of Lee Dorsey, Benny Spellman, Ernie K Doe and Irma Thomas Did you
write specifically for them or did they choose from a batch of songs that you had written?
I wrote “It’s Raining,” for Irma while she was there, (he points to a corner in the room) and “Ruler of My
Heart.” Everything I wrote for her was while she was there. (He points to the same corner again). As for
Lee Dorsey, if he were coming to my house for 3pm, I would have written song for him by1pm/2pm when
he was on his way.
Your father was the inspiration behind your seminal hit “Southern Nights” and your nom de plume
was Naomi Neville, your mother. Tell me about how your parents have inspired you?
I had wonderful parents. My father was called Clarence Toussaint and before I was born, he was a
weekend trumpet musician. He played in big band. He played off the street. However, he had a family with
three kids and a wife. In those days, music wasn’t as it is today so he became a railroad mechanic and he
was very good at it. He needed that kind of job to support his family and by the time I came along he was
no longer playing but that music was in
his background. My mother was a lover
of classical music so every Sunday
I heard opera and symphonies. I am
glad she introduced me to it as I would
never gone out of my way to listen to it.
It became part of the walls on Sunday.
Blues Matters! 16
How did classical style inform your
style of playing then?
I have a love for it. While I play the
style which closer to what I do. I
do dabble in the classics but in an

Blues Matters! 17

innocent form because the classical market is very serious. I approach the classics like any song on the
radio. I don’t’ see myself anywhere close as a classical musician but as a lover of the classics. I pick a bit of
the classical world into my music.
You cite your key influence as Professor Longhair aka Fess whom you describe as your Bach of
rock ‘n’ roll. What’s the one thing that Fess taught you about playing and performing?
Bach was a person of inventions and he put some things in law that we still use today. We don’t even break
the laws that he made. Professor Longhair had moments where he played a certain thing and then two
years later; he’d play something that was a whole different element. You could tell it was from him, but it
was like another invention. You could play like this or you could play it like that. That’s our Bach of rock.
How did he compare to Tuts Washington?
Tuts played the Junker Blues. We all loved the Junker Blues and it is indicative of the New Orleans sound.
Many of the older guys played the Junker Blues really rowdy. Tuts played it well yet he was a Stride pianist
who also played a lot of Ragtime. Longhair had a Rumba rhythm, which he played along with the Junker
and it came to be something very different. As a piano stays in one place, for some reason his piano takes
to the street just like a second line parade.
Who do you think are the best interpreters of that sound?
If not like Fess, there are some people who are great in their own right who are just as wonderful, like New
Orleans piano player Davell Crawford. David Torkanowsky is just magnificent. He has also larger sense
of it all. He has much funk in him as well as the jazz. He’s marvelous writer. He’s a reader. He’s head
is on a good place. He plays his piano with romance. If there is a man for all four seasons – it is David
Torkanowsky.
You played at Ponderosa Stomp this year, which focuses on celebrating the music of unsung
heroes and their role in shaping modern music. Is there someone that you herald as an unsung
hero?
None of the people who attend Stomp are unlikely to know him. His name is Professor Ernest Pin. He was
a man who played in the days of the Jitney dances. We called it the Jitney era and he was playing in the
red light district. They used to have two bands at the dance hall. One band would stand on one side and
another band will play on the other side. When one band played the last note, the proprietor would ask
the other band to hit it, so people would not have to leave during the gaps. Ernest Pin was a banjo player
and he played it mean, He was in that era that if you played with a string instrument you had to play every
instrument with a string and that included bass, guitar, violin, viola, basically anything with a string. He
moved into my neighborhood when I was 12 years old. But by then his days were over as he had become
an outcast and I did hear stories why. He didn’t have the banjo anymore, but there was a piano in the
house. He really could play well and I brought him in and he was amazing. As a result that piano became
bigger anything in the neighborhood. He played Stride piano. He was patient enough to show me things.
He spent about a year in the neighborhood. He was the most important unsung hero to me. At 13, I was
playing with a Flamenco band, but they didn’t want to play with him, as he was an antique to them. But to
me, he was tomorrow to me.
What happened to him?
He woke up one morning and sat on the side of his bed and killed him-self. He has written nothing and
nothing has been recorded by him.
You have worked with the likes of John Mayall and Frankie Miller. What was your take on the British
blues explosion, which was in full swing when you were playing at Minit Records in the thick of the
New Orleans R&B scene?
I thought it was wonderful as it enhanced the music scene and made it bigger. I liked that people respected
so much of what we were doing and we understood that very well. The British took it more seriously than
we did because we took it for granted. They felt the soul as much as we did. They did it extremely well and
added much to it.
What did you think they brought to the music?
They brought melodic lines and they began to emulate certain things. It’s like when I started playing, I used
to mimic everyone I heard and suddenly some of me started to come out. The same thing happened with
the British. They emulated Professor Longhair and some Little Richard. Eventually some wonderful things
came out and eventually inspired us to do our next thing.
Blues Matters! 18

What are your plans for the future? Can we expect another masterpiece?
I am going to record another album with producer Joe Henry who did my album, The Bright Mississippi.
He’s a gentlemen producer and I have full confidence in him and he sees me better than I see myself.
Since I have been traveling, I have been writing many things, that I wouldn’t have written if I were at home.
I dearly appreciate Katrina for sending me around the world otherwise I would have been comfortable in the
studio and even complacent. It’s better to be where the people are.
At this point, the interview comes to a sudden halt, as the next journalist is ushered in by one of Alan’s
assistants. As I leave, Toussaint complements my footwear, which are a pair retro looking black and white
spats. It provides the perfect opportunity to ask him about his choice in footwear. However, I choose not to
as it would not be ladylike to ask such a question of a such a perfect gentlemen.
February
29 ANGLESEY Menai Bridge - The Victoria Hotel
March
1 BELFAST - The Real Music Club, The Errigle Inn
3 RATOATH - The Venue Theatre
5 BALLYMORE EUSTACE - Mick Murphy’s Bar
7 BIDDULPH - The Biddulph Arms
9 KEIGHLEY - Bronte Blues Club, Laycock Village Hall
10 CROMARTY - Cromarty Old Brewery
11 FOCHABERS - Fochabers Public Institute
13 LEICESTER - The Musician
14 PETERSFIELD - SquareSessions, The Square Brewery
16 LONDON - AAA, Archangel
17 BROSELEY - Birchmeadow Community Centre
18 SHEFFIELD - The Greystones
20 YORK - Fibbers
21 MILTON KEYNES - The Stables (Stage 2)
29 BILLERICAY - The Crawdaddy Blues Club
www.stubbyfingers.ca
www.bpa-live.com
www.bustedflatrecords.com
Blues Matters! 19

NICKY MOORE
Moore Blues In The Family
Nicky and Junior Moore and The Blues Corporation
By Darren Weale
It’s 2012 and once again that Blues trailblazer John Mayall has scorched across the UK and beyond
on tour, this time showcasing the talents of a young star in the making, in the elegant shape of Oli
Brown.
One Blues family is doing something similarly exciting. For them, 2012 is a very special year. It
marks the 20 th year since Nicky Moore’s Blues Corporation began captivating the ears of the UK
and beyond with their superb live and recorded music. It also marks the year in which Nicky will
turn 65 years if age and bow out from his Corporation, passing the mic to his son, Junior Moore.
Yet Nicky’s fans have much to look forward to.
Blues Matters caught up with Nicky in his family home in Maidstone in Kent, which is also the HQ
for Nicky’s vocal tutoring and son Timmy’s guitar tutoring. Timmy has been playing lead guitar for
the Corporation for eleven years. Sitting at the dining room table and accompanied by his Rocky,
his friendly Westie, Nicky reflected on his plans.
“Later in the year I will be playing acoustic sets with Danny J. Kyle from the album we’re working on.
I’ve taken a long, long time working on these songs. They’re up there with the best I’ve ever done. It’ll be
fantastic going back where I started out, relying on guitar and voice and great songs.”
“We haven’t decided on the name for our acoustic act yet,” Nicky says, “We’re thinking of simply using
our names, Moore and Kyle. We do know what the album will be called, ‘The Whale and the Waah’. The
Whale because of my voice and when I wail in my singing, and also because, as the song says, I’m built for
comfort, not for speed. The Waah is about Danny. He came to me for singing lessons and ended up playing
with the band for four years. We kept saying “Waah, that’s so good” about his playing and it stuck. Danny
does his own thing now. He has an album out called ‘Wood and Strings’, great stuff. He has a traditional
finger style like you wouldn’t believe.” http://www.dannykyle.com
Blues fans will be able to see Nicky’s final full-show concerts with his full band, plus son Nick Junior
Moore starting out as “The Blues Corporation featuring Junior Moore”, bringing his bristling energy and
raw, impassioned vocals to the Blues party. By the time you read this, Junior will have started his year
with a bang, playing the Butlins Big Rock and Blues Weekend, by the special invitation of Blues Matters
magazine. Junior will have been in great company there, with The Animals and Friends, Argent, Wishbone
Ash, and other young guns like Virgil and the Accelerators.
A man amongst big men
How did Nicky Moore get where he is today? His period as frontman for heavy metal acts like Samson
and Mammoth, the band that put the heavy in metal, is well known. Mammoth was made up of men of
stature, like Nicky whose song titled ‘300 pounds of joy’ suggests that he is not exactly a waif. Mammoth
also featured six foot seven inches of bass player in John McCoy. Yet the real legacy for Blues lovers of
this departure from singing the Blues that he loves was that Nicky was bequeathed the late Paul Samson’s
guitar. This guitar now serves the Blues in the hands of Timmy Moore.
What makes Nicky Moore special for Blues fans is The Voice. The Voice has twice blown one of the world’s
best microphones - Neuman U87’s - from 12 inches away. Ranging through three and a half octaves from
bottom D to B flat, The Voice is the musical equivalent of a supercharged Bentley covered in cream and
strawberries and sluiced in champagne. That, coupled with Nicky’s ability to craft memorable songs and
entertain an audience, is a powerful combination. Then there is his devotion to the Blues, which he has
passed on to sons Junior and Timmy and even his grandsons, who love to listen to The Voice. Timmy’s
son, Jake, 3, is already picking up his first guitar.
Inspired by the Blues
Nicky was once handed a stack of seven Bobby Bland album’s and listened to them one after the other,
entranced. Eventually, he found his Blues heaven, watching Bobby Bland and BB King play together. Yet
Blues Matters! 20

Blues Matters! 21

NICKY MOORE
Nicky’s love of the Blues started much earlier when, aged 16,
he first heard Sonny Terry and Brownie McGhee. Nicky can
still feel the impact of that experience today.
“It changed my life. I’d never heard anything so raw, dark
and exciting; I played their album to death. I saw them at The
Marquee in 1966-67 and spoke with them and absolutely
loved it.”
This led him away from his classical training in Exeter
Cathedral choir to his first professional band, Hackensack,
which started out playing the Blues but moved towards
Rock before he joined his heavyweight bands. Nicky was
also influenced by Bo Diddley, with his way out clothes and
outrageousness, and the great British Blues bands including
The Animals and The Yardbirds.
The Rock interlude was, like so much of Nicky’s career,
fun. Highs included opening for the likes of Status Quo
and playing in the band Tiger with some great musicians
including drummer Simon Phillips, who went on to perform
with Toto and The Who, and guitarist Big Jim Sullivan. Lows
included having his gall bladder removed during a truncated
tour of America with Uli Jon Roth. Yet that period, the 1980’s, was not a great one for Blues artists, who
enjoyed a low profile and low audiences even after the seminal film, The Blues Brothers, was released in
1981. Richie Taz, Saxaphone player with The Billy Walton Band, recalls it only too well, “I love that film, but
it was so true to the life of musicians in those days, being ripped off and exploited.”
So it was no great surprise that when Nicky founded Nicky Moore’s Blues Corporation in 1991 that while he
built and entertained his fanbase, opening for Bill Wyman’s Rhythm and Blues Kings and for Jools Holland,
on the side he embraced a career as a vocal tutor that continues today. For a while he was featured in the
BBC show ‘The Lakesiders.’
Simon Dring, former drummer with Oli Brown and fresh from playing with Billy Walton on his UK tour,
agrees that this is familiar territory for even the best of Blues artists. “I teach drums to my students in
Norwich. It’s fun to do and helps compensate for the up and down income from music, but loads of
musicians have to do it.” You can read more exclusive content from Nicky, Simon, Richie and Billy Walton
in the Blog of the Blues: http://blogoftheblues.blogspot.com/
Nicky’s vocal tutoring has benefited students including Jim Stapley. Son Timmy, a guitar tutor, has also
taught many students, including Jake Rigden, who has at 18 already jammed with some great bands.
Timmy says of Jake, “There seems to be a Blues production line at the moment, with Jake, Aaron Keylock,
Andrew Pipe (of The Mentulls) and others coming through. It’s great to see the Blues thriving with such
great young talent, and now we have Junior taking our band forward.”
Blues Matters! 22
photo of Nicky by Christine Moore
Nicky has loved playing with his Blues
Corporation over almost 20 years. “We
always have a laugh and like to chat to the
crowd, but when it comes to the music, we’re
serious. That includes Timmy; our great bass
player, Grant Tunbridge, despite his nickname
– Cheeky; and of course the wonderful Mr
Eddie Collins on drums. Musicians are only
human, which means that while mostly it’s my
job to motivate the band, sometimes they step
in if I’ve been having a bad day and motivate
me”.
Nicky’s motivation for songwriting is quite
simple, “I write them sometimes to exorcise
ghosts or deal with niggles.” Among his output
are some outstanding songs, such as ‘Best

NICKY MOORE
Friends Girl’, later covered by Chris Farlowe, ‘Sea of Blues’,
and, from Nicky’s last album, Hog on a Log, ‘Sweet Love.’
Nicky’s approach to creating songs is also straightforward.
“If you can play it with a guitar in your bedroom and it
sounds great, it’s a good song. If you have to add all sorts of
instruments to make it sound good, the song’s not right.”
Touching on his near-namesake, the late and lamented Gary
Moore, Nicky says “I toured with Gary for a while. Gary always
loved the Blues. I saw him when he started out as a teenager,
playing in Skid Row (The Irish band, not the American one). I
knew he was destined to be famous. He was such a talent.”
The prodigal sons
Junior Moore has the same passion for the Blues as his father.
It comes across in the way that he speaks about it his music, his
nervous energy, his gestures, and his words.
“The Blues is everything. I’ve loved it ever since I heard Steve
Marriott of Humble Pie wailing out “Black Coffee”. I’ve been
photo of Nick Jnr by Zoe Sparkle
listening to the music at the roots of Blues in America. My
favourite is Son House’s ‘John the Revelator’. Songs like that
inspire me. I want to use the Blues Corporation’s material, but at the same time I want to put my stamp on
some of the new material we’re writing. I’d like to help align modern Blues with its roots, write songs that
reflect how people feel today and the issues we face. Early Bluesmen wrote about poverty, oppression,
racism, drink and drugs, as well as love and sex, but those deep, harsh issues haven’t gone away. Some of
the best artists incorporate a myriad of the music they hear in life into their songs, but the Blues underlies so
much of popular music.”
photo of Timmy by Christine Moore
Junior is following some big footsteps with the Blues Corporation, taking over from The Voice for the longer
term.
“It’s quite daunting but it feels appropriate, that I fit the place. It’s something I have to do. My biggest
challenge is to make people know I’m the real deal, and being true to myself. I know I will be raising my
ability. Listening to the music my dad did at the same age I am now, I see the potential that is there for me.
The Blues reflects completely and always relevant themes, from
its African roots onwards. Early Cream and their contemporaries
understood this, but pushed the barriers of the music, and we
need to again. With the Blues, playing guitar and singing that
music comes from my heart and takes over my body.”
Bright future
Nicky believes The Blues Corporation is in safe hands with his
sons.
“Timmy is a really great guitar player. It’s hard to recognise it
in my own family but I knew he had something when Sherman
Robertson invited Timmy to play with him. Timmy was stunned
and didn’t follow up the invitation. Junior has a bright future.
Junior’s voice is different to mine, more gravelly, more in the
Blues Shouter mould, but he is sincere about the music. As to
me, I’m looking forward to people hearing my acoustic songs,
I’m amazingly proud of them but they’re a year in the making and
it’ll be a few more months before they’re published. When you’re
nearing 65, you want to be producing real quality. I’d so love to
take them to play the Blues in Chicago and in Florida, which is
one of the nicest places in the whole damn world. While I play
new songs that I really love, Junior will be full of passion, and fire,
let loose with a great band.”
Look out for Nicky’s quality and Junior’s fire in 2012 and
beyond.
Blues Matters! 23

TAJ MAHAL
“The Blues Keeps Workin’ Its Way Through”
- by Brian Kramer
Henry St. Clair Fredericks, born in Brooklyn NY adopted the name Taj Mahal; one of the Seven
Wonders of the World after it appeared to him in a dream. He steadily rose to become an
international wonder in of himself, one of just a handful of Blues artists known by name and music
globally outside of the dedicated blues community; BB King, Muddy Waters, Robert Johnson, John
Lee Hooker, Eric Clapton, Bonnie Raitt and Taj Mahal all make that short list. Anyone who isn’t
familiar with Taj, his influence and his contribution to the world of roots/blues/world music, in all its
flavours and across all boundaries, well just hasn’t had their groove on… Ever!
I was introduced to Taj’s music at a very early age as a teen in the late 1970’s and it was then that I
got a glimpse of the possibilities beyond the Delta, without letting it wander off too far.
I first met Taj in 1988 at a Blues Festival outside of New York, just before I was to record my first
album which featured Junior Wells & Mick Taylor. I mustered up the guts to approach Taj, asking
if he would be interested in being part of the project and he said he was, putting me in contact
with the proper channels to make it so. However, our list of guest artists was growing and budget
shrinking, so I had to make the hard choice to scratch that possibility. When I relocated to Sweden
a decade later, I befriended & started working with Eric Bibb who knew Taj well and he quickly
became a central focus of our conversations as well as our musical soundtrack on the road.
In 2000 Taj was returning to Scandinavia for his first tour in almost 20 years there, I was asked to be
the opening act for the local shows and this became the standard every time Taj returned back to
Sweden.
It was a privilege and a dream to be around and part of Taj Mahal’s shows and we started to get
to know each other a little bit more each time he returned. In 2007 I was once again chosen to be
on the bill for three concerts when Taj returned to Sweden. At that time I was preparing to do a
big festival in South Africa and conduct a few workshops in the Township for a program called
“Empowerment Through Music”. We were arranging to make a promotional CD with some of the
local SA musicians in the Township and I asked Taj if he would like to record a track with me to
contribute to this project. He agreed and on our day off, after spending five hours relaxing on a
luxurious boat, out on a lake in Sweden, fishing with Taj Mahal (yes, that’s right I said it; I was
fishin’ with Taj Mahal!), we found ourselves side by side with two acoustic guitars in a small,
local recording studio. We laid down my song, “Cross Boundaries”, a tune I wrote inspired by a
conversation I had about life and music connections when I first met the great Mali Kora player,
Toumani Diabate. Toumani had also collaborated with Taj for the brilliant, Grammy winning
Kulanjan recording, mixing Taj’s blues with traditional West African musicians & instruments.
I consider this to be one of the highlights of my journey and career, to have shared a deep musical
moment in time with someone who has had such an influence and profound impact on my own
music (and the fishing thing wasn’t that bad either!).
Now; November 2011 Taj is back in Sweden and once again I find myself in the room with the “Big
Man”. He is here with his trio; long time band-mates Kester Smith (drums) and Bill Rich (bass).
These guys are seasoned, dependable and know how to swing with Taj’s every groove and shift.
They make a basic trio feel huge and layered with nothing lacking.
We quickly got comfortable and caught up a bit just before his set and in a spontaneous moment,
I mention that I have be contributing articles to Blues Matters Magazine and if he was up to it after
the show, would he like to do a little Q & A with me for the magazine?
I’ve always loved talking to Taj. His knowledge and wisdom are vast on an intellectual level, but he
speaks with a passion and soul that grounds you in the dialogue. He is generous and engaging and
I’m so happy that he took the time to spend with me for this interview.
Brian Kramer: Good to see you again Taj, can I steal a few moments of your time?
Taj Mahal: What steal? Let’s share some good ideas in a positive conversation! Well, what are we gonna
talk about?
Blues Matters! 24

TAJ MAHAL
Well the first thing is you’ve inspired so many over the years including myself, what inspires you
these days?
Y’know it’s the same thing, it’s never “these days”. My mother was a black American Southerner and my
father was a black Caribbean man and the Caribbean people have a connection to the Latin music, Central
South American because of what always goes on… most definitely to live music you hear, you have a
direct relationship with that. So, as a child growing up I was totally aware of what my roots were and I didn’t
go searching for em’ in the 60’s, what a lot of people did because, you know the only person that had any
roots in recent years on any kind of plantation was my mother’s side, and she was a college graduate from
South Carolina State, 1938. So this changes the whole solution. So what am I up to? All the Caribbean
music was in the house, and what was really interesting; in the Islands everybody’s separated by the
colonial style… this that and the other thing, the language etc. When they come to the United States there’s
a tendency because they’re Caribbean to be all placed in all-together because they definitely don’t want
to fall into the scene that’s happening in the United States because, you know, a lot of guys just start doin’
that hard work. The level that which people allow themselves to see them self as part of the globe have
always been a part of global consciousness. It’s wasn’t like; (in a Jamaican accent) “oh I heard Bob Marley,
now I’m a Reggae mon”. My Father was from St; Kitts, my step father was from Jamaica. From the time I
was a kid I was hearin’ all the accents from everybody… Almost everybody around me spoke English with
an accent. So I always saw music as being connected and as a kid before I learned how to play; I’m talkin’
back in the 40’s, I was like WAY inside listening!
So, that station’s always on for you…
That’s ALWAYS ON! And it’s like; why couldn’t my cousin come from Jamaica and put just a little bit of
upbeat on the blues & boogie thing I was playin’. Or why when you take a Jamaican style and then take
a real older blues form (and combine them)… Cause these are all cousins. Y’know they brought Africans
from everywhere and just mixed em’ up and the only thing we had to really work with was music. That was
the one thing that glued everybody together, so over the years it morphed itself this way and morphed itself
that way… South West Louisiana you get Zydeco, rolled over to New Orleans you get Jazz, on to Havana
you get Salsa, over here you get rumba, tango… But the Blues itself is something that is specific to the
American experience.
Blues Matters! 25

TAJ MAHAL
Is there something specific that you
always go back to?
The door is always open man, once
I’ve gone there; it’s open…
Like, do you find new inspiration in
what’s say acoustic Delta blues?
OK, when I first heard acoustic Blues,
I heard it to some degree on records,
late at night, Boogie Chillin’ by John
Lee Hooker… Then I heard it from
my 14 year old next door neighbour
in North Carolina and he played in
on the porch. I had a guitar, I couldn’t
play. He could play, I could sing. I was
tryin’ to play harmonica, I tried to play
trombone, clarinet, piano, but guitar? I
didn’t know what it was! So I just decided; he had a guitar, I had a guitar and I just followed him, everything
he did and that gave me the basis of what and how to play. And up the street these other guys came from
what “they said” was Clarksdale Mississippi… Noooo, they were from Stovall! They were really literally
from Stovall Mississippi, not Clarksdale… what others were sayin’… so what do you think they played?
Open tuning, boogie tunin’ you know, slide… I mean I can seriously see myself puttin’ a finishin’ nail up
under the (guitar) nut and getting my friend to tune it to what he called Vestapol; open D tuning, and then
sitting there with a butter knife tryin’ to make some notes out of it. Tryin’ to figure out how the hell they do
this, you know if you don’t ever see them do this stuff, you don’t know how they played it. So anyway, it’s
always been like that but then the lucky part of it was the rediscovery of a lot of these guys, so I got to see
em’ first hand, when they still were full of their energy and had all of their faculties and you could talk to
em’ and play music with them. I went and just listened a lot on the one hand, and me I was like; hmmm?
what’s gonna happen is that’s all gonna go tunnel into some little corner in the middle of some University,
be filtered up into some thesis and be put inside a nice little leather bound jacket and suckin’ air and that’s
it! I said NO, that’s not supposed to happen, it’s not suppose to be that; it’s a living thing. It’s like there are
so many great players in Mali and it’s still resonant in the minds of the people, and the music is resonant
enough that there are young people that are still
exposed to it. Here it’s a popularity arc “you know
if it’s not popular, it must not be good… even if it’s
lousy, as long as it’s selling a lot”
Isn’t that the thread of all traditional folk music,
that “living” aspect of it… Not the popularity of it.
Oh yeah, yeah, yeah. Whether it’s popular or not
doesn’t mean it’s going away.
When I moved to Sweden I started listening to
traditional Swedish folk music, especially on the
fiddle which can be very haunting, beautiful and
melodic, and started to hear some similarities to
melodies Mississippi John Hurt was doing in the
20’s & me and my harmonica player and band
mate; Mats Qwarfordt started to dig around on
this end and discovered that there was a Swedish
fiddle player that migrated to the Delta & the
South around that period. There’s also a very
old, traditional Swedish Midsummer song called
“Små Grodorna” (Small Frogs) and the melodic
structure is almost note for note a song Blind
Lemon Jefferson did called “He Arose From The
Dead” (I sing the melody for Taj)
Oh wow, somebody heard somethin’, somebody
Blues Matters! 26

heard somethin’! That stuff gets out
there man. How many years was that
Sacred Steel hidden from everybody?
Holy shit man! When that stuff came
out, all I saw was one picture. Aint this
a trip man, it’s like a hundred years old
and people don’t know about it! And
now there’s people who do… That was
fabulous. If there’s any place that I’m
really interested in, it’s definitely that
Sacred Steel, I LOVE that music.
On another note, what do you like
to listen to when you’re at home
chillin’ and you don’t want to hear
another Blues?
Oh no, no, no. Probably every day
I’m hearin’ something. See there’s so
many versions of it, the trouble is with
the popularity contest like; (sings main riff from “Hoochie Coochie Man” while slapping his leg in basic 4/4
time.) everybody’s lookin’ for the common melody but I listen to everybody and always tryin’ to find people
I never heard before with some great songs. Doesn’t matter if an artist has got one song or a body of great
songs, sometimes they just write the one great song, or two songs, or two and a half songs…
Anything specific you keep going back to?
I like High Water part 2 by Charley Patton.
Oh, yeah… that’s total inspiration!
(Taj sings perfect impression of Charley Patton) “High water everywhere, men sinkin’ dowwwwn, rolling
dowwwwwn… “You know that shit was like; WHAT? It’s interesting to hear how Patton gave (Son) House
the shot to go up to Grafton Wisconsin to play (when he recorded his first sides for Paramount) cause he
was getting’ paid and Son saw him and brought him over to the guy who was paying him and passed him
over to whoever it was who was payin’ him.
There are artists that people emulate and then there are artists that no one can even try to touch.
Patton falls into the category of one of those…
Well, Howlin’ Wolf did a pretty good job, he went the next leap with it.
He learned from Patton, didn’t he?
Went to Patton’s house, Patton showed him how he played it… that’s why when I heard Wolf play “Saddle
Up My Pony”, that mo’ fo’ learned THAT shit from Charley Patton, that was not from a record! The same
way when you hear Johnny Shines…
That’s a different level of intensity, like a glass of water passed from person to person, generation
to generation without spilling a drop.
Exactly! Nicely put… And it’s the same thing with Robert Junior Lockwood, when he would play the shit
like Robert (Johnson) played… Nobody else touched it. There’s this particular kind of way that they played,
I don’t even think there’s anyone who can do it anymore. When they’re playin’ they got the high string
always ringin’… I’ve watched him do it only a couple of times.
We have a whole bunch of academics involved with this thing, and they’re always “not liking” anybody to,
uh, shake the thing up a little bit.
That scares me… actually…
Don’t be scared of that, come on!
TAJ MAHAL
The guys that come out with the tweed jackets and the glasses and go; “Not Blues”.
They certainly did the same thing to me, from both sides of the ocean; (in a professorial, British accent)
“You’re not a proper blues man”. Well, I don’t think you’re a proper blues man either, you, you, cricket
playin’… two handed… kilt wearin’… (laughs). You have to jump over those guys, they got tunnel vision.
There was a whole bunch of blues Nazis in New York City man, and they really seriously thought that
the people, who really made the music, weren’t the ones who knew anything… They Were! They are
Blues Matters! 27

TAJ MAHAL
assembling & I was like; man, what are you talkin’ about? Who are you? And who’s yo’ mamma? You know
I’m serious; I’ll get serious on their ass.
It’s like you’ve said before it’s about getting people on their feet…
It was dance music for people that were having harsh times from the social systems that were in place… If
you can stand on the outside and say “but it’s not Blues”, you know it’s like; but you’re not a critic. And also
you have to really look at the anthropologists and the ethnomusicologists because they went in often times
to the guy; “well, play me some of the songs that you have. No, no play me something else”. Once they
heard what the market was… was it Speir? And Huey Meaux… and who else was going down there and
recording those people?
Lomax I guess…
Peer, Ralph Peer. Lomax was later. The early guys that was going down there recording… Plus in the
1920’s they actually floated the white players in this direction; you got banjo, mandolin… fiddle, your playin’
that music. And they point at black musicians in that direction sayin’; you got blues, jazz, ragtime… gospel,
spirituals and never the twain shall meet. And so, you got to really take that into account, but still you
realize it’s a marketing ploy, they can’t figure out what it is.
See, here’s the whole point; the line-don’t-exist-in-nature, and that is the tool that for the last 3,000 years
has been used to try and size up the world. It’s come down to all the theories we’ve had in the last 3,000
years didn’t mean shit, because look what we’ve accomplished?
And the blues keep workin’ its way through that whole thing!
Larry Johnson always used to say (you know I worked with Larry); “We didn’t call this thing the
Blues; THEY DID!”
That’s right, no he’s absolutely right! It was a marketing ploy… Now it’s been around so long, people think
that that’s what it is. I still don’t worry about it, if I want to stretch out, I stretch out! I’ve always been listenin’
to this and listenin’ to that, but I REALLY love the Blues when it has something to say.
Well you’re probably one of the most valuable purveyors of that today. I watch you when you get
up on stage when you hit that first lick and within 20 seconds everybody starts moving & they
naturally line up into the correct vibe and understanding of why this simply-feels-good.
Right, that’s the bottom line cause the whole point is to get people over themselves and out of whatever
pain they’re in.
Blues Matters! 28

TAJ MAHAL
I like to watch the audience when you start playing because it’s amazing to witness the
transformation. Do you find there’s a difference in the response and appreciation between the
audiences in the US and European audiences?
Here people are a lot more excited. Quite a bit more excited about the music, they take time to find out
what’s goin’ on, who it is and if they don’t know they trust their friend’s taste to bring them to something
good. I’m always excited about coming here ‘cause you have to communicate through a language barrier
or through a different language, so it goes back to that original thing. When Africans were brought into the
western world, they came from all over Africa, they had to come up with a language. So here we are again
at the same point comin’ up with the common language.
Well, Thank you Taj… One more thing I’ve noticed, and I often tell folks this; when you bring a date
to a Taj Mahal show, there’s a really good chance that you’re gonna get “lucky”.
(Taj Breaks out laughing!)
Honestly, I swear to god I look at couples out there when you’re playing and the women start lookin’
at their men like; I want you, NOW!
I’m feelin’ it tonight baby!
How do you do that and do you know that you do that to people?
All I know is that the music has always been sensuous and exciting to me so I’m hoping that it is to people.
Thank you, thank you so much.
Well, you’re welcome!
*Brian Kramer from Brooklyn New York, has been working and travelling as a musician for over 25 years
and has performed and recorded with Legendary artists like Junior Wells, Bob Brozman, Larry Johnson, Taj
Mahal, Eric Bibb & others.
Since re-locating to Sweden he has enjoyed a renewed and refreshed understanding for this music and
continues to travel around the globe sharing this spirit with others.
For more info about Brian & his music check out briankramerblues.com
Blues Matters! 29

by
Duncan
Beattie
Rising out of the Kansas wheat lands, Moreland & Arbuckle have been exploring the depths of Delta
blues fused with rock, folk, country and soul for the last decade. It’s a journey that’s taken them
to Iraq to play for troops and on major tours with George Thorogood, and Buddy Guy. Playing in a
bassless trio, their untraditional instrumentation contributes to their gritty, intense sound: a threepiece
with lead singer/blues harpist, drummer, and cigar box picker making their music both hard
hitting yet also engagingly subtle. Their sound is based on a solid understanding of the importance
of rhythm in the Blues; no matter how catchy a guitar riff is or how personalised a lyric may feel,
it’s all for nothing if the rhythm doesn’t reach out and grab the listener. After three relatively low key
albums, the band gained prominence signing to the Telarc label where they released ‘Flood’ in 2010.
The band’s latest album, “Just A Dream”, focuses more heavily on the rock aspect of blues, making
Moreland & Arbuckle’s sound louder and more intense yet still maintaining their timeless bluesy
roots. The album has a track featuring legendary guitarist Steve Cropper, creator of Booker T. &
the MG’s and member of the Blues Brothers. Duncan Beattie was happy to discuss their careers
to date with both Aaron Moreland and Dustin Arbuckle and look forward to a time when the band,
completed by Kendall Newby on drums, will play on these shores.
BM: So I believe it’s a decade since you first met at an open-mic session at a club in Wichita. Can
you say how you got on together musically and first started working together?
Dustin Arbuckle: We bonded over a love of old-school Mississippi Blues. There weren’t a lot of other
musicians, especially young ones, interested in playing that kind of stuff, so it was really a big deal for both
of us to meet someone else who really wanted to focus on that sound.
Aaron Moreland: It was a good fit musically and personality-wise from the start.
DA: Aaron asked me to play harp on a CD he was making, and we got to jamming. We became good
friends pretty quickly. It wasn’t long before we were playing gigs together.
Can you tell me about how you came to record your first album, the primarily acoustic release,
‘Caney Valley Blues?’
DA: We started out as an acoustic act and for several years we played as many gigs as an acoustic duo
as we did with the band. By late 2004, when we started work on ‘Caney Valley’, we were still at our best
playing acoustic, so it just made sense to make an acoustic album.
AM: Yes, it was the primary modus operandi. We were also playing in a quartet with a drummer and a bass
player. But the main focus for us at the point was the acoustic duo.
How did you come to settle on bassless lineup?
DA: To a degree, it was out of necessity. We went through a couple of bass players early on, but we
couldn’t find one who was really into what we were trying to do musically. By late 2005, when we parted
ways with our last bass player, we had already been fooling around with a three piece lineup with David
Floyd, our drummer at the time. Once we really gave it a try, it didn’t take long for us to realize that we
didn’t need a bass player to play the lion’s share of the tunes in our repertoire. It was a challenge, at first,
and some songs got left behind, but the stuff that was the core of our sound (Mississippi/early Chicago
Blues) felt as good as ever. From all our time as an acoustic duo, Aaron was already used to carrying the
bass with his thumb, and I had developed a pretty rhythmic harmonica style, so it turned out that we were
pretty well equipped to make the change.
Your profile grew with..
DA: It was a gradual process, and I think it’s ongoing. Going bassless forced us to approach things
differently, so that was part of it.
Blues Matters! 30

AM: It is ever evolving. It seems like we have been lucky enough to always have some originality. When we
merged our acoustic duo with our quartet, we pulled from both sources to create the sounds that we now
are honing.
Your profile really grew with 2006’s ‘Floyd’s Market’ and”1861” in 2008. When do you feel you really
honed into your own unique sound and to what extent does the use of Aaron’s Partaga Cigar box
guitar contribute to it?
DA: When the cigar-box came into the picture it added a huge, unique element. There are quite a few guys
playing them now, but I think Aaron approaches the instrument differently from a lot of other guys I’ve heard
play them. Plus, we’ve continued to let more, different influences creep into our sound, so it continues to
evolve bit by bit.
AM: I got lucky. I met my friend Mike Snider from Tennessee. He was making cigar box guitars and offered
to make me one. The minute I picked it up, I could play it. It turned out the work perfectly for our already
bass-less band. I don’t ever use a pick. My thumb allows me to hold down a low end sound and play
melody parts as well.
Rhythm appears very important within the band’s musical approach…
AM: Rhythm is everything to our sound. I spent about 7 years playing pretty much ONLY pre-war blues.
This style is completely rhythmic in nature. All that time on my resonator guitar had a tremendous impact on
my rhythmic approach. In addition, it’s key that we have deep grooves with our instrumentation.
Blues Matters! 31

Dustin, your harmonica is crucial element to the band’s sound. Who inspired you to play
harmonica?
DA: I’ve been singing for as long as I can remember. When I got into Blues as a teenager and decided
to start a band, my Dad pushed me to pick up an instrument. I tried harmonica first and fell in love with it.
Early on, guys like Howlin’ Wolf, Sonny Boy Williamson II, and Sonny Terry really bit me. I like Big Walter
Horton, Johnny Woods, and Paul Butterfield a lot, as well, but Little Walter is my all-time favourite. His stuff
blows my mind. Another huge influence AND my favourite peer is my friend Lee McBee, from Kansas City.
Some other modern guys I really dig are Kim Wilson, Charlie Musselwhite, and Jimmy Meade, another
friend from KC.
Likewise Aaron, what were your original influences when you first started playing guitar?
AM: I grew up on classic rock. Led Zeppelin is my favourite band ever, so Jimmy Page was hugely
influential to me. I virtually started my blues pilgrimage from listening to them.
How influential to your sound were the Fat Possum label artists such as Junior Kimbrough and RL
Burnside, and more recent acts such as the North Mississippi Allstars and the Black Keys? Would
you categorise yourselves alongside these bands?
DA: Artists like R.L. Burnside and Junior Kimbrough were hugely influential on our sound. The Allstars and
the Black Keys are among my favourite bands, and we are definitely influenced by a lot of the same music
as they were. I wouldn’t say that either band’s music has had much direct influence on our sound, but the
Allstars definitely helped turn me onto that Hill Country sound, so I owe them a lot of thanks for that.
AM: They have many of the same influences as we do, so naturally people tend to think that they
influenced us. The recent acts had little influence on our sound. I was huge RL and Kimbrough fan long
before I ever heard the Allstars or Black keys. They are both awesome bands!
While you’re considered a blues rock act, there’s a large distinction between yourselves and the
conventional blues rock power trio. Through combining a greater range of influences, including
Blues Matters! 32

more traditional aspects of the blues, by paradox you actually sound more modern that some of the
acts that play to a more narrowly defined style. Would you agree?
DA: I would agree. I’m happy to say that we actually hear that a lot. It’s a great compliment.
AM: Thanks for saying that. I think you are correct. The influences we bring, combined with our
instrumentation have helped us develop a unique style. It’s impossible as a guitarist to take 15 minute
guitar solos when I am the only stringed instrument in the band.
In 2008, you went out to Iraq to play to the US troops. How did this come about and how was the
experience?
DA: We met the producers of the tour in May 2008 when we were playing a show in Clarksdale, MS, the
night after the Blues Music Awards. They liked us and offered us a spot on the tour. It was a once in a
lifetime experience. Probably the most exhaustive tour we’ve ever done, but also extremely rewarding.
Everyday we’d wake up very early, sometimes 3:00 or 4:00 AM, put on helmet and body armour, jump on
a C-130, and fly to the next base. There were usually activities they had planned for us to do around each
base during the day, then we’d play the show that night, finish up and crash around Midnight. The soldiers
were great. They really appreciated the entertainment. It meant a lot to hear soldiers say things like “You
helped me forget I was here for a couple hours”. They were stuck halfway around the world from everyone
and everything they love, so a taste of home meant the world to them. It was proof of the spiritual power
music can hold for people.
Telarc released ‘Flood’ in 2010. How was releasing an album for a bigger label? Was there greater
pressure and were you happy with the results?
DA: We actually recorded ‘Flood’ and then shopped it to labels, so it was already done when we signed
with Telarc. At this point in our career there is always pressure to make the best record you’ve made yet.
There are always things you second guess yourself on, but overall, yes, I’m happy with that album.
AM: Looking back on ‘Flood’, I think we made the best record possible for that moment in time. Of course
when I go back and listen, there are things that I would do differently today. But recording is a snapshot in
time.
How has your profile increased since being on Telarc?
DA: Just being on a label with their reputation helps to make some people take notice. They also have
Blues Matters! 33

been able to help us get press coverage that we hadn’t had before.
AM: Telarc is great to work with. They give us the latitude to make records the best way we can. We’re
continually are playing bigger and better gigs. Each year we seem to climb the ladder so to speak.
Yes, you’ve toured with some pretty big names in the last few years - George Thorogood, ZZ Top,
Buddy Guy and Jonny Lang. What have you taken from these tours?
DA: The biggest things we learned were how to interact with bigger crowds and how to structure our sets
to get the maximum impact in a short time. Those shows gave us the opportunity to go to a city for the first
time and usually play to 500 – 2000 people, instead of 15 – 20 at a bar.
Your latest album ‘Just A Dream’ was released in August 2011, and there are some subtle changes
to your sound and song writing. Did you have a change of focus or approach with the album?
DA: The changes in our sound and song writing are just a product of the natural evolution we’ve undergone
as a band over the years. The change in approach on ‘Just a Dream’ was in the production. A lot more
time was spent getting the right sounds and performances than ever before. I think we’ve taken a big step
forward in song writing too.
AM: We worked hard on making sure we got the best performances that were possible on ‘Just a Dream’.
We changed our approach in that in the past, we would not take as much time and care into crafting each
individual song. We then took great care in putting each song together to make an entire collection of
songs that had the most power. I am proud of the way we were able to take our sound style to a new level.
No other record has captured such quality sounds, songs, and overall vibe.
Steve Cropper wrote and played a guitar solo on ‘White Lightning.’ How did your association with
him come about?
DA: We were introduced to Steve at a wedding by our former manager, and ended up having a great time
talking music with him. He sent us “White Lightning” soon afterward. Luckily, he liked what we did with the
tune and offered to lay down a guitar part. It was an honour to have him be a part of the album.
You’re still based in Kansas. Have you ever considered basing yourselves in one of the coastal
cities?
AM: Never. No way. Not gonna happen. We are Kansans through and through.
DA: When I was younger, and much more foolish, I had it in my head that I needed to move. Sometime
around the time I was 23 or 24, I started to realize just how wonderful a place Kansas is to call home. At
this point, I can hardly even imagine living anywhere else. It would take a lot to make me relocate.
You’ve made some inroads into Europe, playing played in Germany, Poland and the Czech
Republic, and you’re soon due to play the Dutch Moulin Blues Festival. I’m sure there are many
readers who are hoping that you will play in the UK. Do you have any plans to do so?
AM: We sure hope so! American Blues has gotten more of a boost from the UK than perhaps any other
single geographic in the world. We are ready to go there!
DA: Unfortunately, nothing is in the works right now, but we would love to play in the UK. Any promoters
reading? Feel free to give Blue Mountain Artists a shout about us.
What are your future plans?
DA: Next year, it looks like
we’ll be doing a lot more
international work, which is
really exciting. We’re also
going to get back to doing
more of our own shows in
the U. S. after being mostly a
support act for the last couple
of years, which will be fun.
The biggest thing is just to
keep growing, both artistically
and professionally.
AM: Future plans are to
continue to take our brand of
music to everyone who will
listen.
Blues Matters! 34
http://www.morelandarbuckle.com/

“Talkin’ Folklore
Blues”
with
Brian Kramer
Israel Goodman Young is legendary for his contribution towards laying the foundation for the
Folk movement that was started in New York’s Greenwich Village in the 50’s and 60’s. Names like
Dave Van Ronk, Richie Havens, Phil Ochs, Tim Buckley, Joan Baez and of course Bob Dylan have
been born out of the environment he’s cultivated at his original Folklore Center on MacDougal
Street, and have all had personal relationships with Izzy. Yet hardly anyone ever inquires about
his relationships with the Blues musicians and concerts he’s arranged at that time. Izzy absolutely
does not consider himself to be a blues expert. His deep appreciation for this “traditional” music
and respect for these artists led him to creating opportunities and befriending many great Blues
songsters of the day like Reverend Gary Davis, Mississippi John Hurt, Elizabeth Cotten, Leadbelly,
Robert Pete Williams, Sonny Terry, Brownie McGee, Skip James and many others at a fragile time
years before racial integration was set in motion.
This exclusive, candid, mind-blowing conversation with Mr. Young is long over-due and shows him
to be a witness to the blues, the musicians and the songs at a very influential period in the history
and revival of this music. We met for this interview at his Folklore Center in Stockholm where he
has resided since the 70’s. At 83 the man continues doing what he has always basically done;
promoting Folk music, putting on concerts and tirelessly getting together his newsletter every
month. Izzy has a vast archive and detailed month-by month documentation in notebooks leading
back to the 50’s, however his memory and re-call are immaculate! This is just a sample of what he
has to say.
BM:- Something that I’m very curious about;
…1965, the “Blues Bag” concert…
IY:- That was on Bleecker Street.
Café Au Go Go…
I was the, um, MC…
Did you arrange the concert as well?
Oh yeah! Well I didn’t arrange it all… Had to be
managers and managers and managers…
This was with Big Joe Williams…
Son House…
Bukka White…
Skip James, John Lee Hooker…
John Hammond, T-Bone Walker…
Wait, wait, wait your forgetting somebody… You see
this is where my mind is today… Muddy Waters!
Muddy Waters was on there too?
‘Cause I was sitting back stage the whole time and
I said to him; “Hey your group is playing right now, I
think you should get on stage also?” He didn’t give a
shit about it…
This must have been the first… I mean a blues
festival type atmosphere.
As close as you can get…And I took it like nothing. I never asked anything of any of these players… Some
of them lived with me.
Wow, like who?
Uh… Robert Pete Williams… He wasn’t at that concert I don’t think? There’s a good story I want to tell
about him; He comes and he stays at my apartment, just sits in the corner, doesn’t move and he’s afraid
and he plays a bit and I don’t worry about it. Then I take him to the Italian little delicatessen around the
corner and I get breakfast for him and me so it’s like four or five dollars, which was a fair amount of money
Blues Matters! 36

back then. The next thing I know he’s pushing a dollar bill under
the table, (laughing) he doesn’t know how to tip or whatever.
Then I get him a job & he’s playing in Harlem… There’s a movie
of that! That should be found… (Oscar winning, documentary
film maker, Pierre Dominique Gaisseau, who died in 1997, filmed
Robert Pete Williams performing a show and on the streets of
Harlem in the late 50’s. It has never been revealed to the public).
A film of Robert Pete Williams actually playing in Harlem,
wow!
That’s gotta be one of the things of the century! So anyway he
made a bit of money playing up in Harlem, about 350 dollars… we
go out for lunch or dinner again and this time he slips ten dollars
or twenty dollars under the table, (laughing) he understood now
that you don’t give out dollar bills in New York.
He picked up quick…
And that was fucking honest! Well, maybe the next time he would
probably pick up the check…
But in 1965, this “Blues Bag” concert, all these artists like
Son House and Skip James … It was certainly rare for all
these artists to be
seen in NY at that time what was the tone of that kind of
event in the community?
Well there was very little sound system, just a plain microphone,
no huge things all over the place like you see now. And there was
no problem… and there was probably a hundred, hundred twenty
five people in the crowd.
That must have been considered a big crowd back then?
And it was a small venue… The Au Go Go on Bleecker street…
About your place; the original Folklore Center…
Gary Davis played there.
Gary Davis? and Sonny Terry & Brownie McGee?
At the…”Fifth Peg that I started which became Folk City. And I
paid them like forty dollars a week which was what I paid. They
played six nights… And even then they slept in separate hotels or
something. They didn’t stay together.
When you first started putting on shows at the Folklore
Center in the 50’s; Folk, Blues, Bluegrass, no one was doing
this back then…
Bluegrass came later… I think you’re right because then we
started the “Friends Of Old-time Music”.
Tell me about Reverend Gary Davis back then.
Well I met the Reverend Davis in his house once or twice, in Harlem… I liked him. I opened the store in 57’
and one of the first shows I put on was with him…. There were 30, 40 people… And I had my own rules; at
that time if somebody was “traditional” I would guarantee them some money, whatever it was… a hundred
dollars, but “whiteys” like you & me, they got half the door. Very often I would lose money on the traditional
singers & make some money on the whiteys like us.
So you would guarantee more money to the “traditional” artists than someone like, what’s say…
John Hammond?
Or Bob Dylan… What I was thinking was these guys, most of them are not gonna make money, real
money. The other whiteys they have a chance… Some of them are gonna make it big.
That was very sympathetic on your part.
Call it what you want… I’m a good guy, I’m not a crook. I put on Elizabeth Cotten, her first concert in New
Blues Matters! 37

York. She was a maid for the grandfather of the… Seeger
family, the grandfather or great grandfather... One day I’m
sitting with her in Washington, I arranged a concert for her
in Washington and 30 people came to a house party and
people loved it. Before she died… in 87’ she got 5,000
dollars to sing someplace in upstate New York and I was
happy! She made some money. She would sing the same
songs and everybody liked that. That time in Washington
she would show me she had a big key ring with like fifty
keys on it and she would tell me; “you know Izzy, I go to
white homes with these keys”. People somehow always
trusted me. Robert Pete Williams, he had a job on a tractor
getting eight dollars a day, even in those days it was nothin’.
And here he was getting fifty, sixty dollars a job, in Harlem
300-350 dollars a job…
Who were amongst your favorites back then?
I can’t think of any blues guy I didn’t like… But Gary Davis,
I put him in a theater in the Village. Like seventy or eighty
people at 7:00 at night. He would do his songs and at one
point fall asleep on stage… Not fall over or anything, just
nod off. That happened once or twice. So anyway Reverend
Photo of Izzy by Erik Martinsson
Gary Davis, he was blind, he was legally blind but he could
see some things. So he would go up and reach for a banjo or something and say “what’s this?” he just
takes it off the wall and he starts playing mountain music, Appalachian square dance tunes… The kids in
the store are surprised and I said what are you talking about? He grew up there. Musicians don’t play just
one kind of music, I said that even then.
Reverend Gary Davis was living then in the Bronx with Kenny Goldstein and he was the big Folklorist of
the time. I met him through Dave Gahr, the great photographer… So, I used to have little parties at my
apartment on Abington Square, 8 th avenue a ten minute walk from the Folklore Center and Gary Davis
would always be there… he would come to my parties and this thing happened two or three times, we were
all having a good time & when he sees that everybody is having a real good time he would play “Death
Don’t Have No Mercy”, (laughs) a real party killer! (sings) “Come to your house, your mother will be gone,
come to your house your sister will be gone…”
That’s one way to kill a mood…
Well, I got a better story now; I’m in Berkley ’68 and Taj Mahal is there playing. He’s got like 4-5-6,000
people listening to him in the amphitheater or whatever it is. And for some reason I’m sitting outside with…
Gary Davis. So again he starts playing “Death Don’t Have No Mercy”, (chuckling) that’s his way of getting a
crowd together & he’s sitting here playing for like eight people and I felt sorry for him.
This was at a Taj Mahal show?
No, no it was a festival… So that’s his way of getting even with them.
So how was electric blues perceived over acoustic blues at that time?
Well there was electric music goin’ on already. When Muddy Waters was playing they had electric. It never
bothered me… Big Joe Williams, he had his own little thing (amplifier) and all he’d do all fucking day long
was take screws out… in… he was always fiddling with that.
Tell me more about Terry & McGee?
They played for two weeks at a time at my club (The Fifth Peg), six nights a week. They were very happy to
play for me. Maybe once I saw them somewhere else and one of them played a wrong note or something
which really put the other guy off… And Brownie McGee was always with the Commies all the time.
I tell you, Jimi Hendrix used to come into the store? I would give him a pick or somethin’…
Jimi Hendrix? Guitar picks, and you would just give them to him… Did he play in the store?
No, no, no… He would just be… riffing.
Riffing with some Blues stuff?
I’m not sure if it was all blues but uh, he had his own ideas too.
Blues Matters! 38

He said; “Hey Izzy you don’t play the guitar?” No, I dance and
all that… He’d say; “I saw someone come in yesterday and they
showed a guitar (that they bought somewhere else, of course…) and
they wanted to know what you thought of it… and you said; Well it
sounds pretty good…” So he taught me a couple of riffs.
Jimi Hendrix… taught you… Really?
I should have remembered them, they just went up and down; da,
da, da, da, da… la, la, la, la… (emulates major scale).
So Jimi volunteered to show you a few riffs?
I was forced to learn them because people want me to show them
the guitars; they assumed this guy’s gotta know something about
guitars.
Let’s go back to… Mississippi John Hurt?
Oh yeah, I knew him. He would come into the store… And he played
for me a couple of times. He was a very nice, quiet guy, never spoke
very much, but he was hanging in there.
His blues was probably the most emulated in the folk
community…
Back then, not now… He played very quietly. I think every single time
he played alone, I don’t remember him playing with anyone else… and he didn’t have such a big repertoire,
as I remember it. He stuck to his repertoire. He always had a train of kids around him, listening to him,
telling them stories.
…They all called me up on the phone! Jessie Fuller, he would call me up; “Izzy I’m in Chicago now, can we
do a concert next Friday night?” and I never said no. I had a public that believed in me, that if Izzy Young
puts on something, it’s very likely interesting.
I would say so… I wish I had a time capsule. What about Leadbelly?
Oh Leadbelly, we were friends. Well I first found out about the left wing Hootenanny’s. That was the only
place you could hear folk music in those days, about 1942 or so… And I met Woody Guthrie, Pete Seeger,
Leadbelly, you know all the singers you could think of. And I met Leadbelly and I took a liking to him. It
was probably the first time I spoke to a black person, Jewish kid from the Bronx, 15 years old… and I liked
him. I heard him like five or six times in concerts and like ten times just singing with Pete Seeger and his
group… So it was normal to be with him. I was in his house about three, four times… I would see him free
basically when he would play at the American Square Dance group and it was mostly communists, except
me… So Leadbelly would sing there and I would see him a bunch of times & I didn’t even think about it.
I remember the last concert he did at the little hall… across the street from Carnegie, it was a very nice,
small place maybe 200, 250 seats… In fact it was just before he died… 49’. He did the concert… beautiful,
black, patent leather shoes… really shined and a nice suit, and a nice shirt when he was on stage. And
I told Moe Ash about that, you know from “Folkways” and he said; “You know Izzy you don’t understand,
everybody including musicians wants to dress nice when they perform”. The thing that I remember the
most was… I’m not sure if it was an encore or the last song… He said “Well, when I was in New Orleans
& I was eight years old and I’d pass by one of the rich people’s houses across the street, I could hear
from the open window a young girl playing piano, taking a lesson…” then Leadbelly took an accordion
and would play the same way the girl played
on the piano… So the guy knew what the fuck
Izzy, Larry, Sam & Brian
he was doing… I have no idea what the girl
was playing but he played it tentatively just
the way an 8 year old girl would play it on the
piano, taking a piano lesson. He did it perfectly.
There’s no such thing as people only knowing
one tradition… All these guys, they knew every
fucking pop song there was… I never met
anyone who didn’t know all the pop songs.
…So, the Hootenanny that’s where I first met
Brownie McGee in the mid 40’s and he would
Blues Matters! 39

play all these communist front things. He would deny it later on.
And Josh White would also be at these things.
And what about the Blues today?
I don’t know anything about the Blues these days.
What about your old friend Eric Bibb? You know him from
way back…
I probably put on his first concert… When I had my first store
(in Stockholm) way back when… He was very simple, very
unpretentious. I think he still sings that way now, unpretentious.
He was more like a crooner than a Blues musician. He just
called me from Canada about writing liner notes for his new
record… But I don’t do liner notes. He said he would stop in
the next time he was in Stockholm, but you know what that
means…
Tell me, what would you like to see in the Blues today
that’s missing from the old days?
Well the main thing I want is for people to sing in their own voice… I don’t think that’s easy to do. I mean
people are influenced, I’m not saying they shouldn’t be influenced. But they shouldn’t deliberately…
OK, Final question… trick question; who’s your favorite Blues player in Sweden right now?
That’s a very tough question… I can’t really think of one off-hand that’s moved me that I remember…Oh,
yeah… You take it easy a bit too sometimes. But you’re good but… um, you should cast some blood also.
You’re very good, otherwise I wouldn’t have you in one of my concerts and you’ve played three concerts
here? No one else has played three concerts here.
I love playing concerts here… Thank you for that advice. I will take no prisoners next time.
No prisoners next time!
For more information about Izzy Young, just Google him!
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Blues Matters! 42
Talk with Mark Cole
It was April 2005 when I first met the Myers brothers, Mike and Stevie Myers, in Clarksdale
Mississippi. They regularly drive down to Mississippi to perform and have built a great reputation
playing at various clubs in Clarksdale, Indianola and elsewhere in the Magnolia State. That year
they were there performing at the Juke Joint Festival and I was there to catch up with friends I’d
made when my band Sons of the Delta had played there the previous year. Mike and Stevie adopted
me as their harp player and we had such a great time that they left me with an open invite to visit
them in their home town of Ottawa, Canada’s capital city. In 2010 I eventually got round to accepting
their invitation and spent a week in September gigging and recording with the Myers Brothers Band
in Ontario and Quebec. Last October I returned for more gigs and to finish recording the album we
had started a year earlier. One of the gigs was at Ottawa’s premier blues venue the Rainbow which
has hosted some of the biggest names in blues music over the last thirty or so years. Between
the soundcheck and the gig I started talking to Mike and Stevie about their history, the Ottawa
blues scene, the new album and their plans to visit the UK this coming summer. Then, out at
Mike’s lakeside cottage while we were in Quebec mixing their new album ‘Drive’, we concluded the
conversation.
So guys, tell me how you got started.
Mike: I can recall clearly my need to play guitar. My first job was three bucks an hour shovelling snow for
the Ottawa West Senior Citizens. I purchased a fifty watt Yamaha guitar amp. It weighed as much as I
did and I brought it home from the store on my ten-speed bike! I had a cheap 1960s unknown guitar with
a chrome pick guard. The neck was cracked on it. By the way, I still have that oinker at the Lake house.
I have a picture of myself with that guitar and an amp that I put together using a Sears type amp. I had
put some orange coloured rug on the plywood cabinet. My first big influence was Johnny Winter. Man, he
played all kinds of stuff. Mostly covers of all of the blues greats.
Stevie: Our French-Canadian mother’s side of the family was very musical, so as kids we were always
surrounded by music, especially around holidays where we’d gather at my mom’s family farmhouse. There,
they’d be playing guitar, fiddle, mandolin, accordion - really just playing folk roots music and having a good
time. As we got older, one of our closest cousins had older brothers who played in an electric trio and that
caught our attention! We’d sometimes get to play their Fender guitar and bass, when they weren’t around
of course. For my 12th birthday, I asked my parents for a bass (though I didn’t know it was called a bass)
so they ending up buying me a lovely Eko Spanish guitar with nylon strings from Sears. I plucked the heck
out of that thing let me tell you. My mother thought she’d send me to some lessons, but that only lasted one
night, after I told her the instructors were drinking and telling dirty jokes - the lessons were in a barber shop
after closing time! So I pretty much learned how to play by ear, listening to the radio, records and tapes
etc. When I was seventeen or eighteen, I bought myself my first real bass guitar using money from an after
school job - It was a P-Bass knock-off, but that got me started okay. At around that time we’d been listening
to some rock players playing bluesy stuff and we thought that was kind of cool, so we began exploring the
blues side of things.
How has your sound developed over the years?
Mike: For Me it has been a take everything that I learned and forget about it approach. The guitar amps
are straight forward the guitars plain as toast and the style is to me just natural. I think our style appeals to
mankind. It’s natural to the bone.
Stevie: By the late 80s we were playing blues only, and after going out to see a local blues band playing
three straight sets of Stevie Ray Vaughan, we thought there had to be more to the blues than this, so we
began putting together a blues combo, at first just jamming with different drummers and that. In the early
90s I happened to catch Robert Mugge’s blues documentary ‘Deep Blues’ on public television, so I taped
it and played it to Mike. We were hooked! Later in that decade we started yearly pilgrimages to the Deep
South, to places like Memphis TN, Clarksdale MS, Indianola MS, Helena AR searching out the sounds we’d
heard in the documentary. That was the best teacher we could ever hire. From our first trip to the Delta, our
sound took a dramatic shift. All of a sudden we were less concerned about chord changes and timing, and
everything got a little more relaxed, less structured and more natural.

Has the local blues scene changed much over the years?
Stevie: Our local blues scene is no different than other places around Canada and the US. Sadly there are
blues venues closing down, blues music watered down to pop-blues on the radio, blues festivals hiring rock
bands.
Mark: Yes, one thing that I thought when I first came to Ottawa was how lucky you were to have your own
dedicated FM blues radio show, DAWG FM. We don’t have a dedicated FM blues station for the country, let
alone a local station. This year I noticed their scheduling does have a lot more rock in it than last year and
a lot of the blues is very formulaic, for example SRV clones and very slickly produced. I hope they give your
forthcoming CD the airplay it deserves as it seems to me you bring a real breath of fresh air to the scene
there and it should really be appreciated.
Stevie: Yeah, over the last two decades we’ve captured a niche market in our local area blues scene,
playing what we call electric juke joint (deep blues) and rockin’ boogie. Since our early days we’ve played
all of Ottawa’s premier blues clubs as well as other non-blues venues. Across the provincial border, in the
province of Quebec, we’ve captured the hearts and mojo of a Francophone population who have embraced
our rhythmic style of boogie and blues. One area worth mentioning is Maniwaki in Quebec, a former
logging town about an hour and a half north of Ottawa. We’ve been playing the same venue there going on
thirteen years, three times a year, and every show has been a sell-out with appreciative audiences who like
to get down to our music, dancing from the first chord to last, and partying whenever we play there.
Mark: It’s a fantastic venue. I’ve loved both the gigs I played with you there - from the first song they went
Blues Matters! 43

crazy. That kind of energy really fires up a band. This last gig Mike ended up on his back on the floor,
playing guitar as he crawled across the room, and I was up on the tables blowing harp! The crowd fed our
enthusiasm and we fed theirs – a closed loop of crazy fun, the way you wish it was at every gig! I know you
guys have told me that you’d like to play up north a lot more because of the reception you get and I really
hope that comes together for you. I’m sure the new CD will help with that.
Mike: We hope so too.
So let’s talk about the new CD, “Drive”. I was very honoured that you asked me to get involved with
it both as a harp player and co-producer. It was a good fit as we have very similar approaches to
recording, that is: capture as much of the song as you can live - with all band members playing at
the same time in the same room.
Stevie: Exactly, and we didn’t want to be working in a sterile environment and have the pressure from
being on-the-clock so-to-speak, so the laid-back environment at both MMOB and Pine Door Studios was
exactly what we needed as a band for this recording to be successful. We’d done the off-the-floor recording
before, but it was great having your input into the recording and producing process. Having that second set
of ears and eyes really helped out especially on the vocal tracks, extra guitar work and mixing.
Mark: It was a pleasure and fun to be involved with, and the studios were great, especially Pine Door
Studios. The location was fantastic, being by the lakeside and in the woods, pretty much miles from
anywhere. Even though we did a lot of recording late at night you felt like no-one was being disturbed. You
could have done it with all the doors open, really.
Mike: Yeah, even when we put my amp in the toilet outside the main studio room to get that great sound
on my lead guitar parts!
Stevie: It’s great when you work somewhere that lets you try funky stuff like that. Also, the handyman who
was there fixing something upstairs – we got him into the room and he sang along on what we call the
rogue’s chorus on Talk About The Payback. That was funny and chaotic yet somehow it worked so well.
We credit him on the CD! Martin, I think his name was (laughs).
Mike: The ‘Drive’ CD is just straight up music. I hope people like it. My biggest fear of recording is the
stepping up to the microphone part.
I think you guys got a kick out of watching me lay the vocal tracks down.
Mark: You did a fantastic job, as anyone who listens to the CD will agree, but yes it was fun watching you
sing because you put everything into it and even danced while you did it. I wish we’d captured it on video!
Blues Matters! 44
Having been over to Ottawa
twice now, I’m thrilled that you
are planning on coming to the
UK late July in 2012 to play
dates over here. I know you will
be playing a number of shows
at the Gloucester Rhythm and
Blues Festival and hopefully
some other gigs in the area. Are
you approachable to play other
shows while you are here?
Mike: It makes sense to do as
many dates as we can while we are
here. I know the travel distances
involved are less in the UK than
here in Canada so I’m sure we can
put together other dates. You can
handle that, Mark (laughs)
Mark: Hey, I’m happy to co-ordinate
that for you guys. That’s the least I
can do for you for looking after me
so well on my trips to Ottawa. Can’t
wait, in fact – it’s going to be great
fun!

Interview by:
Martin Cook
Tony McPhee ‘turned pro’ nearly 50 years ago. Since then his band, The Groundhogs, have left an incredible
musical legacy – from blues, to stoner blues, to synth prog, to country rock, to heavy rock and back again.
The Groundhogs were championed by the great John Peel – releasing a brace of classic albums throughout
the early 70’s. Their 1971 classic ‘Split’ was an amazing journey into psychedelic heavy blues that charted
in the UK. They have thousands of fiercely loyal fans, including celebrities Captain Sensible, Queens of
The Stone Age and Vic Reeves. Over the years, Tony has suffered at the hands of bad managers, psychotic
horses and back-stabbing journalists. Recently, he had the third in a series of strokes that’s robbed him
of his speech – but not his urge to make music. Defiantly, Tony continues to tour with a new lineup of the
‘Hogs – with his partner Joanne Deacon taking over his vocals until a full recovery takes place. An amazingly
down-to-earth chap, Tony graciously accepted a lengthy Q&A session from Blues Matters, part one of which
appears below. Typically modest, he was concerned that we mentioned the loss of Hubert Sumlin, who had
died a few days previously, and wanted to pay his respects.
Your first band were called the Seneschals, this was way back in 1962. You played rock n’ roll standards, then
your brother got you into the blues Ever think that you’d still be playing it 50 years later?
Never thought about the future back then so it doesn’t surprise me now!
Then there was a change of name… to the John Lee’s Groundhogs. Was the John Lee moniker a tribute to
the bluesman that you ended up backing a few months later?
At first John Cruickshank called himself Lee Grant later that became John Lee, so it was a happy coincidence, really.
The ‘Hogs were one of the pioneers of British blues, along with the Pretty Things, The Stones and the
Yardbirds. Did your paths ever cross?
We used to support Pretty Things, Downliners Sect, Alex Harvey Band, Animals, etc. at the 100 Club. I’d seen the
Stones, but never supported them at this time. We went to The Star hotel in Croydon to see the Yardbirds, we knew
Giogio Gomelsky, the promoter and he asked us to play some numbers while they had a break, they were using Kay
guitars and the necks were so warped they were using capos, I played slide so warped necks didn’t matter. In one of
the Clapton books it says they were £100 guitars no way! You could pick them up for a score! (£20)
You got your trademark Gibson SG at this time, what made you chose that brand and stick with it for so
long?
My Gibson SG cost 175 Guineas, I chose that guitar because it had a side-action tremolo system and I liked to be
different, it also had a wide, thin neck which was perfect for finger-style when I decided to copy Hooker later on, so it
was perfect all the way through.
You got your first backing gig as Little Walter’s group. I’ve read that he wasn’t an easy man to work with…
How’d you find him?
We met him at Portsmouth for a gig at the Guildhall and were rehearsing on-stage when he let go a fart that cleared us
off-stage and we had to wait for the air to clear!!
In ‘64 John Lee Hooker toured the UK and you got the backing band gig. How did that come about?
Hooker had been backed by John Mayall’s Band for his UK tour and it went so well it was decided to lengthen it by
a week, 6th -12th July, 1964 but Mayall had gigs already booked in so he couldn’t do it, fortunately Gerry Bron, who
booked the tour knew We played Hooker stuff, so he asked us.
Touring with a hard-nosed old blues player when you were barely out of your teens could have been a
disaster, but you worked with John Lee several times, so things must have worked out. How did you get on?
To use John’s own word “Tremendous!” We knew how he wanted to be backed and he enjoyed our company so
much he asked for us to back him after that first week in July and travelled in our Commer van. He’d get his Epiphone
guitar out and sing. There weren’t even any good cassette recorders available then!!
You got on TV for the first time, thanks to John Lee. It was on a show called ‘Beat Boom’, the clip on YouTube
shows lots of groovy looking youngsters fruiting to ‘Boom, Boom’. Did you think, ‘This is it, I’m famous’?
At least that clip has been spared the BBC’s ‘re-use policy’, being film they couldn’t wipe it, as they did later on, I just
felt proud to be on TV backing my hero.
John Lee was apparently fond of spitting, often getting his aim wrong. Were you ever on the receiving end of
a Hooker spit?
No, he was pretty accurate. John sat on a single seat at the back of the van where there was a sliding window and
Blues Matters! 46
photo by Ken Ansted

Blues Matters! 47

every now and then I could feel a draught on the back of my neck when John opened it to spit. After a month on the
road, the spit had hardened and Pete drew the short straw and had to chisel it off!!
I’ve also read that he pee’d on Pete Cruikshank’s shirt. True or myth?
True! Hooker used to drink a bottle of Whiskey a day but with lots of water, we were playing the Bure Country Club
where the toilets were on the opposite wall from the dressing-room, we always played a couple of numbers then
John Cruickshank introduced Hooker, obviously he was caught short and went in the corner of the dressing room, not
realizing Pete had left his shirt there.
You finally got to cut a single with Hooker, called ‘Sake it’ for an American label. I’ve never come across a
copy of it. Is it available anywhere?
Calvin Carter of VeeJay Records asked John to ‘talent-scout’ British bands while he was over here, of course he
mentioned us (Calvin was actually looking for a Beatles). We recorded ‘Shake it’ actually it was our version of ‘Shake
‘em On Down’ by Fred McDowell and ‘Rock me, Baby’ like the BB King version, Calvin wanted ‘Rock me, Baby to
be the ‘A’ side because he thought a bunch of white English guys playing Chicago Blues was strange!!! I have a
promotional copy and there’s a copy on eBay for £79 ‘buy-it-now’, otherwise ‘Shake It’ is on YouTube.
Then came the John Lee Hooker LP, with the ‘Hogs backing him. It’s seen a lot of re-issues over the years,
remixed and sometimes incorrectly credited. What do you think of it now, all these years later?
You mean the ‘...with John Mayall’ tag and the terrible brass parts. Yuk! I turned up for the recording and the ‘engineer’
turned the volume knob on my AC30 to zero then moved it a fraction and said ‘play at that volume’ of course it
sounded like a banjo so I tried using slide which really didn’t work, I did not have a good time at that recording
especially when Marianne Faithful turned up and buggered off with Micky Most who was supposed to be ‘producing’ it,
so a certain amount of bitterness still exists.
Why did you retire the Groundhogs in 1966 and go solo?
Actually I went back to work so I could afford to go to venues with Jo Ann Kelly.
Around this time, you were christened ‘TS’, what was the reason behind that?
That was Mike Vernon he wanted me to record a few tracks for his ‘Purdah’ label. Mike had the use of Decca Studios
on Saturday Mornings ostensibly to ‘audition’ new bands instead he recorded blues bands and released 999 copies so
no ‘duty’ at 7/6d each. When Mike asked me he said he liked the idea of initials like JB Lenoir so he asked my middle
name which is Charles so he said ‘TC’ I said that sounded like a cartoon cat so then he said: ‘How about TS?’ I said
‘fine...’
In ‘67 psychedelia was taking over. You launched another band, Herbal Mixture. Herbal Mixture embraced
the looks and sounds of the times… I’ve seen some shots of you sporting granny and a great fur hat. Was
the psychedelic look a way of
making some money, or did you
like the stuff?
photo by Ken Ansted
Our manager, Roy Fisher was
trying to get a gig at the Electric
Garden, the promoter asked what
was different about us and Roy
remembered when we were at Jo
Ann Kelly’s flat we wore some of
the things in her wardrobe, so he
said ‘They dress up!” He told us
that AFTER he said we had a gig
there! At first I was embarrassed but
after a while I started to enjoy going
round jumble sales looking for wighats
etc.
You were still skint during HM’s
run, so moved on to the safer
offer of the John Dummer Band.
That didn’t last long, why?
There was always the
understanding that if the ‘Hogs got
together again that would be what
Blues Matters! 48

I’d go for.
You reformed the Groundhogs in ‘68. What made this
happen?
Roy Fisher had a photographic business and one day he
walked into Liberty Records by chance and Andrew Lauder
asked him “What happened to the Groundhogs” Roy told him
we’d split and Andre said ‘If they reformed we’ll give them a
record deal’ So…
The first Groundhogs LP – ‘Scratching the Surface’ had
you all standing in a pond where was that taken?
Hampstead Pond.
Whose idea was it to make you all lose the trousers and get
soaked?
Andrew Lauder’s!
‘Scratching…’ was a blues album, but soon afterwards you
moved into progressive rock music, albeit with a blues
edge. What made this happen?
I wanted to write my own songs up to then, and then they were
all derived.
The follow up to ‘Scratching…’ was called ‘Blues Obituary’.
‘Blues…’ had a great sleeve, with you dressed as a vicar
and a dude in an open coffin being loaded into a hearse by
drummer Ken and bassist Pete. Ever think, ‘this might stir
up some trouble’?
With luck!
Did you get much publicity for that stunt?
We had a publicist who got his Secretary to phone News of the
World and complain that we were on her Grannie’s grave.
John Peel was an early champion of the Groundhogs, he played ‘’Thank Christ for the Bomb’ (1970) songs
on his show and you played sessions for him. Did your paths cross often in those days?
He lent us £100 for our 1st LP. I’m pretty sure we paid him back!!
971 the Groundhogs released ‘Split’, a commercial success. ‘Split’ was also the LP that the fans love… the
title track(s) were inspired by a panic attack. Was it cathartic for you to get one of your greatest musical
moments out of such a horrible experience?
Martin Birch’ Our engineer on ‘Split’ (and ‘Thank...’) said he’d had a similar ‘Aberration’ and it helped a lot to share
experiences.
‘Split’ charted as an LP and you got a slot on ‘Top of the Pops’, when they had a (short-lived) album slot. Did
TOTP force you to mime?
I sang to a backing track. Trouble is, our drummer kept hitting his kit and putting me off!
When the follow-up to ‘Split’ came out – ‘Who Will Save the World? The Mighty Groundhogs! Touring ‘Who
Will...’ in the States proved to be a disaster when you went horse riding. How did you end up breaking your
wrist?
Our tour manager suggested we go to a nearby stable and do some horse riding, something I’d never done, so I said
fine. I was on this huge horse called Senator who figured I was a total novice and shit-scared and he ended up bolting
with me on its back, all I could think of as the branches whooshed past my head was the 4-lane Highway which I knew
was nearby so I, decided to get off this beast so I Made my way backwards to its rump and jumped off, the snapping
sound as my right hand hit the ground, fantastic!!!
Back in the UK recovering, you got into more production work… and synthesizers. When a lot of musicians
felt threatened by synths you loved them and used them for many years. What was so special about the
synth?
I’d seen Edgar Winter play an ARP2600 on our American tour and I’d got Tonto’s Expanding Head-Band Album, so I
knew they were capable of more than just silly noises.
Blues Matters! 49

Your first solo LP – ‘The Two Sides of Tony TS McPhee’ was released in 1973. As the title suggests, that
album is split into two halves – one of traditional blues numbers and a concept piece called ‘The Hunt’,
played entirely on synths, it’s the most experimental piece of music that you have ever made. How did the
record company react to it?
It was (manager) Wilf Pine’s idea to write about hunting and the blues was something I wanted to get back to (really to
see if I could write ‘new’ blues). WWA was the management’s label and he was our manager – so we could do what I
wanted and still keep my knee caps!
Then came ‘Solid’. You really nailed the combination of progressive/space/blues there. It must have been
frustrating that, despite all the amazing, creative music that you were making certain members of the press
were determined to slag you off. Is it true that you stopped talking to them by the mid 70’s?
Normally, at that time the press would build a band up just to knock them down later, but, because they couldn’t
‘pigeon-hole’ us. They didn’t know if we were Blues, Heavy Metal or Psychedelic. They just ignored us until Jeff Ward
wrote something in Melody Maker which was Spiteful, hurtful and totally unnecessary.
The Groundhogs split in 1975, playing a farewell tour. You were planning a solo career, but came back a few
months later with another line up of the band. What made you do that?
I was asked to by Richard Cowley of Chrysalis agency, who became our managers, but I was tired of being a 3-piece
and wanted to try another guitarist in the band and play ‘Funkier.’
The four-piece Groundhogs had a more straightforward sound. The album ‘Crosscut Saw’ is more country
rock than blues. Then came the final 70’s Groundhogs album, ‘Black Diamond’. It was a far bluesier affair. A
case of giving the fans what they wanted?
Whatever came in my head, again, I think the track ‘Black Diamond’ is musically and lyrically up there with ‘Please
Leave My Mind’ so I’ve gone almost full-circle!
Groundhogs carried on touring across the UK and Europe, finally calling it a day when the UK went punk and
being in a blues-rock band no longer paid the bills. But, eight years later, they were back. Next issue we bring
the story of Tony ‘TS’ McPhee up-to-date.
Blues Matters! 50

7 Musicians on stage
3 Hours of Blues
1 Terrific show blasting
his way round Europe
while taking no
prisoners!
The Blues Explosion package will
be touring in the Summer period
2012, from mid June to the middle
of August. We will offer a full
package of Blues with different
styles; people can find a Texan
guitar hero, a queen of Chicago
blues and soul, and a veteran
West Coast harmonica player.
Who are these artists?
• Blasting Texan guitarslinger Texas Slim, began playing in earnest in the 70s, and early on teamed up with the
legendary pianist Alex Moore, who taught him a lot about the music. Slim was also inspired by Johnny Winter
(take a listen to Texas classic ‘Boot Hill’), local artists such as Pops Carter, and Dallas blues regulars such as
Little Joe Blue and Andrew ‘Jr. Boy’ Jones – and his tracks here reveal his ease with a wide range of influences.
Slim says the blues is “about everyday life, about working class people letting go of their worries, frustrations and
anxieties through music. Blues is the music of spontaneous expressions of pure emotion”. As he proves time and
time again - and on the cooking tracks here - Slim is a man who has the Texas Blues in his DNA…
• “A Queen of Chicago Blues and Soul”, Vivian Vance Kelly does literally have the music in her DNA. Her
father, with whom she honed her stage-craft, is Windy City blues guitarist Vance Kelly, a grandfather sang R&B,
a grandmother recorded gospel way back, and she herself was brought
up in church. She flirted with hip-hop as a youngster, but soon turned to
the blues – which she defines as “an expression of life experiences of all
mankind comforted in songs”. Listen to her tracks here and you will agree
with the strap-line she uses: “Sweet soul ‘n’ groovy blues”.
• “Veteran West Coast harmonica player” Andy Just needs no
introduction. Since he first recorded with Hi-Tide Harris back in 1976, he
has appeared on dozens of blues albums, both in his own right and
behind many legendary names, and he has become one of California’s
best-known blues exports (and experts). Andy’s take on the blues is
“Truth, hope, honesty and love through an American music art form. He
offers hard-blowing harp-led blues at its best (listen to him close out this
album) – “smokin’“ as one Feelin’ Good album puts it… and there’s no
smoke without fire!
Show your interest and we’ll send a free CD for your consideration!

by
Clive Rawlings
Singer/songwriter Will Johns has
been playing his riffs across the
globe for more than 15 years.
Born in London in 1973 to actress/
model Paula Boyd (sister of Patti of
Layla fame) and record producer/
engineer Andy Johns ( Stones,
LedZep, Van Halen), he started
playing guitar and singing aged
fifteen. He was encouraged to play
and was mentored by Eric Clapton,
before going to study performing
arts at Oxford. Will recorded with
Clash frontman Joe Strummer and
re-opened the famous ‘Crawdaddy
Club’ in Richmond, where he held
weekly jam sessions. During a stint
in LA Will bumped into old friends
Tramper Price and Jesse Wood.
Together they formed ‘Glyda’ who
wowed audiences internationally.
After releasing an album and three
EP’s, feeling the need to establish
himself in his own right, Will began performing under the pseudonym ‘Willy Brown’ to try and gain
some level of anonymity. He formed the ‘Psychedelic Blues Band’ and toured along the South coast
of England. Now settled in Brighton, he has formed the Will Johns Band, Their first CD ‘Count on
Me’ contains the Youtube favourite ‘ On my Back’ . Clive Rawlings (a fellow Brightonian) caught up
with Will and compiled this interview for Blues Matters.
BM: You have an impressive biog , coming from such amazing ‘stock’ , your father and uncle being
renowned record producers, were you ever around for any of the recordings ?
WJ: In the beginning, my earliest memories are of the smell of the studio, amplifiers and the sight of
machines with millions of little lights on. Up until the age of three (when my Mum left my Dad and brought
me back to England) I practically lived at the studio so although I can’t really remember; I know Andy (Dad)
was working with some pretty heavy cats. (The Stones, Clapton, Free)
Being George Harrison’s nephew, have you any anecdotes of the great man?
Only that he was a lovely man, generous and kind.
My being of the generation that grew up listening to such great people you’ve hung around with,
can you explain how Eric Clapton became your mentor?
During my youth, I would spend weekends with Pattie & Eric. I think that because they didn’t have kids of
their own and the fact that they were able to give me back at the end of the week end, they could offer a lot
of fun and enthusiasm. When I started messing round with the drum kit in the studio, Eric suggested I might
try “a proper instrument” I knew what he was saying... When he played Ry Cooder’s ‘Get Rhythm’ album
to me and I heard the opening licks to ‘I Can Tell By The Way You Smell’ I was hooked. I wanted to BE that
sound. Eric would show me a riff or something but only the first bit, when I’d got that down I’d ask him to
show me the next bit. That’s when he would tell me to go figure it out for myself. That was the lesson.
Are you still in touch with him?
Yes!
Having been privileged to sit in on a couple of your band rehearsals, I detect Clapton influences in
your music, bearing in mind a lot of bands read this magazine, are there any tips you can pass on ?
If you’re in a band? Look after each other. Enjoy yourselves and don’t forget the audience! They’re
important too!
Blues Matters! 52
Photos of Will by Jimmy Laban Matasiwa Design 2011

Check Will out on www.willjohns.com
How did the performance with Joe Strummer come about?
It was a recording session to create some music for a driving computer game. I was hired by this guy who
ran the studio in Oxford. To be perfectly honest I had no idea who he was until after the session. I just
knew him as Joe, we had a real blast writing some really crazy shit but I didn’t ever get to hear the finished
tracks.
When you were in the States, you had a band called Glyda, one of the members was Jesse Wood,
son of Ronnie, and how did that liaison come about?
Jesse and I are old pals we used to hang out in Richmond, Surrey. After I moved to the States, Jesse
happened to be on tour with his dad and doing a show in Vegas. Another pal of mine was driving the truck
for Jamiroquai who were gonna support the Stones at the MGM Grand. So I went to Vegas and bumped
into Jesse and Ronnie in the casino, I was absorbed by their party of top notch nutters and GLYDA was
born out of that wild weekend.
Fast forward to where you are now, you have your own Will Johns Band, with the CD ‘Count on
Me’; tell us about the band and what it’s like playing in the Brighton area?
It is great to have a bunch of guys that make amazing music and are wonderful to hang out with too.
Brighton seems to be experiencing somewhat of a blues resurgence. I’m seeing lots of young kids at the
gigs as well as the vintage crew. Brighton is such a vibrant city, every gig is different and you never know
who is gonna turn up out of the blues.
What guitars do you use?
Well, my main guitar is a Musicman - Eddie Van Halen which to me is basically like a souped up mini
telecaster with fat pickups and a fancy trem. It was a present from my Dad, who was working with Edward
(V H) at the time. Eddie’s Guitar tech noticed it was particularly well made and beautiful and had hidden
it from him because he knew if he (Ed) got hold of it he would trash it. Some years later it was stolen and
in the wilderness for years, eventually I got a call from Paula at Chandler Guitars in Richmond to say they
had it and could buy it back! I slide on a Squire Tele custom and an old Gibson J45 acoustic and I have
another Squire Telecaster.
Of all the people who have come in and out of your
life, who’s influenced you most?
Eric Clapton.
I can tell by listening to you play, Will, that you have
a definite feel for the Blues, what does the future
hold for Will Johns, where do you envisage being ,
musically, in say, five years?
Hopefully, touring the world and elsewhere! I’ll be making
my third or fourth album by then… I will always play
blues old and new and I hope I can write something that
inspires people and “makes their big toe shoot up into
their boot” as Little Richard once described.
Any plans for new material, if so, what can we
expect?
Yes, I am working on songs for my second album with the
band. I want to make something really special. I’m aiming
straight for the heart this time! I am finding my second
album much more fun to create than the first. That was
literally like pulling teeth!
What do you listen to yourself?
Everything! But mostly Ry Cooder, Johnny Guitar Watson,
Joe Bonamassa more Joe Bonamassa and a bit more Ry
Cooder! I am also really liking, Virgil and the Accelerators.
Great energy!
Same question I ask all my interviewees.. what’s your
favourite biscuit?
Tunnocks Caramel or a chocolate Hob Nobs.
Blues Matters! 53

An Appreciation (1931 - 2011)
photos of Hubert by Arnie Goodman
Its hit me like an icy blue hammer: Hubert Sumlin is dead. The brightest light in the blues guitar firmament
has gone to his reward. He’s free at last! And it’s left a hole in my heart that will never be filled. Despite a
bout with cancer that left him with only one lung… and a relentless road schedule that would exhaust any
run- of-the- mill superhero, he made it to his eightieth birthday and leaves the world a much richer place.
By way of memorial, I would like to share a few of my fondest memories of the man. And there were a lot of
them. I believe this is an altogether appropriate way to celebrate the life of the guitar master who was my
hero, my mentor and my friend. I’ll leave it to others to run through the dry autobiographical facts. Here is
the flesh and blood man I knew.
It was only a little more than year and a half ago that he put his arm ‘round my shoulders and told me, “You
can call me Uncle Hubert; We been kin a good long time now.” So typical of the man. Now, somehow, it
seems like centuries ago. It was just prior to his 78 th birthday, and he was tired. Yet, he was, if possible,
even more open, and more at one with himself… more musically and philosophically centred in a word
more Hubert!
Sumlin had just finished a fine set with our old friends The Nighthawks. Walking from the sweltering stage
to the dressing room, he pointed one of his foot-long fingers in my direction and demanded “Why didn’t you
come up and play one?”.
I said “Naw man, I came to see you play!” … and we both laughed. This night we had the longest heart-toheart
I’d had with him ever. It was almost as if he was summing it all up, getting his affairs in order. (He’d
stopped at Keith Richards’ house in Rhode Island before the show and arrived just prior to showtime.)
I brought him a copy of the interview with me published in BM! Where in I’d said insofar as I can play any
blues guitar at all “I owe it all to the great Hubert Sumlin.” He was positively delighted and proudly showed
it to every well-wisher, autograph-seeker and fan that came backstage to visit. “This is my picture”, he
said… “And that’s his.”
Then he leaned over and whispered to me, “I’m proud of you, partner” as he sat and patiently signed
Blues Matters! 54

a virtual mountain of CD’s, LP’s, photos, posters and assorted ephemera thrust at him by tons of folks
anxious to share a moment with him. And true to form, he greeted every single one of them like long time
friends. A spectacular display by a man struggling to catch his breath and bone-tired following a blistering
performance.
That hot summer night was the last time I got to see him, but it was a profound experience. Despite his
health, the man was a blues playing machine. Playing beautifully, magnificently and with such grace
and charm that it all-of-a-sudden hit me: Hubert’s guitar playing is just an extension of his personality…
quirky, funny, playful, deep. And that’s it, partner, as he’d say. That’s the reason nobody can play like him.
Because nobody else IS him.
Whenever we supported Hubert, which was quite often, we always did a few numbers together—often
just the two of us. And these were always my absolute favourite moments. One night in the mid-1980’s I
was in the spacious dressing room of The Living Room in Providence, RI idly fingering my guitar whilst a
few musicians and assorted hangers-on milled about. Naturally enough, I was running through a few of
Sumlin’s classic riffs. Suddenly, I heard a familiar chuckle and looked up.
‘Don’t Laugh at Me’, Hubert,” I said, referencing one of Wolf’s big numbers. He let out another dry chuckle.
“Man, you sho’ know your Hubert,” he told me.
At the end of the concert, as usual, Hubert invited me back onstage to do a couple of duets with him. I
remember he always liked to do a tune called ‘I Did What I Could for You’ which he said Wolf had always
wanted him to record. It’s a spectacular piece filled to the brim with all the brilliant Hubert-isms you could
ever hope for...the gleeful whoops, the stuttering low notes, the screams of joy, the notes that no-one would
ever expect but which nonetheless fit sublimely. Breathtaking!
This particular night he started telling stories to the crowd. One of my favourites concerned his first trip to
an East Berlin recording studio where he said there “wasn’t nothin’ but men there…no women. So I said to
one of the guys, you know what I’m talking about, I said...Where’s all the wimmens at? And they said “We
is the wimmens. Oohh Lord…..I never knew there was wimmens. I really didn’t.”
Then he counted of “Hidden Charms”...and we were off into the stratosphere playing notes that simply
don’t exist on anyone else’s guitar, an altogether terrifying, unique and riveting display of guitar wizardry.
The man was the most unassuming genius ever.
Back in the ‘70’s I got to know Hubert pretty well when he was working with Eddie Shaw and the Wolf
Gang alongside bassist Shorty Gilbert, drummer Chico Chism and either Big Moose Walker or, later,
Detroit Junior on piano. Being generous to a
fault as Hubert was, Detroit Junior wisely kept
Hubert’s money in his boot for safekeeping. So
one bitter cold wintry night prior to a show at
Lupo’s Heartbreak Hotel we were all in line at
a McDonald’s and Hubert says, “Hey Junior,
give me my money, man.” Detroit thought it
imprudent to remove his patent leather boot
there in public and reveal his bankroll, so he
declined. “C’mon man...gimme my money,
muthaf**ka!!”
Finally, Hubert turned to me. “Partner, lend me
a few dollars ‘til we get back to the club…and
he can take his damn shoe off.” Damn, that was
funny.
So...there are lots of stories to tell. About the
time he failed to show up for a high visibility
concert we were doing in Newport. And the
television crews and reporters (not to mention a
packed house of rabid fans) watched the door
nervously. Or the time both of our guitars were
so atrociously out of tune it wasn’t even funny.
(Somehow he bent every note into tune on the
fly!)
Or the time he told me he was going to play
with ex-New York Doll Johnny Thunders. “Oooh,
Photo of Hubert with Bob Angell
Blues Matters! 55

Johnny’s showing me some stuff on that gee-tar, man.” That’s when I just knew Hubert was NOT going to
actually do that show.
They’re all short insights into the man and the artist. He did what he wanted. He broke new ground. He
soared to new heights musically. He inspired plectrists from Keef to Eric to Greeny to Rory to SRV et.al…
Yet his greatest gift to the world was the actual man he was. A genius to be sure but also the most beautiful
approachable guy in the whole world.
As I’ve said to so many people since his passing on December 4 th , Hubert was on the “love trip” long
before the hippies made it popular. He loved people. He loved music and I loved him right back.
The bottom line is this: Somewhere Hubert Sumlin is re-united with his beloved Bea and his “Daddy” the
Howlin’ Wolf. Making a joyful noise while the angels listen attentively.
Sail on, Uncle Hubert. See you on the other side man.
By Bob Angell
It’s been said you
should never meet
your heroes…that’ll
they’ll only disappoint
you. In the instance
of my meeting Hubert
Sumlin, this saying
was so very wrong.
I’d been mesmerised
by his inventive,
intensely lyrical guitar
playing since I was a
kid listening to Howlin’
Wolf. Hubert’s playing
was so interwoven
into the fabric of the
songs that it was
impossible for me to
think of Howlin’ Wolf
without immediately
thinking of Hubert too.
I know that Wolf made
plenty of recordings
without Hubert, but my favourites were always the songs with Hubert on them. He seemed mythological
& larger than life to me - both as a musician and as a man. Periodically I’ve gone through total Hubert
worship phases and he’s always at the top of my list of favourite guitarists. Over the last few years I’d been
asking players who’d met & worked with Hubert everything I could think of about him, and so when I was
in Nashville this past August to start recording my new album, I found myself unable to stop thinking about
getting him to guest on it. Thrilled, chuffed to bits, can’t sleep excited - I can’t really begin to describe how
I felt when word came back that he wanted to do it. Doctor’s orders meant that the session would have to
be near to him, so a flight was booked to JFK in late November 2011. The day before my flight Mick Taylor
happened to be staying with me, so we called & spoke to Hubert. Hubert was so warm & gracious that any
nerves I had about meeting him were quickly dispelled.
Anticipation really kicked in when the plane left Heathrow - my mind was racing the entire flight. Wolf,
who’d played with Charlie Patton, Robert Johnson, Pops Staples and Son House, had hand picked Hubert.
Hubert played in Southern churches as a kid and was working with James Cotton when Wolf called him.
He’d also done a couple of spells with Muddy Waters, worked with Willie Dixon a lot AND had performed
on some Chuck Berry Chess recordings. That’s just for starters. Holy shit! Though he was obviously a true
gentleman, what if he didn’t like the music?
To be honest, I would have flown over just to meet Hubert; the fact that he was going to appear on my next
album seemed surreal. I arrived early at the studio (Barbershop Studios in New Jersey) with the tapes, got
some coffee & waited for him. When he arrived I stood at the door to greet him and he immediately put me
at ease with a bighearted welcome. I helped him walk down the stairs to the room we were to work in (he’d
been on oxygen for years) and that human contact also helped break the ice.
Blues Matters! 56
Photo of Hubert by Arnie Goodman

I’d brought along my new Gibson SDP SG to show him. He sat down & I excitedly handed it to him. He
looked the guitar over, played a couple of things and looked at me, troubled. “Why do you want me to sign
this? It’s a beauty!”
“Hubert, I don’t want you to sign it, I want you to play it!” “Oh, OK!” Ten minutes later, as he was learning
the first song, I asked him what he thought of the guitar. He said “Mine!” “Huh?” “ It’s going home with me!
It’s so goood!” We all laughed. Even though he’d brought his own guitar, he only played mine that day.
We started recording, Hubert adding guitar to “Get You Off”. I felt relieved and incredibly honoured after the
second take when he told me that he loved the song, that he had a very good feeling about it’s prospects.
He listed people who’s songs he’d played on by way of explaining his instincts. As if I needed proof! It’s
often easier to communicate musically just by playing something on the guitar, so we were sat facing each
other, a couple of feet apart, me with his guitar & he with mine. He’d been swaying with the music as he
played. Then he started to really move with the phrases he played, totally absorbed, expressions changing
on his face with each riff, just like he was onstage. He nailed it.
Before the next song we ordered some food. Waiting, I asked him about joining Wolf’s band and being
met by Otis Spann off the train in Chicago. It’d been Hubert’s first trip there. He started telling all sorts of
stories, and then he talked about the upcoming star-studded show celebrating him at The Apollo in Harlem
(24 th Feb 2012). He was so excited about it; I was struck by how humble he was. “All for little ol’ me” he
said. Then I felt sad when he said he wasn’t sure he’d live long enough to be there.
We ate and I started to show him the next song. I wanted to do something that we’d play together, so I was
going through the chord changes. Showing him where I thought his part would go, I said
“and you’d be doing your thing here” and played some solo bits. A huge grin crossed his face. He’d liked
what I played. I wanted to pinch myself to make sure it wasn’t a dream. Then he got serious & started
talking to me quietly so that others in the studio wouldn’t hear. He gave me his blessing, his “seal of
approval”. He wanted to make sure I knew how important it was that ‘the music’ continue and be played
right. He was such a gentle spirit and I fell in love with him that day. In the end he was too tired to finish the
song; when he left I recorded my part, planning to go to his house to record his solo part. Sadly that didn’t
happen, so I’ve played the solo incorporating some of the things he did during the run troughs. The song is
called ‘Hubert’s Blues’ and I feel so incredibly lucky, blessed and honored to have spent that day with him.
By Stephen Dale Petit
SHINDIG! QUARTERLY NO.4
from www.shindig-magazine.com + record stores, newsagents, bookshops, Amazon
SQ3-Mock15.indd 1 01/11/2011 11:38
MOTT THE HOOPLE
Joining a fan club: in the shadow of the last great
’70s rockers by Kris Needs
THE TWILIGHTS
Australia’s legendary ’60s pop pioneers come clean
THE ALAN BOWN SET
From mod club routes to psychedelia and funky rock
NOEL HARRISON
The darkness behind the windmills of his mind
PAUL BRETT’S SAGE
Journeyman guitarist’s acoustic prog project revisited
THE COMMITTEE
Existential Swinging London film noir madness
Plus THE CRITTERS • SOUNDS OF MEMPHIS •
CHRIS WELCH • CHILDREN OF THE STONES •
THE ASSOCIATION • JAMUL and so much more
Blues Matters! 57

ZOE SCHWARZ AND ROB KORAL - From ‘The Baddest Blues Band’
By The Bishop
Over the past five or six years a quiet revolution, or rather evolution, has been taking place on
the south coast of England. The rise of The Baddest (i.e. Goodest) Blues Band is nothing short
of phenomenal, with all six musicians contributing to high quality, original and inventive jazz
and blues music. Two successful CDs, ‘Breakout’ and ‘Driving In The Rain’ were followed by a
live DVD, with a third CD recorded recently. Apart from vocalist Zoe and guitarist Rob, the band
comprises Si Genaro on harmonica and vocals, Pete Whittaker on Hammond organ, Paul Robinson,
drums, and new member Rodney Teague playing bass. If talent, dedication and sincerity count for
anything then the profile of these rising stars will continue to grow, with their music receiving the
acclamation and recognition it deserves. You can check them out on www.baddestbluesband.com.
When did your love of music first start and who were your early influences?
ZS: My mother is a musician, and we all played instruments and sang at home. I was sent to boarding
school aged seven, and singing in the church schola was what kept me going, especially Latin masses and
motets. It was not the religious aspect, but the music and being able to express myself through singing. My
first spine chilling moment was being part of Bach’s St. Matthew Passion, listening to, and being engulfed
by the enormous sound of the organ in Downside Abbey, where our school did annual joint school choral
works. The most significant moment in my teens was being given a Billie Holiday tape; I was blown away
by the passion, pathos and tenderness. The apparent freedom of her use of notes and phrasing was so
exciting, and the yearning quality of her voice so moving. In my free time at school I’d find a quiet space
behind the stage and thrash out campfire chords on my guitar whilst wildly wailing to made-up words and
double-dutch!
RK: I have the simplest answer to your question; it was the Cream farewell concert which was on telly as
an Omnibus special on the BBC. I was at school at the time and it was then that I picked up a guitar for the
first time… and by the way, they are still my favourite band of all time.
Zoe, how did a classically trained singer end up as a jazz and blues vocalist?
ZS: Singing Jazz and Blues suited my character. I can be expressive and creative, and I love the freedom
to be able to interpret a song differently each time I sing it. I also believe that getting older has given my
voice depth, and meeting and playing with Rob has given me the confidence to be expressive.
Can you talk us through your progression route from jazz to blues genres and their connections?
RK: I would say that the progression is the other way round; it’s more natural to start playing blues and
then as you develop you may want to keep expanding your repertoire in terms of understanding music and
chords etc. There is a natural place where the two overlap, perhaps; with The Baddest Blues Band we fall
in to this area, although that is not intentional. I like to think that all the players are good enough to give that
elastic band feel to the music whereby it can go in any particular direction on any given night. There are a
few guitar players, like Robben Ford and Matt Schofield who also have this cross over feel and depth.
When and how did the Zoe and Rob musical partnership come about, and how much have you
influenced each other musically?
RK: We’ve influenced each other a great deal, and I think we are a perfect team in that our energies
combine so well. This manifested itself firstly in song writing, and I take pride in the fact that this band
features original music very prominently. We’re also good at problem solving and just getting the nuts and
bolts of running a six-piece band sorted. The simple fact that we both have such different musical back
grounds seems to work so well, I would say that Zoe is born to sing this music despite her more formal
beginnings. I’m totally self-taught so I think I’ve brought out her natural earthy qualities.
ZS: We had both independently moved down from London to Dorset in 2000 and met in 2001 via a mutual
friend when I was looking for an accompanist. We played our first gig within a week; our enthusiasm just
rubbed off on each other and we’ve just kept the ball rolling.
What about the chemistry between you two, which is so evident from the recordings?
RK: Well, we’re now life partners as well and have a gorgeous five year old daughter Cassie and a
wonderful family unit with Anton and Bonnie, Zoe’s other children.
Blues Matters! 58 58

Rob Koral
Zoe Schwarz
You write memorable lyrics and tunes; can you give us some insights into the song writing process
and what inspires you to write?
RK: The inspiration to write music is the same as playing music, to make a statement. Any genre would
eventually die if we continued to play the same standard tunes forever. The process usually starts one of
two ways, either the good old fashioned, tried and tested guitar riff or sequence appears, or Zoe comes up
with an idea for a story or a lighter, whimsical observation. An example of this is our song ‘Too Darn Rich
To Be Happy’….we would like to test the theory however! As it happens we are song-writing right now as
we are just about to record our third album.
You have performed with such luminaries as Sting, Mose Allison and George Shearing. Tell us
about these and other great artists you have played with and what you learned from them?
RK: Well the credit for the above names must go mainly go to our band mates, but we’ve all played with
great players and this breed’s confidence which then helps you to continue to raise the bar.
Who would you most like to perform with if you could include them in your dream line-up?
RK: I would love to play with Ginger Baker and Jack Bruce, myself on guitar and Zoe singing.
ZS: Surprisingly this is a hard one, and I don’t have a romantic answer for you. I consider myself lucky as I
am. But I suppose to rub shoulders and share a stage with a living legend like Tom Jones would be a thrill.
How did The Baddest Blues band get its name?
RK: The name was Malcolm Creese’s (the original bassist) idea pure and simple and is a play on
musician’s speak for baddest meaning goodest but I promise not in an arrogant way.
I have just reviewed your excellent new live DVD. How close is this to the atmosphere generated by
your stage act?
RK: Glad you like the DVD, that was a typical live performance and it’s pleasing for me to see how the
songs evolve differently from gig to gig.
ZS: I like to think that our stage act is very exciting, not only because of the dynamic music but also due to
Blues Matters! 59

the diverse personalities of the band
members and the highly individual,
animated and charismatic stage
persona of Si.
Where does BBB fit in with the
extensive solo and duo work, and
gigs with Yellow Bus?
RK: Firstly we have to make a living
but very importantly we don’t do any
gigs we don’t enjoy. For example we
don’t have a ‘function band’. We are
serious about all these projects, and
they have a positive knock on effect
to each other.
After two highly acclaimed CDs
and a DVD, what is your next
major project?
RK: We are just about to record
our third CD for The Baddest Blues
Band and will also be touring with
our Blue Commotion project in 2012.
Will we see more appearances
across the UK and abroad?
RK: I certainly hope so, ‘have guitar
& PA will travel’. We have quite a few
gigs in various towns and cities in
the book for 2012. As for travelling
abroad hopefully we’ll get the chance soon. Economics play a big part; The Baddest Blues Band is a big
juggernaut of a six piece lineup.
Let us focus on the band. It must be disappointing that Malcolm is no longer with you given his
drive behind the band’s formation?
RK: This is where it is a little bit controversial as this was our decision.
Tell us about the musical qualities of Pete and Paul, and also Malcolm’s replacement, Rodney?
RK: They simply have quality. We all understand each other really well and come from the same sort of
musical world. Paul brings great experience and his personality always comes through his kit; his CV
is literally like a ‘who’s who’ of popular music. Pete is a Hammond-organ player pure and simple, he is
brilliant at understanding the dynamics of any given song and the six piece line-up. Rodney Teague, our
bass player, has a great sound and feel and understands music harmony, and we’ve known him as friend
for a long time. They all bring a commitment to trying to make good music and a cohesive band sound.
Given his evasive biographical details, please tell us more about Si Genaro, his background and
overall contribution to the band’s success?
RK: Si is the ‘wild card’ in the band, and a total ‘one off’. He’s an excellent harp player and a natural
musician, and I think it’s a perfect marriage for him and us as we’ve given him a great vehicle for his
extrovert performance which even sometimes includes ‘rapping’. He has also benefited from the discipline
of playing with an organised professional band. We all love him; he is a very popular musician in his
hometown of Bournemouth.
And finally, Zoe, do you regret not having fulfilled your ambition of being like Lulu?
ZS: I live in hope! Seriously though, I like to think I’m ‘living the dream’ in my own way. Who knows how far
this journey will take us all. My original ambition was to play at Ronnie Scott’s, but having achieved that a
few years ago there’s no shortage of musical goals.
And Rob, what is your ultimate musical goal?
RK: Well, the ultimate musical goal is to have one’s playing instantly recognisable, and then have the
outlet to let it be heard.
Blues Matters! 60

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Blues Matters! 62
Christine Moore has a craic with :
Grainne is an Irish singer songwriter from Castleblyney, Co. Monaghan, Ireland. She has described
her music as a “powerhouse of soul and inspiration mixed with desire and passion” Her success
in Ireland playing at the Blues ON The Bay Festival in Warrenpoint, has lead her to open for many
major acts including Robben Ford, Dino Baptiste, Shaw Jones and the Yardbirds. She has also
played 3 days on the acoustic stage at Glastonbury. Last year was a busy one for Grainne as she
toured Norway where her music is becoming more popular and leading to more tours there. We
caught here on a brief tour of the UK in Kendal at the ‘Bootleggers’ and we hope to see her again
this year when she has another UK tour lined up.
BM: What, who or why were you influenced to take up guitar and what age were you when you
started showing an interest in music.
D: Well my love of music started very young when I grew up listening to records on our family record
player. We used to all get a record for Christmas and then we would take turns changing our records
around - there were 7 children so that took a while so we had a lot of music to listen to including my Dads
American country record collection which was a good influence on me as there was a lot of fine American
singers there like Hank Williams, Johnny Cash, Willie Nelson, Linda Rondstat, Rebbe Mc Intyre and many
others besides. But then in my early teens my sisters started bringing rock and blues music in to the house
and soon my listening included many of my big influences such as The Rolling Stones, The Pretenders,
Fleetwood Mac, Bob Dylan and Aretha Franklin. When I was around 15 or 16 I remember I heard Need
Your Love So Bad by Fleetwood Mac and Peter Green’s playing on that track has stayed with me forever
and I think that is what influenced me to start playing electric guitar as I had already started learning
chords and songs on the acoustic. Then it was John Mayall and The Bluesbreakers The Beano album and
the playing on that and other similar albums and players like B.B. King that kept my interest and kept me
playing the guitar. Singers and song writing wise it was people like Aretha Franklin, Fleetwood Mac, Bob
Dylan and The Stones who kept me listening and learning and loving music.
Who were or are the artists you admire and do they influence your playing?
Well one of my all time heroes is of course Keith Richards and his truly distinctive and beautiful feel for
rhythm and chords and those amazing riffs of course. And in general his attitude to playing music and being
a guitar legend and being creative. Of course there are so many other players I admire and have tried to
listen and learn from like Jimi Hendrix, Eric Clapton, Peter Green, B.B. King and Bonnie Raitt. And then
there are so many talented modern artists like John Mayer and even other musicians like Alicia Keys who
love to listen to and influence me in lots of different ways and keep me inspired.
You sound very like Bonnie Raitt and I see I am not the first person to point this out. Is this
flattering or hard to live up to?
Well of course it is flattering as she is a musical legend and an amazing songwriter, musician and performer
who I could only aspire to be anything like. But it is also a little daunting given all she has achieved. Yet I
have my own musical vision and I hope people can appreciate that although it might be in a similar vein in
some ways it is also different too.
Can you tell me about your first public appearance singing and playing, how did it happen and what
were your feelings about it?
My first gig as such was with my sisters family band and I was playing in a local town. It was a very
overwhelming feeling at the time as I was only around 14 years old and I just recall a lot of bright lights and
people sitting staring at me and my 2 sisters - we were all fronting the band and my parents had came to
the gigs too and I think they looked as scared as we did which made me even more unsettled but thankfully
it didn’t put me off enough to stop!!! And I lived to tell the tale so it wasn’t that bad in the end.
Was there a strong music scene in Ireland in your home area?
Well the music was not really thriving in my local area. It was predominately a hangover from the Irish
country show band scene and cover bands like my band with my sisters. Yet that was a great way for
young people to get on stage and learn to play in front of a crowd which is so important. Thankfully there
was and still is a very good local Blues festival once a year in September - Monaghan Harvest Time Blues
All photos of Grainne by Christine Moore

Blues Matters! 63

Festival and it brought some great blues artists to my local area including my hero Peter Green and Gary
Moore. So that was indeed a saving grace for me.
What or who influence you now?
Lots of things influence me now and I love to just keep listening as much as possible to a wide range of
things. I love all kinds of bands and artists from The X-pensive Winos to Alicia Keys, Bob Dylan and Carole
King and a mix of things like D’Angelo to Aretha Franklin and Etta James. I love songs and sometimes I
might hear a particular song and I just love it and then I will listen to it over and over again. It really doesn’t
matter to me who it is or what style it is in - if I like the feel of it then I will try to absorb that as much as
possible. Music is music to me.
How often do you tour outside of Ireland, and how many times have you been to the UK?
Well I try to travel with my music as much as possible as I love playing and being on the road and bringing
my music to new places so I travel quite a bit. I have been to Norway a lot and have built up a nice wee
base there and I love touring there and I will be releasing the new album with a tour there in May. I have
been lucky enough to have been to Svalbard in the Arctic Circle to play the Dark Season Festival. I have
also toured in Belgium, Holland, Poland, Scotland, Isle of Man and the UK. I have been to the UK a few
times playing in the past including 3 days at Glastonbury. This year tough I am looking forward to my album
release in the UK and I will be travelling there a lot this year doing the clubs and festival circuit which I
cannot wait to play. Also this year we will be travelling to Thailand in February and to Germany later in the
year which I am really looking forward to and also we have some plans to do some dates in the States also
with the new album being released this year so it will be lots of travelling and playing which I love but most
of all.
Can we expect to see you again in the UK in 2012 and where?
Well in Feburary from 13th-16th we have some shows lined up which will include The Famous Monday
Blues Club in Oxford on the 13th Feb, The Blues Kitchen in Camden London on the 15th Feb and The
Forum in Hatfield Hertfordshire on the 16th Feb. I am really looking forward to these shows as we loved
our last shows in the UK and the audiences were just great and so supportive and we had an amazing
show in Dingwalls London supporting Beth Harte which was just great. Later in the year we will also be
doing lots of festivals and clubs in the UK in May and again in June all of which will be up on my website
www.grainneduffy.com. I am so excited about coming to the UK to play and build up a new audience as it is
where so many of my biggest influences started off and played many of these clubs also.
Which festivals do you play and which one would be a thrill for you to play?
Well I usually play in Ireland and abroad the blues and rock festival circuits and I have also had the great
pleasure and experience of playing Glastonbury which was so amazing. I would love to just keep playing
the kind of festivals where people come to hear music and there is that special atmosphere that you get in
a packed room or tent where people just want to join in that amazing vibe that comes from a really special
gig. There are so many great festivals I would love to take part in like Glastonbury again or Bonnaroo or
Crossroads or Woodstock 1969 sure why not!!
Where and how did you get together with the band you have at the moment?
Well my band are a collection of
musician I have known for quite a
while. My guitar player Paul Sherry
- I have known him for a long time
now as he is from my local area
and he and I starting playing music
together first in different bands.
Then when I started writing and
playing my own music, encouraged
by Paul, I meet Davy Watson
my bass player and John Mc
Cullough my keyboard player at
gigs I went to in Belfast and we
got talking and then I asked them
to start doing some gigs with me.
And my drummer Gerry Morgan
Blues Matters! 64

I also knew for quite a while before he played
on my new record but he was in another band
until recently and then I asked him also to do
some gigs with me. I love these guys and they
are all really fantastic players and I am so glad
every night that I get to play with them because
the most important thing for me is that they
give each gig their all and that is what matters
most. And we have also formed a really nice
bond over the last few years gigging, touring
and living together on the road and they have
become a second family to me. They are great
guys along with really fine stellar musicians.
Is there any stories you can share with us
about touring?
Well you know what they say what goes on
tour stays on tour......but let’s just say this band
could do some work for the fire service if ever
needed. They are a dab hand with the old fire
extinguishers!
What do you most enjoy about performing,
or is it something that you find hard to do
and it is just a medium to share your music
and thoughts?
Well I live for performing. It is a very special
thing for me as I am a passionate person and
I love giving every show my all which can be
draining and also I can be hard on myself
sometimes if I feel I under perform. I don’t think the performing is hard it is all the other things around it like
the travelling for hours or lack of sleep or gear letting you down that can be difficult but if music is in your
soul and you love doing it then nothing will stop you no matter what gets thrown at you! I hope anyway!!!!!
On that subject why do you write and sing is it a burning passion or is it easy? Where or what
makes you want to write a song?
I love writing and playing. That is not to say I find it easy - some songs happen quite naturally others you
have to toy with for a while until they start becoming what you want them to be. Or it can be a challenge
to find a new guitar sound you like or style or new vibe on a song but I try to just keep listening and keep
learning.
When can we expect a new CD from you, will it be different to the last two?
Well I am just releasing my new album which is my 2nd Album ‘Test of Time’ this year in the UK which I am
really excited about. My first album ‘Out of the Dark’ which I released in about 3 years ago was I suppose
a collection of my influences when I started writing which were blues and rock and some country. With my
new album I think I was starting to develop as a song writer and from being on the road touring and playing
with the band I had an opportunity to develop my style. So with this album I think there is a mix of blues,
rock, soul and pop my main influences. I am really enjoying playing these new songs with the band I can
only hope that over the next year I can keep growing and developing as a singer, a writer and a player
for my next album. I love writing and try to do it every week and at the moment have songs I am working
on but who knows yet if they will be left on the cutting room floor or if they will make my next album! Early
days yet.
Thanks for taking the time to talk, have you anything you would like to say to Blues Matter readers?
Thank you for having me and I would just like to say thank you to all you guys for supporting music and
artists and going to gigs and buying new music and keeping the industry and us musicians working and
playing and creating new music. Happy 2012 to you all and I hope you enjoy my music and I get to meet
some of you at a gig soon. Thank you for reading this article and I hope it might inspire somebody out there
to get inspired too!
Blues Matters! 66

THE BADDEST BLUES BAND - ‘LIVE’
The show opens with ‘Driving In The Rain,’ the title track of the band’s most recent CD, which sets the
scene for a pulsating, high-octane up-tempo live performance interspersed with smoldering ballads. ‘Don’t
Preach To Me’ is a typical Schwarz/Koral composition, beautifully arranged, catchy and yet heartfelt.
Similarly, ‘The Waitress’ is autobiographical and soulful, reflecting upon harder times and also highlighting
the chemistry which exists between Zoe and Rob. The enigmatic Si Genero is sensational throughout,
his harmonica playing mesmeric on, ‘I’m Leaving You’, reminiscent of the late, great Norton Buffalo. The
classic blues numbers, ‘Reconsider Baby’, ‘Blues Get Off My Shoulder’ and ‘Dimples’ benefit from fresh
interpretations whilst Zoe ensures that her earthy blues vocals keep them immersed in the original genre.
Drums and bass are tight and solid, providing the perfect platform for the intricate jazz guitar riffs and licks
of Rob and the dynamic, creative Hammond organ solos and fills from Pete Whittaker. It is impossible and
probably unnecessary to try and categorize The Baddest Blues Band due to their uniqueness. They are not
a typical electric blues band with a guitarist playing at 100 mph; nor are they a cocktail jazz sextet, although
they could be either if they wanted to. It is the eclectic mix which is the key to their success; brilliant harp
playing, jump blues and rapping, slow burners dripping with emotion. All of this is underpinned by intelligent
arrangements and held together by the most underrated singer in the UK today, Zoe Schwarz, except of
course by the legion of fans known to her from an exhausting touring schedule.
The Bishop
ROADHOUSE - Get Ready To Rock
There can be no better occasion than a 20 th anniversary and a packed festival stage to film a band in its
pomp. And this DVD does the trick. Filmed simply as a one camera shoot of Roadhouse’s record breaking
8 th appearance at the 2010 Skegness Rock & Blues Festival, ‘Centre Stage’ is a live document of one of
the UK’s hardest working rock/blues band. The camera angle looks down over the front ranks of the packed
crowd to catch the essential connection between the band and an enthusiastic crowd as Roadhouse work
their way through the meat and potatoes of their current ‘Dark Angel’ album.
There’s a nice balance between the sparkling solos of the mighty Danny Gwilym stage left – who mixes
his scintillating attack with dirt sounding slide – and Gary Boner, stage right, whose fiery licks kick start
an impressive succession of self penned songs. And centre stage (no pun intended) is the three girlie
triumvirate of Mandy Graham, Kelly Jo Hobbs and Suzie D, who during the course of a high octane
performance, dance their way through a frisky routine while shifting between fine harmony singing and
backing vocals to singing one lead vocal each.
And while the video provides plenty of slinky glamour and showcases a dependable festival band at their
best, it is Gary Boner’s songs that hold sway. Most of the material comes from the current ‘Dark Angel’
album, of which ‘Too Tired To Pray’ features the sharply contrasting Boner vocal growl and the female bv’s,
neatly offset by some beautifully nuanced slide from Danny
The following ‘Rainmaker’ is one of their very best efforts with Gary’s whispered vocals over a very strong
melody and gospel style backing with a country hue. The slow burning title track ‘Dark Angel’ features an
expansive solo from Gary but is ironically slightly hampered by some indifferent camera work.
Suzie D gets her chance to shine on the sleazy ‘Lying Game’, while Kelly shimmies up the mic to make
the most of another Boner classic ‘The Big Easy’, complete with twin guitar lines. And just when you’re
marvelling at the substance of several superbly arranged songs and great playing, up steps Mandy G
to steal the limelight with a raucous version of ‘House of the Rising Sun’. It may not be the most original
cover but she brings real raunch and an undoubted visceral edge to the song to grab the audience by their
collective lapels and generate real excitement in the packed hall.
It’s left Gary Boner to kick into start a big two song finale with more fiery licks on the dynamic call and
response lines of ‘Tellin’ Lies’ and the Skynyrd meets Classic rock steal that is ‘Preacher Man’
‘Centre stage’ is a fine limited run DVD for the fans but if it should fall into the hands of unsuspecting rock
fans they won’t fail to be impressed by a fiercely independent band whose quality material, rock solid
rhythm section, consummate playing and rock blues crossover style will surely win over many more festival
audiences in the future. - DVD only available at - www.roadhouse.liveblues.info
© Pete Feenstra www.getreadytorock.com
Blues Matters! 67

By Vicente &
Roser Zúmel
Some years ago to I wrote to
Blues Matters (see BM 8) an article
about the blues in Spain from its
beginnings to the 90’s. Much time
has gone since then on and I think
is good to update and explain the
current status of this music in
Spain. The blues still remains as
a minoritary kind of music. Few
people aged under 30 show a real
interest for it. However, activity
and different initiatives have grown
tremendously and today you can
find a blues band or blues music in
almost every corner of Spain. There
have appeared a number of cultural
non profit associations which have
diversified their initiatives in new fields of blues culture, apart from the common ones such as live
performing, radio programs, records labels or festivals. Traditionally Barcelona, Madrid and Sevilla
have always been the most active sources of blues in Spain. They still are blues centers, but as I
have just mentioned, you will also find new proposals in other parts of our country.
CATALUÑA
Barcelona and Catalonia area have a wide representation of artists and bands in active with CDs on the
market, who play blues and rhythm & blues, both electric and acoustic, with an undoubted quality. Some
of the most representative names are A Contrablues, Alex TNT, Amadeu Casas, Big Mama, Big Jamboree,
Blas Picón & The Junk Express, Chino & The Big Bet, Cotton Roots, Lone Rhino Club, Midnight Rockets,
Mr. Hurricane Band, Predicador Ramirez, The Suitcase Brothers (who represented Spain in the First
European Blues Challenge organized by the European Bluers Union), The Walking Stick Man Blues Band,
Tota Blues, Txus Blues & Jose Bluefingers, or piano blues and boogie-woogie players August Tharrats,
Bernat Font Trio, Daniel Ventosa, David Giorcelli Trio, David Sam or Lluis Coloma Trio. All have published
some CDs. As far as record stores, the one that offers a greatest blues catalogue undoubtedly is Disco 100
in Barcelona.
I can’t remember a local club in Spain which only schedules blues performances. Normally our blues
bands work in jazz and rock clubs that devote some nights to blues music. To have specialized blues
clubs is one of the unfinished business in our country. Anyway you can find some places that include a
majority of blues performances. In Catalonia the most outstanding ones are Honky Tonk (always acoustic
blues in weekends) in Barcelona, La Tia Felipa, Blues Bar and Piscina Montflorit in Cerdanyola del Valles
(Barcelona). Mo Es Bar in Lliçà d’Amunt (Barcelona) or La Traviesa in Torredembarra (Tarragona). Other
local clubs where blues can be heard sometimes are Bel.luna, Harlem Jazz Club, Jamboree, Jazzpetit,
Milano, El Monasterio, Pipa Club, The Philharmonic or Rocksound in Barcelona, Crossroads, La Faktoria
d’Arts and the legendary Jazz Cava in Terrassa (its legendary Jazz festival includes international blues
shows), Café del Teatro in Lleida, El Pla dels Encants in Calella (Barcelona), El Raco de la Palma in Reus
(Tarragona), Hot Blues in Igualada (Barcelona), La Bodegueta in Viladecans (Barcelona), Restaurant Moll
Oest in Masnou (Barcelona), Sunset in Gerona. Some prestigious large rooms like Apolo, Bikini, Luz de
Gas, Palau de la Musica in Barcelona and Salamandra in Hospitalet de Llobregat (Barcelona) sporadically
include blues in their line up. Cultural centres of large municipalities use to have regularly live blues among
their activities. Recently, luxury hotels like the Hotel Casa Fuster and the Gran Hotel Havana or museums
like the Museo Europeo de Arte Moderno have open their rooms to cultural events, the ones devoted to
music are usually of acoustic blues and traditional jazz.
The most representative blues festival of this area are Reus Blues Festival (June) which together with the
Blues Matters! 68
Edu Manazas from Madrid at Cazorla Blues Festival

Festival Blues & Ritmes in Badalona (April / May), the Festival de Blues in Manresa (Barcelona) (August
and with a schedule of local bands), the Festival de Blues de Cerdanyola (October) are the older ones in
Catalonia. The last one is currently facing a most rock oriented program, but small clubs in the area include
local blues bands throughout the festival dates and most of the year as well. Also mention the Festival de
Blues de Barcelona held in September at the Nou Barris district, thanks to the efforts of Capibola Blues
Association. New festivals have emerged recently, such as Festival de Blues de Tarragona (July), The
Festival Elefants & Flors in Figueres (Girona) (May), The Festival Blues Besós in Sant Adrià de Besos
(Barcelona) which try to consolidate among blues festivals.
Also important are other initiatives developed through the effort and tenacity of blues lovers and fans, like
The Butifarra & Blues (May) which combines a great barbecue with live blues performances, the Blues
& Boogie Reunion in the mythic Jazz Cava in Terrassa (Barcelona) (5 and 6 January), The Blues and
Boogie series in Hospitalet (Barcelona) (November), The Blues in Masquefa or the Capibola Blues Nights
(Barcelona) that offers a regular schedule of local blues along the year.
The radio has always been very important to the dissemination of the blues. The most legendary and
pioneer program, “La Hora del Blues” by Vicente Zúmel, is weekly broadcasted in Barcelona since
November 1981. The website of La Hora del Blues presents a schedule of blues live shows around Spain
as well as over 2.000 blues records reviews, internationally renowned, as well as blues news, articles,
columns, interviews, pictures... La Hora del Blues, through Roser Zúmel, belongs to the board of the
European Blues Union and is also member of the Blues Foundation in Memphis.
Other specialized in blues radio programs are “T’agrada el Blues” broadcasted throughout Catalonia and
in a local level, ‘Red Hot Blues’ by Josep Palmada in Radio Vilafant (Gerona), ‘Born To Be Bad’ by Manuel
Marin in Radio Sant Boi, ‘El Corralon del Blues’ by Jose Luis de Palma in Radio Granollers or ‘Just Blues’
in Sant Just Desvern.
The local station Radio Hospitalet, in cooperation with Com Radio and local television net of Catalonia,
broadcast ‘Bad Music Blues’ hosted by Joan Ventosa and Manuel Lopez Poy and produced by José Luis
Martín of Bad Music Productions, primarily devoted to national blues. This program has two versions: a
weekly radio show and a monthly TV one, in the local television network in Catalonia. They have also
filmed the documentary “Barnablues, the history of blues in Barcelona” and every year they publish a
yearbook about blues in Spain. They also promote conferences, exhibitions, master classes and so on, all
related to the blues.
Other new proposals have recently appeared in Catalonia.
The Barcelona Blues Society was founded in 2005, a non-profit organization whose main objective is to
promote the blues, thanks to the idea of Mike Shannon and the support of people involved in the blues as
Vicente and Roser Zúmel, Joan Ventosa, Manuel López Poy or Xavier Pallares who, for four years, led this
project. Today the society remains active in its efforts to promote the blues. It also belongs the European
Blues Union.
ince 2008 Capibola Blues Association has founded and leads the Blues School of Barcelona. This school
aims to teach blues dynamically and enables students to participate in or set up their own combos. They
also organize the Barcelona Blues Festival Nou Barris.
Thanks to the initiative of Joan Ventosa and with the initial collaboration of Vicente and Roser Zúmel,
Tecla Sala Public Library in Hospitalet
Lluis Coloma
opened an specialized blues section
in 2006. The Library devotes a small
budget for the purchase of printed and
phonographic material. Thanks to the
selfless contribution of fans, this space
has grown in quantity and quality. Now
it also collects all the information about
the European blues Union.
Recently it has appeared an original
project done by Jordi Llaurens & Pat:
The Blues Bus. It is a real English
double decker bus that has been
Blues Matters! 69

Tonky De La Peña
decorated as a dazzling travelling blues club. The ground
floor has an entrance marquee, followed by a stage for
acoustic live shows. The upper floor is has a DJ booth, an
exhibition hall and a private dressing room. The outside
part of bus can become a stage for electric live shows with
two giant screens, sound equipment and lights. It can be
said it is the first itinerant blues club in the world.
One of the activities initiated by the first board of the
Barcelona Blues Society of Barcelona, was the creation
of a contest for new emerging blues bands. Recently this
initiative has started again, sponsored by Budweiser and
with the support of the Barcelona Blues Society and Bad
Music.
It is also important to mention other cultural projects organized around blues, like the lectures with blues
(Manuel López Poy/David Giorcelli, ML Poy/Hernán “Chino” Senra, Julio Vallejo/Banoit Poison, blues in
schools (Big Mama/Joan Pau Cumellas), blues pictures exhibitions and documentaries and films related to
blues, that are regularly offered in festivals, cultural and local associations.
NORTHERN SPAIN
Galicia, Asturias and the Basque Country also present interesting proposals related to blues.
Legendary musicians like Marcos Coll, Adrián Costa and Victor Aneiros share their love to blues with
the new high-level bands like Belceblues, Blues & Decker, Doctor Blues Band, Miky Nervio & The
Bluesmakers, White Towels Blues Band, The Reverends or Travelling Brothers (they will travel to Memphis
to represent Spain at the International Blues Challenge organized by the Blues Foundation).
The most renowned clubs and bars where you can find regularly blues are the legendary Clavicémbalo in
Lugo, Café Antzokia in Bilbao and Eibar, El Paso in Cudillero (Asturias) or Jazz Vides in La Coruña. Other
places that can be mentioned are Capitol in Santiago de Compostela, Ambigu in Leoia (Vizcaya), Barucu
in Gijon (Asturias), Blue Note in Baracaldo (Vizcaya), Contrabajo in Vigo (Pontevedra), Monkey Club in
Gijon, Forum Celticum in Culleredo (La Coruña), Garufa in La Coruña, Jarrock Café in Bilbao, Jimmy Jazz
in Vitoria, La Tortuga, Petak or Duendes in Torrelavega (Cantabria), Muddy’s Radio Bar in Gijon (Asturias),
Residence in Bilbao, Restaurant El Castillo in Santillana del Mar (Cantabria), Rock Star in Baracaldo
and Bilbao, Rockpublica in Gijón, Sweet Home Rock Bar in Oviedo, Swing Jazz Blues Cafe in Oviedo,
Vegalume in Salvatella de Miño (Pontevedra) or Xancara Jazz in Vigo. Theaters and Cultural Centers
like Centro Torrente Ballester in Ferrol, Teatro Campoamor in Oviedo, Teatro Jofre in La Coruña, Teatro
Principal in Orense Senior, Teatro Torrente Ballester in Ferrol also offer from time to time blues live shows.
Different cultural associations and public cultural centres schedule blues shows, like Pepe Bocanegra in
Asturias, Cultural Association of Ermua, Lebiano Gunea (Vizcaya) or Leoia Cultural Association (Vizcaya).
In recent years and thanks to the initiative of great fans there have appeared blues festivals in this area
that keep the blues flame alive. Bluesnosil Festival in El Barco de Valldeorras (Orense), The Blues Festival
of Vilagarcia de Arosa, Crossroads in Gijon, Jazz and Blues Elorrio (Vizcaya). Also in Vizcaya the blues
festivals of Bermeo, Tolosa, Zizurkil or Sanbar in Leoia. A
very special mention for the International Blues Festival
of Getxo (the pioneer blues festival in the area) and of
Chino & The Big Bet
course the International Blues Festival of Hondarribia
(Guipuzcoa). This festival has become in just six years one
of the largest and most prestigious ones around the world,
nationally and internationally recognized, thanks to the
enormous work of Carlos Malles and his team. Getxo and
Honarribia festivals are members of the European Blues
Union.
Also highlight the work of some radio shows and
colleagues like Iñigo Martin and especially the tireless
record label Gaztelupeko Hotsak based in Soraluce
(Guipuzcoa), who publish the major number of Spanish
blues records.
Blues Matters! 70

Lolo Ortega
CASTILLA - CENTRAL AREA AND MADRID.
Madrid and its surroundings offer a varied blues
landscape. Also some areas of Castilla and the
center of Spain have interesting activities.
Among the big names in the Madrid scene stand
out Edu Manazas and his band The Whiskey
Train, Fede Aguado & Osi Martinez, Juan Scotch,
Juan Bourbon & Juan Beer, the legendary
harmónica player Ñaco Goñi, guitar and singer
Tonky de la Peña, Red House, Canadian musician
Smiling Jack Smith or Xulian Freire. Besides there
are new and interesting musicians and bands such
as David Garcia & Vladi Olmos, Downtown Alligators, 44 Dealers, Blu Tones, King Bee, Forty Nighters,
Fritos Blues Connection, Gatos Bizcos, Smoked Cotton Blues Band, The Blind Lemons, The Cool Benders,
The Street Pickers, or Violante Blues. Outside Madrid area there are also very interesting names as
Bluedays in the area of Valladolid or Rafa Sideburns Band in Guadalajara.
The one and only oldest blues club that only books blues shows is the legendary La Coquette, in the heart
of Madrid. Other locations in the capital of Spain who regularly bet on the blues are Beethoven Blues Bar
(in a reopening process), Clamores, Contraclub, El Junco, Elephant Guin, Finn’s, Gruta 77, Honky Tonk,
Irish Rover, La Boca del Lobo, Moe, Populart, Second Jazz, Soul Station, Taberna Alabanda, The Cavern
or Thirty Three Irish Tavern.
Also a special mention for clubs like La Alquitara in Bejar (Salamanca) that besides a blues club, actively
participates in the International Blues Festival of Bejar and the surprising Taberna del Blues in Viñuelas
(Guadalajara), which thanks to the tenacity of its owners Rafael and Laura, presents an attractive line up of
quality live blues. Other places to be mentioned are Alive and Pirata’s in Alcorcón (Madrid), Café El Corrillo
in Salamanca, Contrapunto Jazz Café in Aranjuez (Madrid), Café Croche and Regina in San Lorenzo del
Escorial (Madrid), Café del Infante in Villaviciosa de Odón (Madrid), Derry’s in Leganes (Madrid), Dublinia
in Paracuellos del Jarama (Madrid), El Mirador in Tomelloso (Ciudad Real), Grand Café in Leon, Kiosko
Recreativo del Jarama in Talamanca (Madrid), Ambigu, Porta Coeli and Restaurante Llanten in Valladolid,
Reciclaje in Guadarrama (Madrid), Restaurante Alfoli de la Sal in Torrelaguna (Madrid), Sensorama in
Coslada (Madrid), Shamrock in Galapagar (Madrid), Temple in Alcala de Henares (Madrid) or Avalon and
La Cueva del Jazz in Zamora.
Despite the efforts of Crossroads Association, Madrid does not have a blues festival. Some clubs organize
small blues cycles like mini-festivals and during the summer Madrid autonomous government do a huge
festival, Los Veranos de la Villa, that usually include a renowned international blues name. Undoubtedly
the greatest festival in the center or Spain is El Festival Internacional de Blues de Castilla y Leon in Bejar
(Salamanca), which has already reached its ninth edition. Other festivals have recently appeared thanks
to the initiative and efforts of particular organizers like el Festival de Blues de Hontecillas in Cuenca. Also
mention Festival Enclave de Agua in Soria with an eclectic line up that includes at least a blues show.
Madrid has always had blues radio shown of recognized prestige. The always remembered and
worshipped program El Tren 3 led by Jorge Muñoz, has been replaced in Radio Nacional Radio 3 by Route
61 hosted by Justin Coe. Another legendary local show is Blanco y Negro hosted by blues expert Eugenio
Moiron in Onda Latina. Through the Internet you can listen to Crossroads hosted by writer Mariano
Muniesa and Yolanda Jimenez. In Segovia you can listen to Blues Syndicate by Carlos Díez Escribano.
During the summer months Spanish television TV2, early in the morning broadcasts live blues recordings
of most important international Spanish blues festivals like Hondarribia, Cazorla, San Javier, or the jazz
ones Vitoria and San Sebastian
Through Crossroads Association, Mariano Muniesa and Yolanda Jiménez have launched several initiatives
such as Festival Lunas de Blues, the online magazine Crossroads, a blues on-line show sponsored by the
legendary rocker Mariskal and major campaigns against the prohibition of music in the streets, dignifying
musicians work or educational blues shows for children.
Latest talk is about a new project of a constitution of a non-profit blues association in Madrid
*Next issue will have part 2 talking about the blues in other parts of Spain. www.lahoradelblues.com
Blues Matters! 71

Unsigned acts on their
own Blues mission
STEVE ROUX & THE BRASS
KNUCKLE BLUES BAND
In 1993, Steve Roux was
signed to Virgin/EMI’s ‘Point
Blank’ label. This prestigious
label featured a number of
top American blues artists
including Albert Collins, Johnny
Winters, John Lee Hooker and
Pop Staples. He also signed
a publishing deal with Sony
Music. The all original album
‘Steve Roux’ was recorded at
Kiva Studios in Memphis with
Bernie Fox on drums. TV, radio
and festivals followed. Bernie
toured with Jimmy Witherspoon,
Sherman Robertson, also
appeared on TV and recorded with Eric Bibb. Steve gigged with his band, Josh Phillips on Hammond
organ, Dave Bronze on bass and Henry Spinetti on drums. He shared the stage with Albert Collins, Robben
Ford, John Hammond and Pop Staples and in 1995 Steve played in Gary Brooker’s band at Blues on the
Farm. 1996 saw Steve, Bernie plus Rob Vick on bass form ‘The White Knuckle Blues Band’ they played
continuously but with Steve’s ever expanding family, the band stayed close to home. During this time he
worked with Damon Hill’s ‘The Conrods’ and ‘The Six Pistons’ to raise money on behalf of ‘The Down’s
Syndrome Society’ playing gigs across Europe including twice at the Albert Hall. During one memorable gig
George Harrison joined the band on stage, borrowed one of Steve’s guitars and they played a selection of
Beatles songs… nice moment. In 2009, they augmented the knuckles band with ‘The Brass Knuckle Horns’
featuring Steve Grainger - alto sax, Jon Gooding - tenor sax and Tom Edwards - trumpet. Steve Grainger
had toured with Jimmy Witherspoon. Along with the return of Josh Phillips on keyboard duties this was the
birth of ‘Steve Roux & The Brass Knuckle Blues Band’. Having fallen out of the loop this effectively became
a ‘new band’ which meant starting over again. They apologies to the numerous promoters, agents and
clubs for bombarding them with emails, phone calls, DVDs, CDs, and press packs, but this hasn’t been
without success. Since 2010 they have played clubs and festival gigs including in 2011, ‘Blues On The
Farm’. Next year is looking
good with festivals and clubs
supporting the band, big
thanks. There is a new CD
entitled ‘It Just Might Be Too
Late’ by Steve Roux, Bernie
Fox and Rob Vick. Comprising
of 12 tracks, the band put their
own twist on some of their
favorite’s tunes and include a
couple of originals. A CD with
the ‘Brass Knuckles’ is almost
complete and will be available
in 2012.
Finally big thanks to Alan and
all at Blues Matters for their
support.
Please see our website for
more information including live
festival footage and CD tracks
at www.bkblues.com
Blues Matters! 72

FROM THE USA • BLUES/ROCK LIKE YOU WON’T BELIEVE!
WT FEASTER BAND
NEW ALBUM OUT MARCH 2012 - MYSTIC RECORDS
The boys are back in
the UK to launch their
eagerly awaited and
explosive third album -
“Juggling Dynamite!”
1st The F lowerpot Derby
2nd Keighley Blues Club
3rd O2 Academy 2,
Newcastle upon Tyne
4th Backstage.Green Hotel, Kinross
8th The New Adelphi, Hull
10th Camerons Club Hartlepool
MARCH 2012 UK TOUR
11th The Beaverwood, Chislehurst
12th Art Centre, Pontardawe (Walter Trout)
13th The Glee Club, Cardiff (Walter Trout)
14th Robin 2, Wolverhampton (Walter Trout)
15 th The Tunnels, Bristol (Walter Trout)
16 th The Wharf, Tavistock (Walter Trout)
Additional dates to be posted at:
www.wtfeasterband.com
“Incendiary guitar solos…….. hallmark axe wizardry ……..
maestro in his own right” - Blues Matters
Represented by Rhino Agency – 0208 460 4907
Blues Matters! 73

MORE...
Joe Louis Walker
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The Blues Music Award winner and Legendary
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Muddy Waters
Chicago Blues Legend
Document
This 8 CD collection includes Muddy Waters
biggest hits and rarities from 1941-1961 and
features Otis Spann, Willie Dixon & Little Walter
Omar & The Howlers
Essential Collection
Ruf Records
Double CD “Includes songs that are considered
my biggest hits combined with songs that I believe
to be some of my best work” Omar Dykes
Jimmy Bowskill Band
Back Number
Ruf Records
His prowess as a killer guitar player and
convincingly soulful singer has long been
established, and his evolution as a songwriter is
now fully confirmed
For more information, news, competitions

proper Blues
Otis Taylor
Otis Taylor’s Contraband
Telarc
More captivating trance blues from bluesman
Otis Taylor. His regular band is joined by cornetist
Ron Miles, steel guitarist Chuck Campbell, djembe
player Fara Tolno & fiddler Anne Harris
Otis Rush
Double Trouble
Complete Blues
20 electric Westside Chicago classics
including Double Trouble, All Your Love and
I Can’t Quit You Babe
Junior Parker
I’m Holding On
Complete Blues
25 tracks recorded in Houston and Chicago
between 1953 and 1961 including Next Time You
See Me and Driving Wheel
Etta James
I Just Want To Make Love To You
Complete Blues
Early 1960’s classics including At Last and
I Just Wanna Make Love to You from the
first lady of Chess records
and much more visit www.propergandaonline.co.uk
Blues Matters! 75

The Sequel
by Mike
Owens
A few BM issues back, I contributed
an article on the emerging
Blues Jive style of dancing and
encouraged readers to give
Blues Jive dancing a go as part
of their Blues participation. From
the earliest roots of the Blues,
dancing was part of the whole
scene – an opportunity to party
and a release from the tedium
of slavery. Given that not much
has changed given the current
conditions of employment, it is as
relevant today as it was back then!
In fact it is now, with a recession
predicted echoing the 1920’s that I
suggest that the elements are there
to revive the Blues movement. I
digress.
Modern jive as opposed to the old
fashion rock and roll jive is less
Blues Matters! 76
Tim & Heather
JP Kirstin
demanding physically, especially for the ladies, as it is
gentler and integrated with Latin American moves and
grooves. There are a wide variety of set moves, which
is up to the guy as the leader to memorise, then to mix
and match them to whatever level he’s comfortable
with. Blues Jive is slow tempo version that more easily
allows interpretation of the music of both lyrics and
arrangement. It is also a great way to socialise.
Go to http://www.youtube.com/
watch?v=VqD41yhEdQk. Or simply Google; You Tube,
Nigel and Nina, as an example of the genre (Music
by Popa Chubby: Sweat). This link got left out my
last article unfortunately, but a gives you a feel for the
style. You will also find other examples on the sidebar.
These guys, Nigel and Nina, are National Champions
and top of their game and regularly teach it, but there
are simpler forms of the moves.
My previous article evoked a response from one blues
musician who opined that it was more inspirational for
a musician to play in front of an audience that danced,
than one which merely sat or stood there in a mute
and studied assimilation. This is not something new, in
that I found this opinion was replicated when I cleared
my loft recently and I came across some dusty Jazz
Journals circa late 50’s early 60’s, (yes I’m that old
and still dancing!). The magazine had a series where
a musician was asked for his impromptu response to
a series of tracks played to him from other musicians’
recent offerings. (Hint Mr Editor?)
Photos supplied by Mike Owens

Greg Urch & Raechel Adams
He was played a track from a live performance
recording and he also responded that live
performance recordings inevitably inspired music
with more atmosphere, free of the sterility of the
studio and that it was further enhanced whenever
there were audiences dancing.
However, this does beg the question; how many
current blues venues have the space for dancing?
Pubs in the main provide the opportunities for the
majority of bands to perform in this country and a
dancing floor/space is not it would seem, high on
their agenda.
Sadly, ambulance-chasing lawyers’ litigations
have even prompted Health and Safety /insurers
to ban a dancing floor at one Festival of late - God
help us. Let’s hope the current government’s
move to curtail the nanny state kicks in soon.
It would be interesting to get some promoters’
response to this, i.e. is providing space to dance
in their thought process or do they think there is
insufficient need? Are there economic reasons?
Do BM readers wish for space to dance? I so
often see frustrated hips gyrating within the
cramped confines of some pubs, would they use
dance space if provided? Certainly there also
seems to be a gender issue involved as more
ladies than gents will occupy the floor when the
opportunity arises.
Now this puzzles me. Why is there reluctance amongst a good many males to dance? What’s the problem?
Is it fear of looking stupid or some overweening lack of machismo? We all have to go through a learning
process whatever the pastime and what caring female
is going to object? At one festival I witnessed two guys
standing resolutely in the centre of a dance floor and
impeding dancers whilst watching the band. Was it
some kind of protest? If so, for what reason? Shouldn’t
there be room for both listeners and dancers?
In my previous article I gave links to organisations
that teach jive and blues jive. The latter is geared
towards slow blues and to a degree that the ladies
decree, the sensuality that goes with it. I was at a
Blues Jive weekender recently, organised by the Ceroc
Organisation, (www.ceroc.uk.com/) and compared to
last year’s event the numbers appear to be increasing
for this dance style and local jive clubs are beginning
to include more sessions in their schedules.
Ceroc is not the only jive instruction provider. There is
also LeRoc (www.leroc.org.uk/) and many independent
clubs. Simply Google: ‘Jive, your local area’ and a
club near you is bound to turn up in your search. With
‘Strictly Come Dancing’ fever endemic again, now’s
your chance, especially the guys.
If Robbie Savage and Audley Harrison can do it
fellas – so can you! The ladies will love you for it –
guaranteed!
JP Kirstin
Blues Matters! 77

Part 3 - ‘Write Me A Few Short Lines’
copyright Michael Messer
For this third and final article about Blues slide
‘bottleneck’ guitar, I am trying to uncover the story
of Blues slide guitar in Britain. The research I am
currently doing on the history of British Blues slide
guitar is not yet complete, and so this article is a
work in progress and new information is still coming
in. Even as I send this to be printed, I am having to
add information and change some of the things I
have written.
It is very hard to trace the exact first moment that
Blues slide guitar was played by a British musician.
There is a story that Brian Jones of the Rolling
Stones was playing Blues slide guitar in the late
1950s in Cheltenham, which if the theory that
nobody played Blues slide guitar in this country
before the late 50s is true, puts him as one of the first, or the first Blues slide guitarist in Britain. The other
contenders as the first people to be playing Blues slide guitar in Britain, are Alexis Korner and Brian Knight.
Hawaiian steel guitar was very popular in Britain in the 1930s, 40s and 50s, but apart from Sam Mitchell,
whose father, Sammy Mitchell, played Hawaiian guitar with Felix Mendelssohn’s Hawaiian Serenaders,
and Mike Cooper, who learnt some Hawaiian guitar from an American living in his hometown, Reading, I
don’t think there is much of a connection between British Blues slide guitar and Hawaiian steel guitar. That
is not the case in the USA, where Hawaiian steel guitar and Blues slide guitar were very closely connected,
as was discussed in depth in my first article of this series.
In this article I am going to focus on a handful of people who I believe were the British pioneers of playing
Blues slide guitar, but before I do that I am going to talk about three African-American Blues slide players,
Muddy Waters, Son House and Mississippi Fred McDowell, who visited these shores and influenced some
of our most important musicians. Of these three, Muddy Waters was the first to play in Britain. He toured
in 1958 with Chris Barber’s Jazz Band and in the tour programme, which in those days featured a set list,
songs played with electric slide guitar included: Honey Bee, Long Distance Call, I Can’t Be Satisfied and
Louisiana Blues. This is a very important moment in the history of British Blues and in the history of British
Blues slide guitar playing.
It is documented that two of the people I believe to be Britain’s first Blues slide guitarists, Alexis Korner and
Brian Knight, saw Muddy Waters on that tour. They were certainly among the first wave of British Blues
musicians playing in the Muddy Waters style. While Alexis Korner did play a few slide licks using a ring
(possibly his wedding ring) as a slide, it is not known exactly when he was first doing that. Many people
seem to think it was early 60s, but Ron Gould (musician and authority on Skiffle in Britain) told me that he
remembers seeing Alexis playing slide guitar at the Roundhouse in London in the ‘latish’ 1950s. Although
Alexis Korner was not primarily known as a slide player, it is possible that he was the first person playing
Blues slide guitar in Britain. Alexis Korner was born in 1928, and is often referred to as the Founding
Father of British Blues. His legendary career has been documented extensively elsewhere. Alexis Korner
died in 1984.
It is still not known which of the two Brians came first to Blues slide guitar, Brian Knight or Brian Jones,
but I do know that Brian Jones was playing slide guitar in London in 1962. Alexis Korner, Brian Jones and
Brian Knight, are no longer with us and it is proving very difficult to research this particular area, which is so
important to the story of British Blues slide guitar.
Brian Knight was born in North London in 1940 and may well have been the first Blues slide guitarist in
Britain. In 1955 Brian Knight joined the merchant navy and spent two years in the USA. He returned to
London in 1957 and played his first gig in that same year in Southall at the White Hart pub. Brian Knight
was a friend of Alexis Korner and Cyril Davies, and in 1958 at their club, The Blues & Barrelhouse Club in
London, Brian Knight saw Muddy Waters play. In the early 1960s Brian Knight met Brian Jones and they
formed a band together with Ian Stewart on piano, Dick Taylor on bass, and Geoff Bradford on guitar. At
Blues Matters! 78

that time Brian Jones, who was born in Cheltenham in 1942, favoured Bo Diddley and Chuck Berry, and
Brian Knight was a Muddy Waters disciple, and as often happens with musical differences....the band
split up and the two musicians went their separate ways. Brian Jones formed the Rolling Stones with Mick
Jagger and Keith Richards, and Brian Knight formed Blues By Six, with Charlie Watts on drums. Blues
By Six were popular and had two London residencies at the 100 Club and the Marquee, where they were
often supported by the Rolling Stones. Even if Brian Knight wasn’t the first, he is very important because
he influenced some of our greatest guitarists. Among others, Ronnie Wood, Peter Green and Eric Clapton
have all mentioned Brian Knight as an early influence. Brian Jones died in 1970, and Brian Knight died in
2001.
On the acoustic Blues scene, all the early British players seem to stem from a Blues slide guitar family
tree which was started by Mississippi Fred McDowell, Son House and British musician, Tony McPhee.
Fred McDowell first toured Britain in 1965, and Son House first toured here in 1967, and it was their slide
playing, more than anyone else’s, that had such an impact on the British acoustic blues and folk musicians.
Fred McDowell left an indelible impression on the people who played and spent time with him. He is still
remembered by the British musicians who knew him, as a charming man and the greatest Blues slide
guitarist of all. Son House also left his mark on these shores and his slide guitar playing, his performance
style, and his shiny National guitar, made an impression on British musicians that will last for generations.
Mississippi Fred McDowell and Son House’s intensity and deep old-style Delta Blues slide playing was so
influential in Britain that it would take a whole chapter of a book to really investigate and talk about properly.
As far as I can tell at the time of writing this article, Tony McPhee was the first British musician specializing
in the acoustic slide repertoire of people like Robert Johnson, Fred McDowell and Son House, and it is
from Tony McPhee that two of our earliest and most influential acoustic Blues slide players, Jo Ann Kelly
and Dave Kelly, were introduced to playing Blues slide guitar.
Tony McPhee was born in 1944, and inspired by seeing the Cyril Davies All-stars at the Marquee in
London, started playing Blues in the early 60s and formed his band, the Groundhogs in 1963. I have heard
from Graham Hine, a fine slide guitarist, founder member of Brett Marvin & The Thunderbolts, and friend of
Tony McPhee’s, that Tony learnt about open G tuning from John Lee Hooker and figured out the slide part
for himself. At the time of writing this article I have still not actually spoken with Tony McPhee. The story will
become a lot clearer when I do. Tony McPhee is a major figure in the history of British Blues slide guitar
and although in 2009 he had a stroke, he is still playing regularly.
Dave Kelly was born in Streatham in 1947 and has consistently been at the forefront of the British &
European Blues scene since the mid 1960s. The first slide player that Dave recalls seeing was Brian Jones
in London in 1962. Then in 1963 from reading the
sleeve notes on The Freewheelin‘ Bob Dylan album,
he tried to play slide guitar like Dylan did with a lipstick
tube, but according to Dave...’it didn’t work’. Dave Kelly
met Tony McPhee in 1964 and it was from Tony that
Dave Kelly learnt to play Blues slide guitar. Jo Ann
and Dave Kelly were very influential among the early
British acoustic Blues players, and more than anyone
else, Dave Kelly’s name is mentioned as an early slide
guitar influence on the acoustic Blues scene of the
time. Jo Ann Kelly died in 1990. Dave Kelly plays in the
Blues Band, Paul Jones & Dave Kelly, Maggie Bell &
Dave Kelly, and as a solo artist. For almost fifty years,
Dave Kelly’s superb acoustic and electric slide playing
has influenced countless British and European Blues
guitarists.
Ian Anderson was born in 1947. He started playing
Blues guitar in his teens after hearing a Muddy Waters
EP, and was inspired to play in public by seeing Spider
John Koerner perform. In 1965, Ian saw Mississippi
Fred McDowell play at the Colston Hall in Bristol, and
with no assistance or knowledge of other players doing
it, he went home, cut a piece off his brass curtain rail
Blues Matters! 79

and stayed up all night trying to play Delta
Blues slide guitar and work out open tunings.
From 1965 into the late 70s, Ian Anderson
was a prominent figure on the British and
European acoustic Blues and Folk scene,
and through his live performances and
recordings, he has turned many people on
to playing Blues slide guitar. In 1979 Ian
Anderson started the magazine, Southern
Rag, which later became Folk Roots, and
is now called fRoots. Ian Anderson is still
playing Blues slide guitar, but very rarely
performs in public.
Mike Cooper was born in 1942, started
playing guitar in 1958 and formed his first Blues band in 1962. By 1965 Mike Cooper, as a solo artist, was
becoming a well known name in the Folk and Blues clubs and from all accounts appears to have started
playing Blues slide guitar on his National Triplate in 1966/67. When I met Mike Cooper in 1983 I had
been playing acoustic Blues slide on National guitars for six years and our similar taste in guitars, Blues,
repertoire, and approach to playing slide guitar, led to us working together on various tours and projects
through the 1980s and early 1990s. In 1984 I made my recording debut on the Mike Cooper and Ian
Anderson album called ‘The Continuous Preaching Blues’, which was produced by Dave Peabody. Mike
Cooper’s Blues slide playing is influenced by among others: Fred McDowell, Son House, Jo Ann Kelly and
Dave Kelly. Mike Cooper is still performing, recording and playing slide guitar. He plays mostly lap steel in
an avant-garde style, but still incorporates his knowledge of Blues slide guitar into his music.
Sam Mitchell was born in Liverpool in 1950, his father, Sammy Mitchell, played Hawaiian guitar with Felix
Mendelssohn’s Hawaiian Serenaders, and at some point in his early teens, mostly inspired by hearing
Robert Johnson records, Sam taught himself to play acoustic Blues, Ragtime, and Blues slide guitar. He
played around the Liverpool folk clubs for a while and then at seventeen years old moved to Brighton
where he shared a flat with another great British Blues musician and slide guitarist, Roger Hubbard. Roger
recalls that when he met Sam in 1967 he was already a
brilliant player with an amazing technique and knowledge of
pre-war Blues. Sam Mitchell moved to London in 68/69 and
met up with Rod Stewart and Long John Baldry. There are
various stories about Sam’s involvement with Rod Stewart’s
solo albums, Gasoline Alley and Every Picture Tells A Story,
but according to Roger Hubbard (a close friend of Sam’s
at the time), Sam played the beautiful solo acoustic slide
piece, Amazing Grace, on Every Picture Tells A Story, and
that was his only contribution to those records. According
to the Faces official website, Sam Mitchell played guitar
on Gasoline Alley, and guitar and slide guitar on Every
Picture Tells A Story. Amazing Grace is definitely Sam,
but it is difficult to spot his playing in the other tracks on
those albums. Sam Mitchell was an incredible musician
and his Blues slide guitar playing, through his involvement
with Stefan Grossman’s Kicking Mule record label and
guitar tuition books in the 1970s, has influenced countless
students of slide guitar ever since. Sam Mitchell died in
2006.
Blues Matters! 80
Jeremy Spencer was born in 1948 and was the slide
guitarist in the original Fleetwood Mac. His covers of Elmore
James and his own songs written in the Elmore James style,
that appeared on the first Fleetwood Mac album in 1968
are very important, and as well as turning the world on to
Elmore James, Jeremy’s electric slide playing influenced

guitarists in Britain and all over the world.
Jeremy Spencer taught himself to play slide
guitar in the mid 60s. He had no knowledge of
open tunings or what made the sliding sound,
but with trial and error and a lot of dedication,
he discovered open D tuning, got himself fixed
up with a slide and worked out pretty much note
for note most of Elmore’s repertoire. Jeremy
Spencer is still playing slide guitar. Just type
‘Jeremy Spencer - It Hurts Me Too’ into YouTube
to see and hear Jeremy’s wonderful tone and
touch.
Another person I should mention in this history
and continuing story of British Blues slide guitar,
is actually an American, but he has become
very much a part of the British music scene. Through his appearances on British TV and at Rock festivals,
playing Blues slide on diddley-bows, cigar box and electric guitars, and a 1930s National Triolian, Seasick
Steve, has turned a whole new generation on to Blues slide guitar.
Slide guitar has played an important part in the story of British Blues, and because this article cannot fill
the whole of this month’s magazine, I have to wind up by listing some British players who have contributed
to the world of British Blues slide guitar, that I have not been able to include in this article: Roger Hubbard,
Graham Hine, Gordon Smith, Eric Clapton, Rory Gallagher, Martin Simpson, Chris Rea, Steve Phillips,
Kevin Brown, Dave Peabody, Ian Siegal and Eddie Martin.
I believe this is the first time anyone has attempted to document the history of Blues slide guitar in Britain.
I have tried to get the facts correct and put the story into some kind of chronological order, but it will take
a lot of research to get all the dates correct and get everything in place. It is as I said in the opening
paragraph - a work in progress, and if anybody reading this can provide any information about those
early days of British Blues slide guitar playing, or has any other information that would help me with this
research, I would be very interested to hear from you.
Blues Matters! 81

by
Brian
Kramer
It’s always encouraging to see a
younger generation appreciating the
roots. To understand that Blues is
the source on an intellectual level is
common knowledge, but to decide
to set aside pop culture, what is “in”
and explore the deep language of the
Blues for teens and twenty year olds
is rare. However I am starting to notice
more and more interest in this genre
by youngsters, relating to the eternal
“coolness” and unstoppable grooves
which gave birth to a thousand hit
songs and music icons. I am speaking
with five such youth, gathered at the
popular Stockholm Club Stampen in
Joey, Robert, Peter & Ida
Stockholm.
Ida Bang; 20 years - One of the fine young women gigging around Stockholm and sings with the
conviction and gusto of a blues diva from the 30’s.
Joey Belmondo; 20 years - Already getting much acclaim and being awarded here in Sweden and
although he is a ringer for a young “Jimi”, he already has the blues chops fit for a King.
Jessie Öberg (Walker); 16 years - Fearless on stage and you don’t want to be “messin’ with this
kid”. Not too many at this age will give you a lesson on Tampa Red or Robert Johnson.
Peter Granström; 19 years - Is putting out his second album with group ‘Pohn Jettri’ and can fill
a room with kids grooving to their mix of original, rootsy music that has a timeless, contagious
twang.
Robert Hill; 19 years - Can easily have made a name for himself in New York’s Greenwich Village
coffee house scene in the early 60’s. He can sing a line that will move you to actually fire up some
brain cells, while picking a riff that could have been personally pried from Reverend Gary Davis or
Lightnin’ Hopkins fingers.
This conversation is a refreshing glimpse into the mindset of a younger generation inspired to go
way back and dig deep.
So, I wanted to get you guys together because to me you represent a renewed culture of young
people who are interested in roots & blues music. I’ve met you all individually and I played with you
all so let’s just have a little talk about what the music means to you. I want to start with this Blues
Camp that was here in Sweden, first of its kind. Some of you were a part of that and also part of
workshops?
Peter Granström: I had a workshop there and it felt kind of weird when Clas Yngström (Swedish guitar
icon) has been there talking about guitar playing, and I’m supposed to talk about guitar playing? So we
didn’t talk about guitar playing. We talked about more like song writing and stuff with the kids because it felt
weird to have a workshop when there’s guitar heroes there.
Robert, you were at this Blues Camp. What was your roll in this camp?
Robert Hill: My roll? Well I got a scholarship… The Jenny Bohman ‘Blues for Life’ Scholarship.
Ida Bang: Oh, nice!
Robert: It was nice. And the thing that happened to me during the camp was I got to know these young
blues players like Jessie and Joey, I never met them before. It was a big social thing like I came there to
meet some musician friends. When I came there I felt like I was a part of something like you said; a “new
wave” of blues musicians in Sweden.
Well, let me ask you, who are your heroes?
Ida: My heroes? It’s Bonnie Raitt, Jonny Lang and Susan Tedeschi. That’s like my favourites but I really
Blues Matters! 82

like Copeland and Freddie King of course…
Shemekia Copeland, she’s great. You know who her dad is; Johnny Clyde Copeland?
Ida: Yeah, I haven’t heard his music but, I’ve heard of him
He was one of my favourites in the 80’s, early 90’s and I got to meet him a couple of times and hang
out. I know most of her band from New York way back...
Have you listened to some of the older women singers from the 20’s & 30’s & 40’s like Bessie Smith
or Ma Rainey?
Ida: Not really that much, I’ve heard the names but I’m more into the modern music and bands… Etta
James though, I forgot to mention, she’s one of my fav’s.
How about you Jessie?
Jessie Walker: I’d say Johnny Winter of
course, and Tampa Red and T-Bone Walker
and I’d say Arnold Swartzenegger.
Arnold Swartzenegger? A very underrated
Blues hero!
Robert: Yeah, he could bend those strings
Well he certainly gave California the
Blues… and his wife. Jessie, didn’t you
just have a chance to meet Johnny Winter
recently? What was that like?
Ida: You did! Wow…
Jessie: What was that like? It was… heaven.
He was a nice guy, it was cool. I got to talk
with him for a while.
Ida: Did you get nervous? Because
sometimes you can get so nervous you get
like; ughhh, ughhh, ughhh…
Jessie: Felt like my balls were about to pop
out and run away or something. Yeah,
Johnny’s still got it though…
Jessie
And Mr. Peter, who are your heroes?
Peter: When it comes to old blues, Reverend Gary Davis and Skip James because they’re not only blues
guitarists and singers, they’re really songwriters as well and that’s for me an important part. And then Jerry
Garcia of the Grateful Dead, he’s one of the coolest guitarists and Peter Green… And I also like country
musicians like Hank Williams. They’re very important for the roots of the music cause that the cool thing
about the Blues… Even if it’s modern it should still be like, rootsy style a bit.
Robert Hill, your turn.
Robert: All right, my heroes ok let’s start with the big ones and that’s Woody Guthrie and Mr. Reverend
Gary Davis. I think Woody Guthrie is the biggest folk musician ever and Reverend Gary Davis is the most
interesting “blues” musician that I know because he played a different kind of style and use what they call
this “old timey” finger picking. I like it! Then the second generation; Dave Van Ronk, Phil Ochs, Bob
Dylan… all those Greenwich Village guys and let’s not forget Jack Kerouac. He inspired me to live my life in
a different way. He’s the one that first started me writing…
Joey: I heard Hendrix when I was eight and then from Hendrix I back-tracked and got into BB King, Muddy
Waters, Albert King, Freddy King to John Lee Hooker… Lightnin’; Lightnin’ Hopkins, he’s my favourite
acoustic blues guy! And then that guy Robert showed me; Reverend Gary Davis. Even though it’s a more
folky style, I still love that too. But I would say my biggest Blues hero; it’s got to be Lightnin’.
I told you I got to meet him? I can still feel my hand tingle when I shook his hand… I was just about
your age. (Various oohs & ahhhs from the room…)
Joey: He has a really “happy” spirit. You can feel some sort of pain or sadness at times but he always has
an optimistic spirit in his music. He always freestyles everything ‘especially the words right on the spot and
he’s very spontaneous, and when he’s playing with a group, like a drummer & bass player, he’ll just change
whenever he wants and they’ll kinda stumble and try to follow him. So he was always doin’ his own thing…

You grew in a very active musical family…
You started listening to Hendrix when you
were eight, that’s pretty young. Your mom
(Elisabeth Kontomanou) is an amazing jazz
singer.
Joey: My mom was pregnant with me when
she was doing concerts. So I guess I was on
stage since I was in her stomach. That’s like the
real beginning! And then my dad was also a
professional musician. They were only together
till I was four but during that time they were
always listening to jazz records. I guess during
my childhood I heard a lot of really good jazz &
a lot of different types of music. But then I
discovered the blues on my own and that was
kind of my own thing on the side. They weren’t
really listening to the blues but it was just always there.
What is it about the Blues that makes you want to explore it, what gets you excited about it?
Ida: Good question… I grew up with it; my father was a big Blues fan. It’s been in my family since I was
very, very little. I’ve always listened to it and it’s like… yeah, so much feeling. It’s so real!
Joey: …Probably the freedom of it. It gives me a feeling and makes me happy. Just makes me want to
take my guitar and play along.
Peter: First in the beginning everybody said that Blues is the root of all music & Rock-n-Roll. Then I wanted
to go back and see the pattern. But now it’s more… It’s so pure a music, the real old Blues it’s so genuine!
It’s not about the ‘12 Bar Blues’ going round and round. The true Blues is a feeling.
Robert: Like Peter said the Blue is the feeling. You know we
all get the Blues sometimes; the Monday Blues, the Tuesday
Blues, the Wednesday Blues…
Hmmm? That sounds like a song. Oh it’s been done,
sorry (laughter).
Ida: It’s so much more than just a 12 bar rule.
Peter: Still many people seem to think it’s about this 12 bars
goin’ round and round, not about this roots feeling, this
genuine part of the Blues.
The communication…
Ida: Exactly!
Robert: I think that Blues and old folk music is essentially
the same thing. It’s like communication, passed from the
families.
Most people give in to the stereotype of the “old
bluesman”, but when all the musicians we admire were
gigging and recording in their prime; they were about
your age… We think about Son House or Reverend Gary
Davis or Lightnin’ Hopkins in the latter years of their life,
cause that was when they were photographed most,
after the revival. But they were very active and very
popular on the scene in their youth. Robert Johnson had
his shit together and recorded all those tracks when he
was in his mid 20’s & he’s considered one of the
greatest Delta Bluesmen to live. All these guys… Do you
think that the youth today should be interested in the
roots and Blues?
Joey: Oh I’m not even gonna go there man… If I go there, I’m not gonna stop! Yes, I think they definitely
should. The simplest thing in music is like when it’s a man or a woman… their voice, their guitar. It’s like
Son House when he sings John The Revelator. But nowadays they don’t know how to sing so they have to
Blues Matters! 84
Peter & Joey, with Brian Kramer

use “auto-tune” for their voice.
Sure, you can love music but you have to know what came before you if you’re gonna make something
good, because without those people we wouldn’t be here!
Robert: Yeah, it’s coming back. Music goes up and down all the time. It’s like fashion, old classic stuff is
coming back, I think that’s happening with the music as well.
Jessie: I think young people should listen to the blues… And play the blues, but only if they’re respectful to
the music. You gotta know what you’re doing before you start talking.
I see you guys and I’ve listened to you… played with you & I see you’re potential. What would you
like to see happen or where do you see yourselves in the next ten years?
Ida: I would like to play music as a living. Travel more ‘cause I like travelling too so that would be great.
Joey: Let’s see, I would be 30? I just want to keep practicing and to progress, to be able to live off my own
music, always. And travel… I want to buy a bus, go on tour. I know that one day I’ll get there but I just have
to be patient. In 2020 I want to be able to play like John Coltrane on my guitar, but always, always,
always… never forget the blues. Have that with me always.
Robert: Ten years? If I’m not in a mental institution I’ll be doin’ my music. I don’t think I’m ever gonna get
famous, but if I get the message across, maybe inspire some people to realize what’s happenin’ and to be
more involved in, you know… everything. That’s the goal for me.
Joey: Well, you inspired me man, to play more acoustic.
Robert: That’s one, that’s one!
Peter: The most super nice thing is to write songs and I would really just like to break even… with the
money. I have no ambition to spread no message or anything. I just want to write music and break even.
Jessie: As long as I have a good time, play guitar whenever I want to… You know, as long as the world
aint perfect, we will always have the Blues but when the world is perfect, what will we sing about?
The Blues will live on forever even if it changes to the point that I don’t know if Robert Johnson would
recognize the Blues if you shoved it up his ass!
(Silence & looks of awe and shock from the others)
Well… I think we got what we need here, thank you all. Anything else anyone wants to add?
Robert: It takes a worried man… to sing a worried song.
Blues Matters! 85

FESTIVAL FEVER
EVENTS THAT HAVE HELPED SHOWCASE THE BLUES
CARLISLE BLUES FESTIVAL,
Swallow Hilltop Hotel, 11/11/2011-
13/11/2011
In a mere five years the Carlisle Blues
Festival has come from being the new
kid on the block to one of the top blues
festivals in the UK. While many festivals
divide their audience between different
stages in disparate locations, the
strength of Carlisle is that it provides
a consistently high standard with a
varied range of artists on the one stage.
The audience, even if unfamiliar with
the artists, has gained the confidence
that each act will be worthy of their
attention. The festival maintained its
impressive high attendance figures of
previous years with a combination of
established British blues acts and an increasing number of American musicians. This fact is testimony to
how far word has spread about the event. Yet it is more than just the quality of the acts that makes Carlisle
Blues Festival such a special event. There are the seamless changeovers and natural flow between acts;
and the general friendly atmosphere, where musicians can mingle freely with the fans. An event organised
and aided by those that really know their blues music.
So it was little surprise to see that by the 24 Pesos’ second song, ‘Waiting at The Station’ there was
standing room only left in the main hall. The band’s lyrics refer heavily to the blues imagery of the past, yet
paradoxically their music is an upbeat funk groove with a heavy Hammond sound courtesy of Moz Gamble.
‘Give Me Some Love’ was an expansive track which saw Julian Burdon stretch out on electric lead guitar.
Then taking it back to source he performed Robert Johnson’s ‘Walking Blues’ unplugged on steel guitar,
before the band joined him for ‘Ain’t Gonna Beg No More.’ The Revolutionaires’ mix of Rhythm & Blues
and Rock N Roll is perfect for the larger festival crowds. From opener ‘Shake It’ onwards the ever active Ed
Stephenson led the band through a high energy set which culminated in the medley of ‘Baby Please Don’t
Go’ and ‘Shake Your Hips’.
Inspired by a different style and era, Larry Miller’s appearance added a rush of excitement to proceedings.
‘Outlaw Blues’ was an early highlight and, where there was flair there was also finesse, most notably on
the melodic ‘Delilah’. In his self-deprecating style Miller referred to ‘Gamblers Hill’ as his hit, as broadcast
by Paul Jones. He minimised the rock element of his play with the appropriately titled ‘As Blue As It
Gets’ before a run through Rory Gallagher’s
Gregg Wright
Blues Matters! 86
Earl Thomas & Paddy Milner s & The Big Sound
on Walkabout
‘Shadow Play’, featuring powerful drumming
from Graham Walker. Having circled the globe
twice this year, Eugene Hideaway Bridges
was in emotional form on his final date of 2011
with The Big Band, which included a trumpet
and sax ensemble. A class act, he delighted
the crowd with the endearing ‘She Wants To
Dance With Me’ disguising his heavy cold.
Later he took us stylistically to Houston, Texas
for ‘I’m A Bluesman’. Once they had ended the
crowd moved to the Fairfield bar to see Robin
Bibi play Stevie Ray Vaughan inspired material
into the early hours.
The audience had returned to their places by

FESTIVAL FEVER
Eugene Hideaway Bridges
noon for Blues Band stalwart Gary Fletcher. Favouring an
acoustic guitar and lead vocals, he handed bass playing
duties to his son Jack. Together his four piece band played a
collection of songs from his “Human Spirit” album, easing us
into the afternoon. ‘You Are True’ found some more urgency
before a spirited take of Willie Dixon’s ‘The Same Thing’.
Pianist Dale Storr was next up, with a repertoire of New
Orleans soul, jazz and rhythm and blues. An Allen Toussaint
style instrumental preceded Fat Domino’s ‘Whatcha Gonna
Do’. His material was perhaps unfamiliar to many, but his
piano playing and vocals were striking. With Dave Raeburn
on the drums and the talented saxophone player Kimberly
Mahew, numbers such as the funky ‘Quantify’ certainly got
an enthusiastic applause.
Next was the demonstrative Patrick Sweany, from Ohio.
He made an impact with a collection of strongly composed
originals which blurred the boundaries between genres. ‘The
Edges’ preceded the soulful number ‘The Same Thing’. With
a rough edge he sang with conviction the dynamic ‘Police
Car Blues’. Here he stepped aside to share the spotlight
with Matt Beeble on bass and drummer Craig Bacon. Lastly
‘These Shoes’ was a trance blues with a strong melody.
Gregg Wright displayed his technical prowess immediately
with some early guitar pyrotechnics and an excellent tone.
Leading bassist Spencer Lee Horton and drummer Marty Prior through ‘Catfish Blues,’ he also displayed a
vocal resemblance to Hendrix. He displayed his stage presence during the twelve bar ‘Cry Myself A River’,
however his song choice included too many predictable standards, such as ‘Hoochie Coochie Man’ and
‘Crossroads.’
The early evening slot belonged to solo guitarist Chris James, whose style harked back to the Delta.
‘Dust My Broom’ and ‘Statesboro Blues’ were a couple of early choice highlights before the crowd listened
intently to his take of the Rev Gary Davis gem ‘Hesitation Blues’. James’s own material was notably
mellower. He worked hard and departed after engaging the room in a singalong to the spiritual ‘Jesus Is
On The Mainline.’ There was less verbal interaction with the crowd from The Deadstring Brothers, yet they
engaged all with their opener ‘Are You Feeling Alright’. Their style of country tinged rock and soul inevitably
recalls the halcyon days of the Rolling Stones most productive period,
with Kurt Marschke’s drawl at times resembling heavily that of Mick
Jagger. Other comparisons could be made to The Band and the Black
Crowes. Their material was strong, catchy and entirely self-composed.
Those familiar with the songs had an advantage over the rest of us,
which many took to rectify buying their albums. With their hillbilly attire
hopefully as authentic as the music, their standout song was the uplifting
‘Sacred Heart’. What is sometimes overlooked is that while artists such
as the Deadstring Brothers and Patrick Sweany were playing other dates
in the UK, it was their advance bookings at Carlisle that had allowed
them to arrange additional shows. This was the case for Jim Suhler and
Monkeybeat, who returned after an absence of several years. Their
extended introduction was puzzling, and the use of the accordion on
early tracks such as ‘Boulder Rock’ blunted their early impact. Suhler
became notably more assertive during the tender ballad ‘Years of Tears.’
His slide guitar playing came to the fore on their early signature tune
‘Shake’ before an excellent tribute to Gallagher in ‘Restless Soul’ which
segued to ‘Bullfrog Blues’.
The first returning headliner to Carlisle was Earl Thomas with Paddy
Milner and the Big Sounds. The band line-up including Milner on keys,
guitarists Randal Breneman and Marcus Bonfanti, with rhythm section
Scott Wiber, Alex Reeves and three horn players clicked from the
Kurt Marschke
Blues Matters! 87

FESTIVAL FEVER
Jim Suhler
outset on ‘My Baby Doesn’t Love Me.’ Thomas was the
charismatic focal point which held the band together and
their performance was exceptional. The infectious groove
ran through the body of the material with through ‘Same
Old Blues’ and ‘All The Same’ to Freddie King’s ‘Pack It Up.’
Naturally the pace had to settle and Thomas moved to the
centre of the room to sing ‘The Day The Light Will Come’ to
silence even those at the back of the hall. A superb show
ended with the band leading a procession to the merchandise
stall. The late night jam saw Bibi and Sweany rock the crowd
before the recently arrived Marcus Malone charmed them
with ‘To Love Somebody’. We even got a glimpse into the
future with confident cameos by a local boy Tom Hamilton,
14, on guitar and fellow teenager Chloe Christmas on vocals.
With no female vocalists amongst the booked acts, Maggie
Ross staked a more immediate claim for future inclusion with
a great vocal contribution.
Following the script we got an acoustic introduction to
Sunday with Al Hughes. The Lights Out After Nine front man
is an expressive storyteller in a solo setting, opening with
the country blues of ‘Gravity Shoes’. ‘Comes Out Blues’
from his ‘Heart & Soul’ album preceded the ragtime of ‘Can’t
Shake Off The Blues.’ The finale was the raw blues power of Rev Robert Wilkin’s ‘That’s No Way To Get
Along.’ Sunday’s best showing was that of Marcus Malone, whose marvellous band of Stuart Dixon,
Chris Nugent and Johan Buys delighted those in attendance with a range of material spanning Malone’s
albums. ‘Hear My Train’ showcased the band’s panache for rocking blues with soul. The tight funky ‘Back
To Paradise’ gave a nod towards Prince as inspiration, before the heavy power chords signalled ‘Crawling’.
The heartfelt ‘Would It Matter’ featured Malone’s finest phrasing and some strong descending chords.
Dixon then stretching out his superb guitar lines on ‘Going Back To Detroit’. Following Malone on this form
was no easy task, even for pros like Paul Lamb and The Kingsnakes. Their appearance passed pretty
quickly and without the band really appearing to hit their highest gear, although special mention should go
to Ryan Lamb who is so integrated in the band he can no longer be considered the new boy. His father’s
harp playing while extensive in range did come over as quite shrill though the PA. Familiarity preceded the
intrigue of new outfit King Mo. This comprised of the senior talents of guitarist Chris Spedding, bassist Glen
Matlock, and drummer Martin Chambers along with vocalist Stephen W Parsons and younger guitarist
Sixteen. While their CVs didn’t suggest they’d be particularly bluesy, their opening number ‘Lover of High
Renown’ derived from a Bo Diddley riff. Their catchiest number was the bouncy ‘Va Va Voom’. They were
an interesting diversion, and received a rewarding response although stylistically they did stand out.
On far more familiar ground, King King gave a fitting send off to the festival with a selection of their high
energy blues rock power, interspersed with the more tender moments such as ‘Feels Like Rain’ and ‘Old
Love.’ While Nimmo and Coulson pen the band’s material, the driving force live was keyboardist Bennett
Holland whose enthusiasm and joy of playing was a spur on to the rest of the band, including drummer
Jamie Little as they thundered through ‘Gravy Train’ and ‘Highway Man’. This was a truly great weekend,
with many memorable performances from the excellent raft of artists on show, which did cover the musical
spectrum of music broad classed as blues. Carlisle was just about all that you’d want and expect from a
Blues festival. Indeed it exceeded my expectations. One might hope for some female artists next year, and
perhaps one or two of the younger emerging acts might just widen the audience demographic slightly. My
advice - mark the 2012 event into those new diaries now!
Duncan Beattie
PLUMPTON BEER ‘N’ BLUES FESTIVAL 3rd/4th September.
Back in the early 70’s when I was a resident of Plumpton, they held the precursor to what is now the
Reading Festival on the famous racecourse here in rural East Sussex. Bravely Rob and Jo, landlords of
the Plough Inn, have rekindled the memories, holding this two-dayer in a field behind the pub. By the time
of my tardy arrival on the Saturday afternoon, Papa George was on stage, complete with popular and
well accomplished sidemen Pete Stroud on bass and Sam Kelly on drums. Rattling through his originals
ranging from ‘Flooding in Texas’, ‘Cleansing my Soul’, ‘Deadline Blues’ and the extended closer a cover
Blues Matters! 88

FESTIVAL FEVER
of ‘Oh Well’ he had the sparse audience in the palm of his hand. There then followed a two-hour hiatus
on the main stage between acts, although live music continued in the beer tent, but not all of it strictly
following the ‘Blues’ tag. If I’m super critical, it has to be said that the organisers missed a trick, with the
main stage standing empty and no merchandise stands there was a general lack of entertainment. At
7pm Todd Sharpville took to the stage and what a set he gave us! His own compositions reflect, like every
good bluesman, his own hardships - ‘Lousy Husband (but a real good Dad)’ and politics ‘Can’t Stand the
Crook’, which, like most of his set, come from the recent Porchlight CD. The highlight for me though was
‘I Think I’m Blind’, from the Meaning of Life album. On the album vocals were done by Leo Sayer and an
interesting conversation ensued about the original blues influence on his career. Another day perhaps. To
close the day, we were treated to the wonderful Deborah Bonham Band. Ably led by other half Peter Bullick
on guitar and mandolin, the tight band has a new addition in the shape of former Steve Marriot and Alvin
Lee drummer, Rich Newman. What is it they say about nutty drummers? He’s one of the best I’ve seen
and has added real impetus to the rhythm section, not that it was required, perhaps, it could be argued,
but sometimes a change is as good as a rest. With most of her material coming from the Old Hyde and
Duchess CDs, I, personally never tire of hearing her. From the heart-rending ‘Old Hyde’ to ‘Stay with me
Baby’ to the finale ‘Rock and Roll ‘ (yes, that one!) the whole band deserve a big pat on the back. Only the
crazy 10pm curfew intervened, bringing the set to a premature end. With a new album around the corner,
the band will go from strength to strength. Sunday started where we left off. Elephant Shelf had stand-in
keyboard player Dave Lennox (Blodwyn Pig) for Diana Stone. This is without doubt the best set I’ve seen
Shelf do, (no offence Di !) but it all seemed to click. Relying mainly on new material from the ‘upcoming’
‘forthcoming’ CD there is definitely a bluesier feel to them, with excellent slide from Vicky’s new guitar.
Rosie comes to her own, with percussion and a beautifully stunning ‘That’s Alright Mama’ .The show
stealer for me was the new ‘Can’t take away my Rock ‘n ‘Roll’. I await the new CD with great anticipation.
Like Todd Sharpville on the Saturday, the appearance of 24 Pesos on the Sunday was a mind-blowing
experience. Ably led by Julian Burdock on guitar/harp and vocals, Silas on bass, Moz on keyboards and
Mike on drums they serve up perfectly synchronized blues/rock in its original form. Through in a heady mix
of funk and soul (Julian and Silas did work with Geno Washington in a previous life!), and you get exactly
what it says on the tin. From the opening ‘Never Saw The Devil’ to the closing ‘Slide Jam’ these lads were
impeccable. Stand out for me was the funky take on the old standard ‘Red House’, completely different
rhythm, beautifully crafted. Special mention must go to the flock of geese which flew over in a quieter
moment of the set, couldn’t have choreographed it better! Having stood in the crowd watching the Pesos,
Dennis Greaves closed the weekend with his superb Nine Below Zero. What can I say that has not already
been said about this phenomenon? Rattling through the back catalogue, ‘Riding on the L&M’ etc, the beer
tent vacated and everyone had a good old knees up. All in all, a great weekend, with an ambitious array
of bookings, just a shame that with many a debut festival, a lack of punters contributed to a general lack
of atmosphere. The stag party from Yorkshire went away happy, as did all of us. Good luck to Rob and Jo,
perhaps next year make more use of the fantastic stage and the other half of the field?
Clive Rawlings
BLUES IN TOWN – J’s Hospice
J’s Hospice is no ordinary hospice. Nick Garner is no ordinary fund raiser. Put Nick in charge of a music
day and you have no ordinary event. Blues in Town was that event and as far as this writer is concerned
one of the music events of the year.
J’s Hospice provides hospice and respite care and bereavement support for 18-40 year olds with life
limiting conditions in their own home for the patients their families and carers from across Essex and is
the only service of its kind in the UK. It costs £1660 a day which is equal to £606,000 a year to provide its
services and run the charity for
its patients, families and carers Ben Poole
and events like Blues in Town
are vital for its survival. Over
the last 12 months, Nick has
been trawling the blues clubs
of Essex in order to bring the
best possible line up to the
Chelmsford Social Club and it
was a privilege to see so many
great acts on the same line up.
Blues Matters! 89

FESTIVAL FEVER
To complement the event, the incomparable Sue Marchant from BBC
Radio Cambridgeshire hosted the event and gave invaluable support
to all the acts that played.
The day kicked off with the John Cook Blues Band. A powerhouse
rocking blues band who had the misfortune to play in front of a small
crowd at the beginning. This didn’t put them off and they delivered a
cracking thirty minute opening set.
Next up was the Jamie Williams Roots Collective. Jamie has veered
away from his blues roots over the last couple of years to play music
with a more Americana feel and it seems to have reinvigorated him.
Indeed, the opening number was I’m a Blues Man with a distinctive
country feel and although it sounded somewhat different it became
a surprisingly uplifting number. Nick got up to play harp on a couple
of numbers, but the highlight for me was the duet with Lizzie B. Both
voices blended to provide some wonderful harmonies. It wasn’t blues
but it was thoroughly entertaining nonetheless.
The Mighty Boss Cats followed. I’d recently seen some of the band
play a cracking acoustic set at the New Crawdaddy Club and was
expecting more of the same. However, we were treated to an excellent
electric set. Featuring material from their new album Old New
Borrowed and Blues, Richard Townend sounds like a cross between
Mark Knopfler and Chris Rea and played some sumptuous laid back
guitar. Not to be outdone, Terry Hiscock is no mean player either.
I would have liked to have seen a longer set from these guys but
unfortunately time constraints prevented otherwise.
The Timmy Moore Trio arrived just in time to produce a set that was
surprisingly varied. They started with a number that had a real Latin
feel to it. Son of the legendary vocalist Nicky Moore, Timmy has a
Larry Miller
virtuosity about his playing and was a real joy to watch. Halfway
through his set, Nicky Moore jnr came on to provide vocals and was
certainly a chip off the old block. A great start for the guitar heroes in the audience.
Back Porch certainly lived up to their name. An acoustic quartet featuring 12 string guitar, guitar, harp,
vocals and percussion, this band would have been equally at home playing in your front room. They
certainly endeared themselves to the audience with a wonderful number about poisoning your tea. Be sure
to catch these guys at a venue near you. They really are terrific entertainment.
The Ben Poole Band, featuring...surprisingly enough..Ben Poole was brilliant. These three young men have
been storming through the UK like a whirlwind and causing a real sensation with their festival appearances.
Today was no different, the rhythm section of Alan Taylor (drums) and Barry Pethers (bass) the perfect foil
for some fine guitar playing for a youngster destined for the top. The highlight for me was an outstanding
Back Porch
Blues Matters! 90

FESTIVAL FEVER
version of Stevie Wonder’s ‘I Don’t Know Why I Love You’ but that was before the finale which saw Ben
walking into the audience and standing on the tables at the other end of the hall. A showman in the making-
Forget the X-Factor this was real genuine talent.
Automatic Slim made a rare appearance and gave us 40 minutes of high octane rhythm and blues. This
legendary outfit have certainly grown old disgracefully and it was a real delight to see them on stage again.
A manic performance saw Tim Aves and Howard J Bills charging around the stage like their lives depended
on it. Marvellous stuff!! Once again, it was over too soon.
The Heaters played a rare set outside of the New Crawdaddy Club where they are the house band. The
first band to feature keyboards, the band played a highly eclectic set. Boasting a rhythm section of Paul
Reynolds (drums) and Chris Patching (bass), Paul Milligan (guitar/vocals) Dave Milligan (guitar) and Paul
Dean (keys) they really did save the best till last with a superb take on Woman Cross The River which
featured some fine soloing from all three lead instruments. If you want to see more of this fine band, get
yourself down to the New Crawdaddy Club on a Thursday night.
Arriving direct from Blues At The Farm, The Roy Mette Band played their second gig of the day. Suitably
warmed up from the afternoon session, Roy, Andy and Wayne played a full on blues rock set and the only
all original set of the night. Leaning heavily on their last two albums, highlights for me were the Saturday
Night Boys and Mississippi Sweet, two powerful numbers showing different facets of Roy’s guitar playing.
This was a terrific set from one of Essex’s top blues acts and one of our more original songwriters. Catch
them when you can.
North London based Californian Guy Tortora bought his Americana flavoured blues to the event and went
down a storm. Playing without a keyboard player tonight, Guy played a more electric set than usual and
it was certainly well appreciated by the audience. Guy is a songwriter of some note and this really shone
though on ‘When Cotton Was King,’ an atmospheric and haunting number of a bygone age. Truly magical;
they closed with ‘Honky Tonk Women’ and the first real audience participation of the day.
Bad Influence are a band with some pedigree. Val Cowell is one of the finest female vocalists in the
country and possibly the best rhythm guitarist for good measure. Richard Hayes is a superb yet underrated
guitarist and a brilliant slide player. Rhythm section, Harry James (drums) usually plays with prog rockers
Magnum, whilst Pete Stroud currently spars with Buddy Whittington and occasionally Micky Moody (former
Whitesnake guitarist).
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LIGHTNING
Blues Matters! 91

FESTIVAL FEVER
The set was an absolute blinder.
Val’s vocals were particularly
outstanding on ‘I’d Rather Go
Blind,’ and the set closed with a
stunning version of Tom Petty’s
‘Running Down A Dream.’
Headliner Larry Miller has
been going from strength to
strength over the last 2-3 years.
A showman of some renown,
Larry has been receiving rave
review after rave review and on
tonight’s performance it’s easy to
see why. Simon Baker (drums)
and Derek White (bass) provided
a water tight rhythm section and
Timmy Moore Trio with Nicky Moore Jr
Ian Salisbury’s keyboards added some deft undertones. Featuring mainly material from the excellent
Unfinished Business album, this was blues rock at its best, finishing up with a real tour de force in ‘I’m A
Bluesman’ which featured snippets from Larry’s own heroes, Hendrix, Clapton, Page and of course Rory
Gallagher. A real rousing finish to a truly remarkable event. 12 bands and not a duffer in sight. Fantastic.
Of course, events like this don’t run themselves. Nick would like to thank the following for their services
over the course of the day, The Chelmsford Social Club,Laurence Catering, Blues CD Store.com, I’m
Famous Photography, Professional Carpets, Event Sound and Light, Sue Marchant, Chris Jones and his
sound team, Mike Lightfoot, Reprohouse, Mark Hughes (InterCanvas) and The New Crawdaddy Blues
Club. Also my wonderful team of volunteers and helpers and all the artists without whom none of this would
have been possible. To find out more about the J’s Hospice and the work they do visit www.thejshospice.
org.uk or call 01245 351514
Mike Lightfoot
CAMBRIDGE ROCK FESTIVAL. Sunday 7th August.
I have to start my review with a regret; I only went for the one day! Having found the venue easily just off
the M11, I was cheerily greeted by the staff (a theme for the day). I located Adrian Phillips, rushing around
Stage 2, the smaller of the two marquees, housing the Blues. The day was in full swing already, catching
the tail-end of BlackWebb’s set, a trio from Essex. The
The Mustangs
Blues Matters! 92
sound was superb, the marquee rocking. With strict military
precision, like a well-oiled machine, The Ben Poole Band
were next up. Ben, Alan and Gary (making his farewell
appearance on bass) certainly know how to rock at the
same time as getting their audience involved. From the
opening ‘Everything You Want’ to the standout closer ‘Me
and the Devil Blues’, including the obligatory walkabout,
they exude confidence. Their set may be tried and tested,
but rumours of a forthcoming album should broaden the
repertoire; keep an eye on their progress. Again a quick
turnaround and the Mustangs were on stage. With a new
cd ‘Shaman & The Monkey’ to promote, they treated us to
an all-round perfect set in their own
inimitable style. They have endeared
themselves to festival-goers by sheer
hard graft and professionalism. I
particularly like the middle part of the
set where Adam ‘goes acoustic’, the
band rejoining him for a thunderous
finale. As with most young bands
around at the moment, they actually
look like they enjoy each others’
company, and this transfers to the

FESTIVAL FEVER
audience. Husband and wife team Val and Richard Hayes, bassist Pete Stroud and wonder drummer Harry
James, collectively Bad Influence, received a great welcome. I have to confess to not having heard or seen
this band until earlier this year (blame my ten year monastic sojourn in France!), but I am completely blown
away the more I see of them, as well as them being all round good eggs! Their set mostly showcased the
‘Carousel’ cd, but it was the well chosen covers like ‘I’d Rather Go Blind’, ‘Shakey Ground’ and ‘Running
Down a Dream’ that do it for me. It could be argued that with band members of such pedigree they should
be tight as a unit, that they are and well worth searching out. Elephant Shelf brought their unique style of
blues’n’roots to the party next. Led by the charismatic Vicky Martin on vocals and guitar, backed up by
‘Princess’ Di Stone on keyboards/fiddle and ably supported by Rosie (percussion/vocals, Terry (drums) and
Robbie on bass, their set, like others before them, drew from an upcoming cd. All original material, I am
drawn to Vicky’s guitar work, be it on slide or Resonator, skill abounds both musically and lyrically, where
Rosie excels as a back-up vocalist. Di is no slouch either when called upon vocally. I’ve hinted already
about their lyrics, to me this is their trump card, in that listening to the likes of ‘Devil on the Street’ and
‘Morning Letter’, they are not only amusing, but have tongue firmly in cheek. They were well received and
rightly so, for their music and songs are quality. What I like about festivals is the diversity of the music and
bands. What followed was a full-on twin guitar assault, as close to Southern Boogie as you can get north
of the Thames Delta! I am referring, of course, to Gary Boner’s Roadhouse, complete with old mucker
Danny Gwilym on the other side of the stage. Add Mandy G on vocals, Bill Hobley on bass and Roger
Hunt on drums into the mix, you have a stunning set of all original material, save the amazing rendition of
‘RoadHouse Blues’. Logistics meant that Mandy carried the weight of vocal duties, but, as she told me,
it gave her a rare chance to take the limelight and she did not let herself or the band down, especially on
her ‘House of the Rising Sun’. Gary introduces each of his own songs in an almost apologetic manner, as
they mostly deal with death, disease, voodoo and the devil; that’s the Blues I suppose! But you can see the
band enjoy every minute, smiles in abundance. Showcasing material from the recent ‘Dark Angel’ release,
their set is mind-blowing, amongst other plaudits, but to me above all, they entertain- a lesson other bands
could learn. Unfortunately for the two ‘headline’ acts, Three Piece Suite and Mr. Pink, they had to follow
such a rousing set, akin to after the Lord Mayor’s Show. The former did a fair stab at covers, the latter? I
don’t know what they did to be honest! Perhaps something for Adrian to bear in mind for next year - quit
while you’re ahead. I drove back to the south coast a very happy bunny indeed.
Clive Rawlings.
BARE BONES
BOOGIE BAND
New Album Released - 1st January 2012
10 Tracks - 9 Brand New Originals - BBBBCD2
Follow up to Blues Underground Network’s
B e s t U K B l u e s A l b u m o f 2 0 1 0
“The British Blues scene has never had it so good, and the
Bare Bones Boogie Band are leading the charge.
Lend them your ears.” Henry Yates - Classic Rock
A v a i l a b l e e x c l u s i v e l y f r o m
www.barebonesboogieband.com
£ 9 . 9 9 + P o s t a g e & P a c k i n g
Blues Matters! 93

RAMON GOOSE
Uptown Blues
Blues Boulevard
Ramon Goose is a rulebreaker.
His first band,
Nu Blues, dared to mix
hip-hop with traditional
sounds – upsetting a
few purists on the way,
but bringing a whole new audience to
the genre. Roadwork and production duties with
the likes of Eric Bibb and legend Boo Boo Davis
followed, before Goose pushed the boundaries
again – this time a collaboration with Senegalese
kora player Diabel Cissokho. Now Goose has
finally delivered his debut ‘solo’ CD, albeit with a
ten-piece band along for the ride. ‘Uptown…’ is
a bit of a head-scratcher, considering its maker’s
risk-taking reputation. Nine originals rub shoulders
with three covers. The Goose songs, such as
‘Uptown Shuffle’ and ‘Sookie Stomp’ are more
jazz than blues – mellow, swing affairs, straight
from the David Letterman show. All the numbers
are washed-down with Goose’s fluid, Hendrixstyle
guitar. In fact Hendrix number ‘Little Wing’
is one of the trio of inspired re-worked songs that
grace ‘Uptown…’ It’s a jazzy, cooled-down take on
the number – a nice little surprise. Isley Brothers
number ‘Testify’ (another song that the Seattle axehero
originally played on) gets the instrumental
jam-band treatment. Then Goose tackles the
Hound Dog Taylor oddity ‘Give Me Back My Wig’
– standout tracks on an otherwise very mellow
collection of originals. The CD ends with two full
band, ‘unplugged’ numbers – ‘Reality’ and ‘Say
it Ain’t So’, Goose songs from a few years back
given the acoustic treatment. Very, very chilled.
That’s not to say that ‘Uptown…’ is a bland affair.
The playing is blinding, the production sharp
as a pin… its just a very laid-back CD from an
otherwise master of surprise.
Martin Cooke
13
13 Featuring Lester Butler
Retroworld/Float
First released in 1997, the band 13 was formed by
harmonibca player Lester Butler after his previous
band, The Red Devils, disbanded. Sadly however,
this was their only release as Lester Butler died
the following year in 1998. There are an additional
three live tracks included here, from the Tamines
Festival in France in 1997. Europe was where
Lester made his greatest impact and to this day he
Blues Matters! 94
still has a huge following in the Netherlands. I must
contradict the sleeve notes that say he was able
to take the Blues to a new level without sounding
white, because that is what he most certainly does
sound like. What is not arguable is the ability and
work rate of his accompanying band members.
This is an extremely busy and full release, but
sadly the vocals seem drowned in many places.
With a mixture of 8 original and 8 classic covers,
there is plenty to admire on the playing side,
and the quality of the originals sits well with the
classics that have been covered. The real bonus
here though is the three live tracks. Each one
comes in at over six minutes each and the quality
sounds better to my ears. Billy Boy Arnold’s ‘I
Wish You Would’ is a great pounding rampage
through that song with an incessant drum beat
powering the whole. Butler blows his harp creating
a mood over the menacing wall of sound. Dr Isaiah
Ross’s ‘Boogie Disease’ has Butler wailing over a
seemingly never ending boogie rhythm. There’s
no let up as the band swing into the final track, ‘So
Mean To Me’. Yet another relentless harp boogie
that showcases what a fine musician both Butler
and the band 13 were.
Merv Osborne
ANDY STEELE
Night Fishing
Talking Elephant
Oh wow! This is a tough
one as, to be honest,
it sits so far out from
what I would call a Blues
record that it would be
better suited perhaps to
a folk/country/old time
magazine. Still we are all
dealt a particular hand of new releases so I have
to get on with it. Ten cuts that I have to assume are
all self penned as I don’t recognise any of the titles
or indeed that tunes. It is a nice album, and I really
don’t want that to sound at all condescending, for
that is exactly what it is. I have no idea if it is selfproduced
or if he played all the instrumentation
himself. There’s lots of acoustic things going on
with guitars, banjos, piano and violins etc. One
thing is certain and that is that Andy has multitracked
his vocals to good effect but there is no
detail as to line-up etc as all that came with the
album is a track listing. Even that had errors in
the order with an untitled instrumental at track 6.
Those slight gripes apart, on the whole, I liked this
body of work. It flows easy and gentle on the ears.

It is ideal for curling up in front of a warm fire with
a hot chocolate on a cold winter’s night. Look out
for ‘Are You Ready For The Night?’, ‘Walking In
The Rain’, ‘This Years Summer Progress’ and ‘The
Devil I Know’. The latter has a particular ethereal
quality to the longish instrumental lead in, which
tips its hat towards ‘Wish You Were Here’ once the
sax kicks in. Interesting album but certainly not a
Blues one.
Graeme Scott
BIG PETE
Choice Cuts
Delta Groove Music
Peter ‘Big Pete’ van der Pluijm hails from Holland.
Peter’s been playing the blues on his home turf
since his teens, building up quite a following.
Crossing the Atlantic in 2010 he’s already made
quite an impact on the US blues scene, joining LA
blues Legends The Red Devils after the premature
demise of their front man Lester Butler.‘Choice
Cuts’ may be Pete’s first solo album, but it’s an
all-star affair... Guests include fellow harpists
Kim Wilson and Al Blake, along with blistering
lead from Shawn Pittman and rockabilly dynamo
Kid Ramos. This album is a big city affair, with
40s and 50s-era rock and blues filtered through
one of the LOUDEST production jobs I’ve heard
in my life. Wake the neighbours up with opener
‘Driftin’ (written by Lester Butler) a mean blast of
the rawest harp you’ve ever heard and basslines
that will loosen fillings at 100 yards. Things don’t
slow down on ‘Choice...’, ‘I Got My Eyes On You’
is an Otis Smothers number from the 60’s given
the Pluijm supercharge treatment. Even traditional
‘Hey Lawdy Mama’ rock and rolls like a Chess
Records classic. The vocals from Johnny Dyer
on ‘Left Me With A Broken Heart’ ease things off
a little, making that number the closest thing on
‘Choice...’ to a ballad, though its as ballsy as the
rest of the album. ‘Cuts’ ends with instrumental
swing ‘Chromatic Crumbs’, followed by Willie
Dixon’s mission statement ‘I’m a Business Man’,
a non-too subtle number about... well, buy it and
hear it for yourself. An amazing debut from a real
Dutch master.
Martin Cooke
BILL WYMAN’S RHYTHM KINGS
Live Communication
Repertoire Records
This is a 2008 live recording, captured at The
Dorking Halls, England. Bill Wyman’s work with the
Rhythm Kings boasts in high quality musicianship
and genuine excitement, everything that is
compromised in the Rolling Stones corporate
entertainment machine. The Rhythm Kings has for
many years been the meeting place for like-minded
and talented musicians, and whether famous
or relatively unknown the
dedication to the rendition and
arrangement of classic Rhythm
& Blues, Soul, Pop, Blues and
all points in between remains
constant despite the revolving
door nature of the line-ups.
This nine piece band includes
former Dr Hook singer Dennis
Locorriere, whose rendition of ‘Louisiana
1927’ has all the gritty charm of Richard Manuel
at his best. Consummate guitar stylist Albert Lee
is also present, and his unmistakable breakneck
twang is best heard in Leiber & Stoller’s ‘That Is
Rock & Roll’. Beverley Skeete is a great vocalist
and her contributions include the timeless ‘Unchain
My Heart’, ‘Drown In My Own Tears’, Joe Tex’s
‘Show Me’, Ashford & Simpson’s ‘I Don’ t Need
No Doctor’ and she duets the best version ever
of the quintessential Bob & Earl classic ‘Harlem
Shuffle’. I did not expect to like the over-played
and clichéd Chuck Berry standard ‘Johnny B
Goode’, but this slick and funky new arrangement
completely rejuvenates it. The audience has not
been allowed to interfere with the performance at
all, and is restricted to polite and often faded intertrack
applause. The final song, ‘Crying In The Rain’
again is a match for the better known Everly’s
version. Sheer class!
Noggin
ARTHUR ‘BIG BOY’ CRUDUP
My Baby Left Me: The Definitive Collection.
Fantastic Voyage 2CD set
The history of rock and roll is packed with
commercial cruelty, yet the tragedy of Arthur
Crudup (Sometimes referred to as “The Father
of Rock and Roll”, a title he bore with some
bemusement) remains as the flagship of music biz
unfairness. Consider that three of the tracks he
penned, included here, That’s All Right, My Baby
Left Me and So Glad You’re Mine were all multimillion
sellers for Elvis Presley, then look at the
other titles such as Mean Old Frisco or Help Me
to Bear This Heavy Load, then imagine that just
from the Presley copies alone, Crudup might have
lived high on the hog and driven a Cadillac. Well,
he didn’t. When he died in March 1974 he was as
poor as the proverbial church mouse. This 50 track
collection covers his early work with the Bluebird
and Victor labels – and let’s not forget he scored
up six top ten hits between 1945-51- and takes us
through his 1950s cuts for Champion, Checker,
Trumpet and Groove. In every way, Crudup was a
big guy, an uncomplicated player with a great voice
whose work inspired a broad swathe of performers
in the first white wave of rock. Like Wolf, Muddy
Blues Matters! 95

and other southerners he was a son of the soil; as
adept with a shovel or behind the wheel of a tractor
as he was in front of a microphone. And it was this
rural simplicity, his honest labourer’s innocence,
which gave the music moguls their green light to
ignore those bits of his contracts which mentioned
anything connected to royalties. Thanks to the
sterling efforts of blues aficionados like Dick
Waterman, since Crudup’s death the industry
has been made to pay out – Arthur’s family have
had their millions. What a pity he never enjoyed
a few bucks whilst he still lived. But don’t buy this
collection for charity – buy it for its greatness. They
didn’t give him that ‘Father’ title for nothing.
Roy Bainton
BRICK FIELDS
Gospel Blue
Fields of Sound
Publishing
This release
highlights what
can be achieved
by self producing
and releasing your
own albums, Larry
& Rachel Brick
besides being
husband and wife
are the leaders of this original band from the
rural backwoods of Arkansas, who have created a
gospel blues style album that has been beautifully
recorded, with some strong material written by the
husband and wife team. Rachel has a very pure
vocal pitch that carries the songs beautifully; she
just lets the notes flow gracefully, supported by
some very low key playing by the band, particular
mentions to sax player Casey Terry and her
husband Terry, who delivers some tasty acoustic
and lead guitar work. All but one track is self
written, the cover being ‘Amazing Grace’ which
concludes the album although I would not have
recognised the song if I had not seen the title, the
pick of the self written material is ‘Cryin’ which is a
lengthy fairly sparse slow blues track. An excellent
album that is definitely an album to relax too, it
has an authentic rural ‘family’ feel to it that can
only have been achieved by the band working and
playing together.
Adrian Blacklee
BLUES BAND
Few Short Lines
Repertoire Records
If ever a band summed up the seemingly chronic
neglect of this most honest of genres it is our own
Blues Band. Five talented musicians in their own
rights, Gary Fletcher, Paul Jones, Dave Kelly,
Blues Matters! 96
Tom McGuinness and Rob Townsend, could each
lead their own band, (and in some cases do),
also regularly combine for live and less frequently
recorded work. This fusion is the epitome of the
old sum of the parts argument. Whoever takes the
lead vocals, the backing is always sympathetic,
and the aim is to provide authentic renditions of
others’ tunes or illuminate their own contemporary
tunes. Guests include Mike Sanchez, Al Kooper,
Southside Johnny, Maggie Bell and Linda Lewis
appear on this album. Lewis duets with Paul on
‘Sway With Me’ a McGuinness original, but which
sounds like something from the Great American
Songbook. An example of where the Blues Band
excels is in Gary Fletcher’s original ‘You Are
True’, when Southside Johnny’s gravelly voice is
in contrast to Jones’ lively harmonica and Kelly’s
slide solos. Elsewhere the occasional lead vocals
of McGuiness, for example in the mournful ‘Living
With The Blues’, Fletcher in ‘That’s My Way’ and
of course the guests offer variety and contrast to
the excellent work of the main two singers Paul
and Dave. One can even excuse the humorously
intended but cringe-worth lyrics of the occasional
throw-away items like ‘Suddenly I Like it’ and ‘My
Toot Toot’. A band which is low on gimmicks and
pretense but high on song-selection and quality
playing, this will rarely disappoint. Paul Jones
assiduously eschews self-promotion, but someone
else needs to give this some radio play.
Noggin
BLUESFREAK
New Roots
Bluesfreak Records
Paul Corry, under the pseudonym Bluesfreak,
himself states “Let’s get one thing straight-I’m
Not American, I’m from London and I’m not going
to put on a phoney accent to convince myself
it sounds more authentic”. Well said that man.
I for one am delighted that he is being true to
himself and this is all the better an album for the
lack of phoney embellishments. Has he created
an authentic Blues album? The answer is most
certainly yes, albeit a very British one. Fifteen selfpenned
tracks and one cover mostly delivered with
an uncluttered approach in respect of production.
‘Alright Again’ gets us underway with almost a
touch of Reggae influence that surfaces again on
‘Make It Hard’. Along with ‘Don’t Worry Baby’ all
deal with life’s ups and downs. However by the
time we reach ‘Credit Crunch’ & ‘History Hates
You’ we are getting into deeper waters. The latter
presented a message sent back in time as if from
several decades in the future. Very clever stuff
and indeed thought provoking as is ‘Murder The
Blues’ where he attacks the idea that one should
not live just by living for only the old time Blues. I
particularly enjoyed ‘The Outcast’ and the simply

constructed ‘Worried Mind’. The sole cover, ‘Don’t
Think Twice’ features Roy Wood on backing
vocals, cello, drums and strings and it works very
well if a little at odds with the rest of the album. So
overall I liked this album, as Paul was not afraid
to push at the boundaries of the genre and shove
on through to the other side whist keeping a very
British feel.
Graeme Scott
DOWNTOWN
MYSTIC
Standing Still
AGR Television
Records
It has to be
said that this is
not Blues, it is
however a very
listenable and
appealing release
of fourteen tracks
over fifty minutes. Robert Allen, of whom I know
absolutely nothing, is the inspiration here, with
totally self penned material and undertaking
vocals, various guitars and piano. The fact that
he is joined on one track by Gary Tallent and Max
Weinberg of the E Street Band, and drummer
Steve Holley’s CV includes Paul McCartney and
Wings, is testimony to the quality on offer. An
eclectic range of material from Country to Rock
‘N’ Roll, Singer Songwriter to AOR, is expertly
executed musically and while Robert does not
possess the greatest vocal talent in the world, his
voice is pleasantly suited to the material and is
always within its comfort zone. The first couple
of tracks are country rock with good catchy lyrics
and the third ‘Hard Enough’ is unsurprisingly
Springsteenesque (see above). The title track is
slower paced with simple evocative lyrics before
the pace lifts again on Modern Ways’, a paean to
the pressures of today with a Status Quo type riff.
Some lighter rocky pop material then gives way to
‘Shade of White’ with its rocking boogie and slide
guitar work followed by ‘Losing My Mind’ which is
very redolent of Joe Walsh. ‘History’ talks about
the 1950’s music explosion while ‘Rise and Fall’
is soft AOR with a catchy chorus. The final track
‘Shade Of White Bluegrass’ is a quirky favourite
with a lyrical description of an abstract painting
embellished with mandolin and banjo. The only
weakness here for me is on the singer songwriter
material where the vocal falls short of range or
emotional depth but all in all this is a really nice
and rewarding listen for those with eclectic tastes.
Bob Chaffey
DICKY JAMES & THE BLUE FLAMES
Hard Rain
Independent
“Hard Rain” features 11 tracks listed on the
packaging plus a hidden instrumental, (the
12 th track) called ‘Roll The Credits’, a great
instrumental closer for the album. Opening with ‘A
Real Good Blues’, this smooth rolling song allows
the listener to pick up on the main players in the
band. Dicky James on guitar, Bob “Icehouse”
Freeze on some great harmonica and “Lightning
Boy“ Beeson on Hammond, who provides a solid
wash of keyboard behind the other players. ‘Hard
Rain’ follows and the song is filled out with a horn
section, making this a beefy but solid piece of funk/
Blues. Great guitar solo before the song ends in a
clap of thunder and a downpour of rain. The first
of two covers here is ‘Rock Me’ performed to a
slow and somewhat pedestrian beat, not the best
version of this classic song. ‘Bulldog Talkin’’ returns
to the mould and swaggers a chunky beat with
some great dobro playing. Throughout, “Icehouse”
blows his harp to great effect. Opening with dirty
laughter, ‘It’s All True’ is a smoldering slow Blues
with some great ‘Green Onions’ style Hammond
from “Lightning Boy”. The second cover, ‘Born
Under A Bad Sign’ fares better than ‘Rock Me’,
stripped of unnecessary playing and following the
Cream version of the same, it’s standard offering.
‘Low Down Dirty Dog Blues’ has a wonderful blend
of guitar, harp and Hammond in the opening to this
tremendous slow Blues, and James’ singing here
is the best on the album. ‘Icehouse Shuffle’ is an
harp instrumental that must prove to be a song
that crowds get up to and dance their Blues away.
Although I prefer the band’s original material to
the classics covered here, this is a very good and
honest album
Merv Osborne
DAVE O’GRADY
Dirty Little Secret
Guardian Angel
With his hair, tattoos and
cool pose, Dave looks
pretty much like some 80s
California soft- rocker on
the sleeve of this release,
but don’t judge a book – or
CD rather – by its cover
in this case. This Dublinborn
singer and acoustic
guitarist is now based in Liverpool and has a
folky singer-songwriter style, though with some
definite Americana and blues tinges. The latter
are most evident on ‘Bones’, with its slide guitar
and stomping rhythm, but careful listening to the
other four tracks of his debut CD EP reveals some
subtle blues inflections (try ‘End Of The Line’ with
its harmonica solo) as well as the impact of Bob
Blues Matters! 97

Dylan, Neil Young, Christy Moore and Tom Waits
on his music. If that list intrigues you, do check this
release out by all means
Norman Darwen
EARL GREEN & THE
RIGHT TIME
Live At The Bronte Blues
Club
Independent
Recorded live at Bronte
Blues Club, in the
Pennine village of
Laycock, Yorkshire, this
recording is excellent
keep sake of Earl Green & The
Right Time’s vibrant live performances. One time
Otis Grand and Paul Lamb frontman, Green has
assembled an excellent ensemble of musicians,
who tackle this collection of blues standards in a
way which is both reverential to the originals yet
also provide a contemporary twist which makes
each worth hearing and enjoying on its own merits.
Long term collaborators Ron Warshow and Les
Back swap guitar lick on T-Bone Walker’s ‘T-Bone
Shuffle’, with some measured fills from one time
Jools Holland member, Mike Paice on saxophone.
Green’s superb vocals was made for material
such as this and it lights up the songs throughout,
particularly on Percy Mayfield’s ‘Danger Zone’
and the Bobby ‘Blue’ Bland classic ‘Ask Me About
Nothin’ But The Blues’. The rhythm section of
Emil Emgstrom and one time Kingsnake drummer
Daniel Stritmatter don’t miss a beat throughout
the set and their swinging backbeat is a notable
feature of this disc. While the audience response
is captured within the sound, they hold back their
applause until the end of each song, and the
recordings are enhanced by it. ‘No More Dogging’
features some playful guitar interplay before one of
the more contemporary songs; Rick Estrin’s ‘Living
Hand To Mouth’. A song previously unknown to this
reviewer, it features Paice on harp, and perhaps is
my pick of the collection. Smooth, soulful and at no
stage indulgent ‘Live At The Bronte Club’ is highly
recommended and certainly helps to fill that fix until
their next live performance comes around.
Duncan Beattie
DAVID YOUNGS
Transcience
Independent
David Youngs, one time jazz drummer and bass
player, is now getting on with the business of
turning himself into a singer / songwriter, but one
with jazz sensibilities, arrangements and all round
fiddly bits. Now before we go on further, blues
purists should really pack up and move on to the
Blues Matters! 98
next review, because there isn’t really much for
you here, but people who like Eric Roche, Wes
Montgomery, John Abercrombie and others of their
ilk, will find a lot to enjoy here. Having said that, a
few of the tunes do pass you by in a blur of BBC
Natural History Unit soundtrack to a film about
alpaca crias, but that’s always a danger when
it comes to minimalist, acoustic instrumentals.
But when he gets things right, as he does on
‘Technomantra’, a tune written in Thailand, and on
‘Sun Spirit’, which reminisces about his days as
a busker in London, then it’s well worth a listen.
The most enjoyable number for me was ‘Sea
Shapes’, which really did bring about a feeling of
standing alone, staring out to sea, feeling the salt
spray on your face (something I spend a lot of time
doing). It’s certainly not the blues, but it’s definitely
interesting.
Stuart A Hamilton
FILLIGAR
The Nerve
Independent
Filligar are an American rock band from Chicago,
Illinois, formed in 2000 by brothers Johnny, Teddy
and Pete Mathias and their childhood friend Casey
Gibson. Since then they’ve whapped out an album
every year and a half, building to this. They’re
basically a roots rock band, although there are
times when they seem to have an overwhelming
desire to turn into an alt-rock band. So this is
very much an album of two halves. The first half is
rather good, as the songs have a definable bluesrock
edge, and you can see a lineage that runs
through the Black Keys to the Black Crowes, all
the way back to the Rolling Stones. So songs like
‘Robbery (Shocking Love)’, ‘Health’ and ‘Guilty
Good Intentions’ are a rollicking good listen. But
then you remember that they also cite Radiohead
and Pink Floyd as influences, something that sees
things go a wee bit pear shaped in the second
half of the record. Once you reach ‘La Revanche’
you start to wonder whether you’re listening to the
same band, and by the time you get to ‘Architect’,
you’re cursing the name of My Morning Jacket for
doing this to such a fine band. There is definitely
a good band in here trying to get out, but after the
initial burst of pleasure, you’d be hard pushed to
find them later on.
Stuart A Hamilton
FIONA BOYES
Blues For The Hard Times
Blue Empress Records
Australian Blues veteran Fiona recorded this latest
release in Austin Texas and the sixteen tracks
over 52 minutes are a very worthwhile listen.
This is a themed set of essentially traditional
Country Blues, some acoustic and some with an
accompanying laid back ensemble. The idea is

an interesting one with all the songs about typical
Blues themes, namely the myriad vicissitudes
of life, and all with an associated story detailed
on her website fionaboyes.com. This idea even
extends to the cover where all the depicted objects
are likewise linked to people or places. There are
a handful of covers but the bulk are self penned
timeless originals that sit more than comfortably
with the rest of the material. The instrumentation
and arrangements are excellent with highlights
‘Baptized In Muddy’s Sweat’ featuring some tasty
slide from Bob Margolin and ‘High Time’ with lovely
harp from Kaz Kazanoff. JB Lenoir’s ‘Grandma’s
Advice’ is the only unconvincing cover paling as
it does in my view to the wonderful rendition by
the late lamented Sean Costello. The solo pieces
feature fine work on acoustic and resonator guitars
with her voice strong and clear in her natural
higher pitch albeit with a mildly disconcerting rasp
adopted to achieve a deeper timbre. A tribute to
Memphis Minnie ‘She Could Play That Thing’ is
a typically fine example as is ‘Maybe I Could Be
Your Girl’. Worthy of note also are ‘Drink To Your
Health’…’till I ruin my own!’ and ‘God And The
Devil’ with a compulsive riff on a sweet baritone
guitar. A thoroughly recommended and surprisingly
upbeat and uplifting listen particularly for lovers of
Country Blues.
Bob Chaffey
EMILY O’HALLORAN
Morphine & Cupcakes
Tear Stained Records
Those who know little
of the genre as sad
music, while for some
recordings that may
be the case, there is
usually an uplifting
element to the genre
often describe the blues. Sadly this is not
the case for “Morphine& Cupcakes” which is not
remotely bluesy, it would probably slot vaguely
under the title Americana,.” The mood is downbeat
from the outset on ‘Kindness’and never really picks
up. Personally I did not find appeal in O’Halloran’s
‘Smokey’ vocals and the vocal style chances
little from track to track. It’s not bad singing by
any means, but I did not find it of appeal. While I
persevered looking for some light relief from the
angst and tales of lost love, it was hard to find.
There was a little in the track ‘Free Man’, yet
the happiness referred to, is that reserved for a
third party, the former partner. The 11 songs on
the CD are self-penned with the exception of a
cover of Bob Dylan’s ‘Billy’. Of these 8 are over 6
minutes long, 3 are in excess of 7 minutes, with
a further 5 over 6 minutes and I do feel many
have been drawn out too long. While there is
some good musicianship from a collection of fine
instrumentalists, despite the length of the songs,
they really never get a chance to make their mark
due to the dominance of those vocals. Maybe this
album was a cathartic release for Emily O’Halloran,
yet I’m afraid I found it a real endurance and
certainly not entertaining. Indeed I cannot envisage
a time when it would be appropriate listening
material, certainly not while socialising and
absolutely not on a long car journey.
Duncan Beattie
FREEBO
Something To Believe
Poppabo
Freebo played bass on Bonnie Raitt’s early blues
recordings and has also played with John Mayall,
Neil Young, Crosby Stiils Nash, Maria Muldaur,
Ringo Starr, The Muppets and Spinal Tap. Quite
a wide ranging CV in fact. Subsequently he has
carved out a solo career with his thoughtful,
classy, often introspective songs. This latest self
- penned and self -released album contains 11
songs in a range of styles that is excellent and
often inspirational featuring Freebo on acoustic
guitar and, of course, his trademark fretless bass
with superb backing musicians. Opening track
‘Standing Ovation’ is a real tour-de-force and
possibly the highlight of the album featuring a
keening French Horn and introspective lyrics allied
to a pretty melody. Folksy accordion touches from
Chris Gage adorn ‘When There’s No Place Like
Home’ along with Freebo’s trademark fretless
bass. The humorous lyrics of ‘She Loves My Dog
More Than Me’ are sung to a rocking backdrop
including electric guitars and trumpets. There are
many guest appearances from Freebo’s friends
on the American music scene and the playing
and production are superb throughout. Title track
‘Something To Believe’ is a beautiful song about
looking for the meaning of life. ‘If Not Now When’
is a rocker with touches of blues and country
featuring splendid slide guitar from Jeff Pevar.
Funky fuzz guitar from Fuzzbee Morse adds R&B
touches to ‘In The Afternoon Heat’. The music
here is very varied with a mixture of sounds and
rhythms that come together well and make for a
beguiling and pleasing album. The closing track
‘Sometimes It’s For Nothin’’ is a singalong rocker
fuelled by Hammond organ and country guitar licks
from Albert Lee. This is a classy and enjoyable
album which should have wide ranging appeal.
Dave Drury
GAVIN ADAM WOOD
Souls Apart
Banana Records
Singer-songwriter Wood has garnered quite a
Blues Matters! 99

bit of praise for his
debut album and it
is a deliberate and
determined collection of
astral folk. Harmonies
abound across ‘Fly
Me To The Moon’ and
‘Breath And Blow Of
The Breeze’. Guitar picking is
intricate and accurate in the wistful ‘Whispering
Wind’ (written way back in 1991) and a profound
emotive stance is evident in the ballad-cumanthem
‘I Only See You In My Dreams’ where
strings and keyboards accentuate the romance.
That’s its best description, a romantic’s album.
Coming together when Wood spent time on the
banks of the River Cam in Cambridge explains
the candle glow. Good for him. Sadness, loss and
love, but there is only the marginalia of Blues here.
There’s a great guitar solo at the end of ‘I Only
See You In My Dreams’. That’s not enough for the
usual readers of Blues Matters to invest in this,
competent and convivial as it is.
Gareth Hayes
GORDON BONHAM
Soon In The Morning
Way Gone Records
Well this release was a long time in the
waiting,1997 being his last dated release, but very
much worth the wait. The album itself was finished
in three days and comprises of ten self penned
songs, and one written by his wife, the lyrical ‘Get
Back Jezabel’. Mixing all blues types from the
Delta to Chicago then mixing Texas shuffles and
west coast swing this release should please all
blues music lovers. His vocals and guitar playing
are a heady mix of blues sounds, subtle and gentle
at times. Like Mr Bonham his other musicians are
also from Indiana and with a new addition to the
band talented keyboard player, Kevin Anker. The
steady rollin’ rhythm section of David Murray (bass)
and Jeff Chapin (drums.) and uptown shuffles, low
down blues, and rockin’ numbers make this release
a must have. ‘Outta Sight’, ‘Soon in the Morning’,
‘Used to be Lovers’ exemplify the tone and texture
of this release. There is also an instantly foot
tapping tribute to, James ‘Yank’ Rachell called
‘The Mule Song’ one of this releases highlights,
but for me, the organ playing and bass notes
make ‘Everything But You’ the stand out track.
‘Don’t Let The Man Get Your Money’, appears
quite a prophetic tune, that gives in effect some
realistic lyrics for all musicians to learn and live
by. Altogether a great release by a consummate
professional.
Colin Campbell.
Blues Matters! 100
JC BROOKS & THE UPTOWN SOUND
Want More
Bloodshot Records
A curious marriage of a post-punk, revisionist blues
band and a sweat-drenched, charismatic style
vocalist, JC Brooks & The Uptown Sound were
formed in 2007 in the Uptown area of Chicago.
‘Want More’ is the band’s third album, and the
one that could launch them into the stratosphere.
The album’s title track is a distillation of the JC...’s
sound - an R’n’B sensibility with an experimental
twist. ‘I Got High’ is a life-affirming slice of soul,
and very much reminiscent of B.B King’s ‘Ain’t
Nobody Home’. JC Brooks & The Uptown Sound
have only one tempo: Swing. But for a band
“guaranteed to make you dance”, this no bad
thing. The band was originally set-up as a vehicle
for JC Brooks, and the singer is some talent. A
modern-day Al Green, Brooks has a remarkable
voice, soulful and versatile. His falsetto on ‘To Love
Someone’ is exquisite, and very much evocative
of the 70s Motown sound that is the band’s milieu.
‘I Can See Everything’ too is a hit in the waiting.
They may have been formed as a vehicle for their
eponymous frontman, but JC & The Uptown Sound
have now surpassed these contrived beginnings
to become a truly cohesive unit with an organic
sound all of their won. Want more? Yes please.
Adam Bates
JIM STAPLEY
Live
Upstart Crow
Starting off your recording
career with a live album
and DVD is taking a
chance. There is a lot
less room to hide, and
unless you’re Judas
Priest, not enough
studio time to wipe
off all the mistakes. But Jim Stapley, despite
being just a young buck of twenty five, has had
plenty of live experience, as he’s the vocalist of
choice for former Faces / Who drummer, Kenney
Jones in the Jones Gang, performing with the
likes of Rolling Stone Ronnie Wood. You won’t
be surprised to hear that young Jim is a chip
off the old Paul Rodgers block, given that he’s
specialising in that area of blues meets soul
exemplified by Free, back in the day. What might
surprise you is just how blooming good he is.
Along with his band - Joe Corbin on guitar, Tommy
Heap on bass and James Drohan on bass - he’s
put together a fine set of originals which run
from the rocking ‘Without You’ through the soul
sound of ‘Let Me Down Easily’, with even some
jazz licks popping up now and then to brighten
an arrangement. Recorded in the glamorous

surroundings of The Bedford in the heart of the
Balham Delta, there is no doubt that the early
seventies would have seen young Master Stapley
turning into a big name. Those days may have
gone, but if you have a hankering for the days of
the Faces, Bad Company and Humble Pie, then
this is the sort of record that you really need.
Stuart A Hamilton
JIMMY BURNS BAND
Stuck In The Middle
VelRone Records
Jimmy Burns was born 1943 in Dublin, Mississippi
and later migrated to Chicago. He gravitated
towards the Windy City’s mainly white North
Side, and his influences were established black
recording artists as varied as Nat King Cole,
Muddy Waters and John Lee Hooker. Burns’
style is an amalgam of many parts; ingredients
of pop, gospel, soul, rock ‘n’ roll and mostly gritty
Illinois Blues abound. Having been obliged to mix
his love of music with the need to make a living
he was for many years a part-time player, until
he finally signed to Delmark in the mid-1990s.
Despite his mature years, the most striking aspect
of this excellent new recording is the tuneful and
youthful quality of his vocals. The album marks a
sad time in his personal life, namely the untimely
passing of his wife Dorothy in 2010 after 44 years
of marriage. Understandably, temporarily losing
his motivation to write, he turned instead to songs
by writers whom he loved and respected to record
some brilliant covers, especially the acoustic and
moving tribute to his late wife, ‘Reach For The
Sky’, actually written in tribute to Sean Costello,
but fitting his situation perfectly. The backing
is sympathetic throughout, sometimes quite
brilliant, and the selection of material ensures
a great variety and almost exuberant feel to
the album. There are plenty of Blues numbers,
but the surprises are wonderful covers of well
known songs like Stealers Wheel’s ‘Stuck In The
Middle’, the Beatles’ ‘Get Back’, Foreigner’s ‘Cold
As Ice’ and best of all John Hiatt’s ‘Feels Like
Rain’. The last mentioned has been covered by
luminaries such as Bonnie Raitt and Buddy Guy,
but this version stands up with them all. Highly
recommended.
Noggin
KAMI THOMPSON
Love Lies
Warner Music
Kamila Thompson is the youngest daughter of
the world famous folk duo Richard and Linda
Thompson and yes, she also has an almost
uncanny rapport with the bleaker and more morose
emotions found in this modern world, whilst at the
same time seemingly able to keep a stiff upper-lip.
Of the ten numbers found on this album the only
cover is George Harrison’s ‘Don’t Bother Me,’ the
rest have been written by Kami since she decided
to dip her toes into the music business in two
thousand and six; when she accepted an invitation
to tour with ‘Bonnie Prince Billy,’ (Will Oldham)
since then she has worked as a solo artist and
also with her brother Teddy, Sean Lennon and
Rufus and Martha Wainright. Kami’s liltingly lifting
and melancholy vocals surf over the music as if
disembodied from her surroundings, which creates
an almost surreal experience.
Her father Richard subtly
delivers a stunning solo
on the first number ‘Little
Boy Blue,’ a jaunty little
optimistic tale of romance
across the ocean. Sadly, the
high spirits soon nosedive
with the though impeccably
played “four thousand Miles,”
yet we bounce back with ‘Nice Cars,’ a lovely
and amusing tale of women and what happens
when they drive expensive cars. The rest of the
numbers continue to emotionally see-saw like this
throughout the album, sad tales, false hopes and
lonely people. Whilst the content here is without
doubt enjoyable and possibly valid material for the
Blues, it isn’t, It, I would say, sits more comfortably
in the world of transatlantic Folk Rock.
Brian Harman
JOHNNY OTIS
Midnight At The Barrelhouse 1945-57
Ace Records
Johnny Otis has always been one of those artists
that I have had an awareness of but I have never
really had any opportunity to sit down and listen
to his music, this CD landing on my desk has
now given me the opportunity to appraise him,
my first piece of education was that besides
being a band leader his instrument of choice was
the Drums. This compilation collection covers
the big band era of the late 1940’s through to
the 50’s and is predominately pure Rhythm &
Blues, Johnny handles some of the vocals but
is supported by several artists including Little
Esther, the stand out musician for me though
is guitarist Pete’Guitar’Lewis, you can hear him
literally bending the notes on his guitar and he
has to have been the forerunner for today’s guitar
wizards. There are twenty five tracks on this album
in chronological order, which covers the start of
the Johnny Otis story, with his early recordings
on the Savoy label; I understand Ace Records
will be releasing a volume two which will cover
his continuing musical output with the Capitol
label into the 1960’s. For anyone who wants
Blues Matters! 101

an introduction to Johnny Otis, this beautifully
produced and packaged CD is a must, the album
finishes with the track ‘Willie & The Hand Drive’,
written by Johnny and released in 1958, this is a
much copied track but this original version is still
so fresh and highlights why Johnny is such a well
respected musician.
Adrian Blacklee
MARIELLA TIROTTO
& THE BLUES
FEDERATION
Dare To Stand Out
Stemra
Dare To Stand Out
is an album born of
tragedy. With two of
the Blues Federation
losing parents before
its recording, Tirotto and co’s
second album drips with raw emotion – as evinced
by the powerful guitar solo on ‘Marked for Life’,
and Tirotto’s haunting vocals and harp playing on
the moody delta blues of ‘Lover’s Dance’ Whilst
being considered the best blues band in the
Netherlands is an perhaps an accolade similar to
Alan Partridge’s claims to be the most popular DJ
in the North Norfolk area, there can be no doubting
there is something quite extraordinary and unique
about Mariella Tirotto & the Blues Federation.
Extended tracks, lengthy guitar solos and some
quite epic riffery, the band brings a prog rock
sensibility to its blues, with Mariella Tirotto’s Grace
Slick-style vocals adding some Jefferson Airplane
psychedelia to the mix. There is much for the blues
purist here too, however: the piano ballads ‘Black
Coffee’ and ‘Lover’ see Tirotto slip as effortlessly
into chanteuse mode as she does rock force of
nature throughout the rest of the album. At times
self-indulgent, and not entirely coherent, Dare To
Stand Out is nevertheless a blues album unlike any
other, from one of the few truly original bands on
the circuit today.
Adam Bates
KAY KAY AND THE RAYS
The Best Of Kay Kay And The Rays
Catfood Records
The Abner Burnett Blues Band were formed in
Odessa, Texas in 1997 by Abner Burnett and Bob
Trenchard. They soon employed a local powerful
gospel singer and adopted the memorable name
Kay Kay & The Rays. The eight-piece band
including four horns backed Kay Kay. Burnett left
for Mexico and Trenchard became the band leader
and main songwriter. This album culls tracks from
their major releases “Texas Justice” (2001) and “Big
Bad Girl” (2003) produced by Johnny Rawls and
Jim Gaines respectively. National and international
plaudits were on the rise when family tragedies
caused the breakup of the band in 2004. The
singer also suffered a stroke, so this is a testimony
to what sadly is probably the sum of their recorded
work. Throughout there is a strong emphasis
on the lyrics, which can be split into two distinct
categories, social commentary and relationships
- both the very essence of the Blues, but with a
modern twist. So for example protest songs take
on the legal system ‘Lone Star Justice’ and ‘Texas
Justice – Billy’s Story’, financial shenanigans
‘Enron Field’, war ‘Stop The Killing’ and a city’s
whole culture ‘Lord Save Me From L.A.’. The
human condition is described in tunes whose titles
are self-explanatory; ‘Junk Blues’, ‘Hey Big Boy’,
conversely ‘Big Bad Girl’, ‘Cheater’ and ‘Love
Me Baby’. The non-chronological nature of the
collection unfortunately emphasizes the different
recording and production techniques. Kay Kay has
a strong voice, perhaps lacking the subtleties of
some of her influences, but the album is a pleasing
testimony to this solid soul and Blues band.
Noggin
L. R. PHOENIX
The Hollow Log Of Capt. Richard Wolfe
Independent
Mr Phoenix may be currently based in Finland and
originally from Britain, but his sound is strongly
Mississippi–based and more specifically, rooted in
the sound of that state’s hill-country. The opener
has a hypnotic groove, just guitar with percussion
whilst L.R.s vocals are in a big, aggressive, and
wild, Howling Wolf bag. ‘Bedroom’ has a band that
includes fine harp blower Indrek Tiisel (as do a
couple of other numbers), and it hits a boogie riff
right from the off, staying in the pocket throughout
and challenging your feet to stay still - you won’t
manage it! The solo ‘Crying’ has echoes of
Blind Willie Johnson… so now you get the idea,
hopefully. Huge, tradition-based grooves pitched
somewhere between R. L. Burnside and The
North Mississippi All-Stars, add a dash of alt-blues
attitude and plenty of whining slide guitar, topped
off with ferocious vocals – try the cover of Skip
James’ ‘Cypress Grove’ which is (refreshingly)
given an individual cover that does also manage
to keep some of the eerie feel of the original, or
Burnside’s ‘Down South’ which kind of references
Sam Cooke’s ‘Chain Gang’ and Tuvan throat
singing!
Norman Darwen
MATT ANDERSEN
Coal Mining Blues
Busted Flat Records
‘Coal Mining Blues’ is the latest collection from
the singer songwriter Matt Andersen. Across its
twelve tracks he and his crack band play elements
Blues Matters! 102

of blues, pop and gospel, with Andersen’s gospel
influenced vocals to the fore. With a vocal style
that is part Tom Jones, part Keb Mo and part
Robert Cray, he leads the band from the front,
usually on acoustic guitar. The sound palette
on the album uses acoustic and electric guitars,
Hammond organs and piano, fine drumming and
backing vocals to tell Andersen’s tales of life. From
the love songs of ‘Fired Up’ and ‘Baby I’ll be’ to
the affecting title track ‘Coal Mining Blues’ all life
is here. All in all, this is really a gospel album, with
traces of blues, rock and funk throughout. A lot
of care has been given to vocals, and harmony
vocals, which is the greatest strength of this album.
The narrative storytelling of ‘Willie’s Diamond Joe’
is powered along by acoustic guitar and mandolin,
and the minimalist instrumental support allows
the story to breathe. The album closer of Charlie
Rich’s ‘Feel like Going Home’ is a quiet reverie
for Andersen’s lifeworn vocals and John Sheard’s
sympathetic and supportive piano. A fine release.
Ben Macnair
MICHAEL AND THE LONESOME
PLAYBOYS
Last Of The Honky
Tonks
Blackwater Records
Michael who resides
in Orange County,
California has been
playing and recording
for over ten years
now, sometimes solo
sometimes in various line-ups but the overriding
and strongly held thread that runs through his
musical philosophy is to keep the faith with
tradition and not settle for the easy option of studio
fixes and trickery; he feels that any snap crackle
or pop in the making of the music should stay in
the mix and burn out of the speakers with heartfelt
belief and sincerity. So, with this creed in mind
he and the Lonesome Playboys who are; Gary
Brandin; pedal steel guitar and electric Dobro, Dog
House Jerry; bass, with Mickey Sticks Wieland and
Rob Klonel supplying drums and Michael taking
lead vocals and playing guitars and Resonator
Bottleneck Guitar, play with a genuine gusto and
conviction. Together they have achieved a greater
level of authenticity by playing all of the numbers
live and recording only on analogue equipment.
The influences found throughout the album are
predominantly by artists such as; Jimmie Rodgers,
Hank Williams, Lefty Frizzel, Robert Johnson
and Charlie Patton and thus they together have
created a beautifully moving sound which is a
conglomeration of Country, Honky Tonk and Blues,
the subtle understated vocals and the sparing
but effective use of Pedal Steel combined with an
unhurried pacing of the enticingly played music
gives each number a sharper, sweeter, but not
cloying edge. Such numbers as ‘The Devil’s Den
of Sin,’ oozes a swingin’ and footappin’ Credence
Clearwater Revival feel, While the sorrowful and
heavy-hearted ‘When an Old Freight Train Rolls
Right over You,’ contains more than a hint of the
unhappiness found in the music of Blind Willie
Johnson. A jolly and jaunty ‘Married by the Gospel
and Divorced by the Law,’ describes the pitfalls of
lustily and blindly rushing into marriage. Michael is
seemingly moving in the same area as artists such
as Dave Alvin and Brian Setzer, but with a keener
emphasis on the Country side and that is certainly
fine by me.
Brian Harman
MIKE de VELTA
Whiskey in the Mornin’
Independent.
London-born Mike de Velta re-located to Australia
at age thirteen, settling on the west coast. It must
be the Aussie blood in me, but I’m a sucker for the
‘Blues’n’Roots’ they serve up over there. ‘Whiskey
in the Mornin’ is a couple of years in the making,
and, in my opinion, is well worth the effort. All ten
tracks are self-penned and with the exception
of Dean Wuksta on drums, Mike plays all the
instruments and is on vocals. I’ll elaborate on that,
he plays electric/acoustic guitar, lap steel, ukulele,
bass, harmonica, then harmonises his own vocals!
Recorded in his home studio, this is a collection
of blues-infused songs, from the wailing harp
opening on the title track, to opener ‘Nicotine Stain’
and ‘Mud and Grime Blues’. Mike can do a good
ballad as well, as ‘Pretty White Lies’ testifies. ‘The
Wedding Song ‘ would be a good substitute as a
wedding march. The love theme continues on ‘This
Great Love’ and the instrumental closer ‘Doorstep
to my Heart’. Then there’s the calypso rhythms
of ‘Island In The Sun’, with the message that it
might be idyllic, but the realities of life still exist!
All in all, then, this is a fair representation of blues
songs, credit also goes to Mike (is there anything
he doesn’t do!) and Paul Yarrow for the artwork/
design. I’m glad to have made contact with Mike,
you can as well by visiting www.mikedevelta.com.
Clive Rawlings
MIGHTY MO RODGERS
Cadillac Jack
Tin Drum Music
This is the fifth release in his blues odyssey,
settling down to look at the years from 1959 to ’63.
Taking us there on the Route 66, where according
to the sleeve notes blues became rock and roll,
probably a contentious statement but opinions of
music always change. Nostalgic in the extreme,
Blues Matters! 103

but with fifteen songs
mostly self penned; this
is an example of what a
talent he is and can turn
his hand to any music
forms. The title track
relates to a fishtail
feature to this particular
popular car, some would say best in the
world back then and songs like ‘See America First’
and ‘Motor City Blues’ typify the American psyche.
With such a history awash in different music
styles, it is not surprising also that he has written a
soulful stax like production ‘Slow dance with me’,
with a relaxed voice tone. The melodic and easy
going ‘Black Coffee and Cigarettes’ flows along
gracefully like the first stop on the journey, bluesing
it up nicely on ‘Boogie To My Baby’ .Another slow
and gospelly tune mixes the blues together with
Dick Aven playing a haunting flute an instrument
not exactly prominent in blues music! Summing
up, a roller coaster trip down the blues highway
with everyone enjoying the ride and moving on,
a classic in the making. Just wondering what the
next stage in the series will be.
Colin Campbell
QUICKSILVER MESSENGER SERVICE
Live At The Summer Of Love
Floating World Records
Arriving in the mid sixties, Quicksilver Messenger
Service was acknowledged as the third of the
big San Francisco bands alongside Jefferson
Airplane and the Grateful Dead. However they
never made it as big as the two aforementioned
bands and eventually disappeared into legend. I
had always hoped to see them during my formative
years in London, and as the myth around them
grew their relevance and importance to the scene
expanded accordingly. With “Live At The Summer
Of Love”, a double live release, I felt my chance
to experience the myth was about to happen, but
sadly, the bubble of myth and legend has been
burst. Recorded at a number of venues in San
Francisco, but predominantly the Fillmore West,
they use the Blues and R&B as the backbone to
their forays into extended psychedelic jams, many
of which ramble aimlessly. Johnson’s ‘Walking
Blues’, The Wolf and Willie Dixon’s ‘Back Door
Man’ and Bo Diddley’s ‘Who Do You Love’, which
clocks in at twelve minutes, are three covers that
sadly fail to ignite interest, guitars sound out of
tune and in many instances the vocals are well
wide of the mark. The opening track on disc 2, ‘The
Fool’ is a fourteen minute free guitar jam that in
comparison to the standards of today is very tame.
Even when compared to Cream and their explosive
Blues Matters! 104
guitar jams happening at about the same time, this
fails to reach the mark and I suspect is the reason
why they never made the grade outside of San
Francisco. I guess this release will have relevance
to students of the sixties, but sadly, there is little
for the true lover of music today. Of course, If I
had been stoned and wrote this whilst sat in front
of them listening, it may well have been a different
story.
Merv Osborne
PAUL LIDDELL
Milestones and Motorways
Independent
I do like it when an album exceeds my
expectations and this one does by quite a long
chalk. All the songs are written by Paul Liddell,
the instruments were played by him and the
production/recording/arrangements are down to
him as well – in short a true solo album. But from
the very first notes of ‘A Means To An End’ all my
expectations of an ego tripping soloist went out of
the window. This is, in my opinion, more in the folk
tradition than Blues but he plays guitar well and
his voice is earnest and meaningful. His lyrics are
occasionally acid and harsh but he doesn’t just spit
bile, rather he has a message and carries it well.
‘Kill-O-Gram’ has a really hard a jagged edge to
the lyrics but ‘Footprints’ softens the mood a little
as he sings about love and kisses and a love affair
gone right while the title number actually carries
over the feeling of being an itinerant musician –
constantly om the road and ‘enjoying’ the constant
round of motorways and rest stops. The songs
cover a wide variety of styles and on ‘Christmas’
has actually has a song that could be a worthy
Xmas chart number, taking both the sense of the
traveller arriving for the holidays and the reverence
for the season that seems to go with it. His accent
is generically ‘Northern’ and this seems to make
his themes more honest and genuine but he
doesn’t overplay it. All around this is one of those
rare self issued albums that is worthy of your time
and mine. At least half a dozen crackers.
Andy Snipper
MORELAND &
ARBUCKLE
Just A Dream
Telarc
A successful formula
is worth sticking
with, providing the
quality is good
enough to keep the
listeners interest.
Rather than go for
a radical change in
sound, Moreland & Arbuckle have taken all the
components that have made up their sound, to

produce their strongest release to date. The songs
being just that bit more memorable, sonically too
it’s their best sounding which captures their live
vocal, harp and guitar interplay. As on ‘1861’ and
Telarc debut, ‘Flood’ Dustin Arbuckle and Aaron
Moreland were joined by now departed drummer
Brad Horner and regular studio contributor Chris
Wiser on keyboards. The subtle differences are
apparent from track 1,‘The Brown Bomber’ which
has a catchy and repetitive chorus. The title track
opens to the sweet sound of Arbuckle’s harmonica.
‘Purgatory’ steps up the pace. Moreland’s cigar
box guitar playing features heavily, yet with a
recognisable vocal refrain, it’s a song to come back
to time and again. There is less of a country blues
influence on ‘Just A Dream’ with an emphasis is
on harder hitting tracks. Primary amongst these
is ‘Troll’ which has a grinding riff from Moreland,
which quietens for the verses and then returns in
a triple attack with harp and organ. The expansive
‘Shadow Never Changes’ has a melodic beginning
which places the focus on Arbuckle’s fine vocals,
which impress throughout this disc. The Mississippi
Hill Country sound comes to the fore through ‘So
Low’ that originally featured on 2007’s “Floyd’s
Market.” Here it is improved, sounding clearer
and better paced. Steve Cropper wrote ‘White
Lightening’ for the band and turns up to add a
distinctive solo to the closing track. There are also
a couple of reworked covers, Mel London’s ‘Who’ll
Be Next’ and Screaming Jay Hawkin’s ‘Heart
Attack& Vine.’ This album will please existing fans,
but perhaps more importantly it’s an excellent
starting point for those yet to encounter this band’s
brilliance.
Duncan Beattie
PIGNOSE
Old Town Blues
Pignose Production
Well here we are an absolute gem of a release.
From the downtown Deep South (West) Swindon
delta comes a new trio of players. Heavily
influenced by the Mississippi swamp scene they
are a very talented band. A local lad Pete Cousins
shares the vocals with Anish-Noble Harrison; this
lady can really play the blues. They combine to
make a true personal take on the genre, with a
side order of gospel to boot. There are so many
influences and styles that on such songs as
‘Get Right Church’, you feel there is a spiritual
awareness and a celebration of life and its
complexities. True blues it is with no frills added,
‘Handclap’ starts us off on the Wiltshire swamp
trail, a song that blends gritty vocals with a bongo
backbeat, works brilliantly and sets an almost
ethereal scene for what is to come. Vocalists are
teamed up on the melodic ‘Bohemian Grove’. A
highlight amongst great tunes exemplified in a
blues rock type genre is
Captain X. Gospel sounds
are intermingled with
the excellent voodoo
like haunted vocals on
‘Down in the Hole’, the
at times fierce vocals on
’Sweetheart Don’t Cry’,
are equalled by the mystical moody wailing
blues call by Anish. Cannot praise this debut
release enough a must for any collection, once
bought never forgotten. Very talented musicians
and should get more recognition and deserved
praised.
Colin Campbell
POOR BILLY
Brother Wake Up
Independent
Poor Billy are a Danish roots-rock band with plenty
of raw energy and enthusiasm who are attempting
to “build a bridge between past and present and
American and European musical tradition”. The
material is self-penned and opener ‘Union Carbide’
appears to be about the way big companies are
bent on making huge profits at the expense of
the environment and detriment to the human race
generally.The lyrics are interesting as they seem
to be of the cut-up and paste school and have
possibly lost some coherence in translation. The
material is all original and penned by Karsten
Olesen who sings and plays harmonica and the
excellent backing band features guitars, banjo,
dobro, lap steel and pump organ which contributes
to the rootsy and bluesy feel. Olesen sings in a
declamatory style which sometimes borders on rap
as he spits out the lyrics. Their influences include
Captain Beefheart (no bad thing in my book) and
that is especiaally noticeable on the ferocious
‘Corn On My Plate’ which features a fierce, ragged
harp solo from Olesen over a dense backdrop
of skewed guitars. Title track ‘Brother Wake
Up’ is also a belting Beefheart rip but, although
Olesen’s vocals are powerful, they don’t carry
the same growl and viciousness of The Captain.
By contrast ‘Electric Fields’ is a gentle, haunting
piece but more of those odd lyrics are evident
on the slide guitar driven ‘Shut Up Baby Please’
which reminded me of Frank Zappa and indeed
references his “Sheik Yerbouti” album. ‘Drifter’s
Wife’ is a gentle, Gothic tale in the manner of
Nick Cave which features atmospheric lap steel/
slide effects from Peter Sandegaard. Any torpor
is quickly forgotten with the crushing blues/rock
of ‘No That Devil’ before the album closes with
the strains of the pump organ on ‘By The Door
Of Hell’ another dark Gothic tale. This is certainly
Blues Matters! 105

not a straight-ahead blues album but I enjoyed it
immensely.
Dave Drury
NEIL TAYLOR
No Self Control
Hypertension
Records
Neil Taylor’s latest
release covers a range
of genres, from the
acoustic based singer
songwriter genre, to
the big sound made
famous by U2 and
the Waterboys, to Funk, blues,
and rock. He is a talented singer, and multiinstrumentalist,
and the album is a fetching hotch
potch of sounds. ‘Everybody Seems To Know
My Name’ borrows the guitar and vocal refrain of
Peter Gabriel’s ‘Salisbury Hill’ to good effect, whilst
the slide guitar opening of ‘Cocaine Blues’ cops
the opening lick of ‘Layla’. Hip hop beats are also
used to good effect, such as the delicate ‘Here it
comes’ which is from the same template as Sting’s
‘The Shape Of My Heart’. As you can probably
tell, this is not a blues album, although it does
contain some fine blues and funk based playing,
and the effective guitar solos in the title track ‘No
Self Control’ with its punk aesthetic and pounding
backbeat, or in ‘Dream Machine’ which has a
definite techno sound. All in all, this is fine release.
The fact that it cannot be easily pigeonholed
maybe a problem for the marketing men, but is one
of the album’s strengths, alongside its songs and
sound which deserve repeated listening.
Ben Macnair
RAIE
Earthbound
Independent
Scots-born, London-based, Raie is one of life’s
trip-me-up revelations. A purveyor of pin-me-tothe
wall, beautiful life-enhancing soul music. A
sweet, certain surprise… ‘Earthbound’ is her first
release – a neat little seven track EP CD that
mixes soul, bossa-nova and gospel Raie has paid
her dues playing live for many years – slipping
through the net commercially, making astounding
music. Chances are, Raie is playing somewhere
in London right now and a select few are having
their ears flipped over by her incredible voice.
The sad state of the record industry is such that
she hasn’t got a contract. A real stinker, when
you hear this self-financed primer. There’s a host
of internationally-recognised musicians backing
Raie on this EP – from guitarist Elliott Randall
(ex-Doobie Brother), to Jon Klein (ex- Siouxie and
Blues Matters! 106
the Banshees) help move things along, but the
fact of the matter is that Raie is the star - this CD
is lead by her astonishing voice and incredible,
lyrics. Opener ‘Wax N Wane’ is lyrically amazing: ‘I
remember a glass of wine you promised in better
circumstances’ – romance meets reality, in fact,
the whole of the ‘Earthbound’ CD is an unsettling
mixture of sweet music, mixed with world-weary
lyrics The standout title track is phenomenal – a
minimalist piano-lead ballad that builds up to one
of the most soul-enhancing music that you’ll ever
hear – sad/happy/euphoric – the mind of emotive
switchback lyricism that John Martyn nailed in the
80’s. In fact, fans of the JM, Des’Ree, Jill Scott
and late-period Aretha Franklin should check
‘Earthbound’ out. It’s a great piece of genuinely
heart-felt music that deserves to be heard. Raie
is online pledging for support to get her full-length
CD out. Anyone who wants to help, please contact
www.raiemusic.com
Martin Cooke
RICHARD TOWNEND AND FRIENDS
We Are Where We Are
Independent
A graduate of the Leeds College of Music, anything
conventional about Richard Townend’s musical
journey ended with his studies. In a thirty-year
career, guitarist has played for artists as diverse
as the playwright Alan Ayckbourn, crooner Tony
Christie, and even Ronnie Corbett. After several
abortive attempts at forming his own band,
Townend hung up his six-string for a brief period,
before being inspired to come out of retirement
by the vibrant music scene in his Essex home
town. And thank god he did, because with several
members of this scene, Townend formed the
Mighty Boss Cats - the friends in the title – and
recorded this excellent album. Stellar contributions
from the Mighty Boss Cats - including a wonderful
saxophone solo on the title track – and Townend’s
smoky voice and heartfelt guitar playing enrich
the sometimes pedestrian songs here, and are
a fine tribute to a musician who perhaps hasn’t
achieved the degree of recognition his talents
deserves. Nine of the songs on this album – all
save blues standard ‘Little Red Rooster’ – are
self-penned, and they, including the exceptional
and exceptionally atmospheric ‘Hang An Innocent
Man’, prove Townend is an great writer as well
as musician. We are where we are could read as
a statement of weary resignation to an unfulfilled
career, but this would be wrong: Townend’s career
and talents are worth celebrating, and ‘We Are
Where We Are’ does exactly that.
Adam Bates
SHAUN MURPHY
Live At Callahan’s Music Hall
Vision Wall

Hearing someone who you haven’t heard before
then immediately wanting to dip into their back
catalogue is a great feeling. This live set from
Shaun Murphy is a rollickin’ affair that begins with
the funkiest cover of Koko Taylor’s ‘I Can Love You
Like A Woman’. It’s delivered so much in the zone
that it suggests that the gig was already half way
through when they flicked the recording switch.
The momentum continues in ‘Mississippi Water’
with the suitably exploitative guitar of Larry Knight
and keys of Larry Van Loon. The feel good nature
of ‘Come To Mama’ releases so much Etta-energy
that it’s impossible not to smile. The instrumental
‘Amazing Grace’ once more allows the two Larrys
to shine but it’s really a collective record helmed
by the robust vocal chimes of Murphy. She really
hollers out in gutsy homage to Koko Taylor, Etta
James et al. There is not a single dud track here,
whether it be for up tempo Blues that sneaks in on
almost every number and is ramped up with the
Motor City Horns at full tilt on ‘Gonna Buy Me A
Mule’ or for the draining slow soul of the album’s
closer ‘Feels Like Rain’. It’s a masterly piece,
albeit unremarkable, of fun Blues and well worth
investigation!!
Gareth Hayes
ROXI & THE BLUE CATS
RoXi & The Blue Cats
Electric Blues Club
The clue is in the title. The band is led by RoXi, a
Blues rock singer with
an interesting story
to tell over her two
decades of performing,
and a curious capital
X in the middle of her
name. The Blue Cats
are her band who have been around since
2004 and who live up to their alley billing of hip
and honky, laid back hypnotic smoky Blues. Their
own ‘Blue Cats Strut’ and ‘Lotus Elise Blues’ add
to the humble stereotype and we soon rest easy in
a floating mood of comfort. Even the Willie Dixon
number ‘Built For Comfort’ is injected with pleasant
narcotic. Fitting with the ambience yet dubiously
associated with the Blues is Fleetwood Mac’s
‘The Chain’. Perhaps it’s a band favourite but ‘Oh
Well’ or ‘Man Of The World’ may have been better
choices. Still, it’s an interesting cover. The mood is
restored by the time ends with their lounge jazz of
‘Blue Cats Boogie’.
Gareth Hayes
SIMON ELVNAS
Words Unspoken
NCB
Elvnas is a singer and songwriter from Sweden.
Having been raised by his father into a musical
Blues Matters! 107

environment, initially on
drums, Elvnas found
his true talent was his
own singing voice. His
guitar playing and song
writing were to follow,
culminating in this
collection of self-composed songs; his first
recorded works at the age of 37 years. Produced
and mixed with Glen Scott, who has in the past
worked with Eric Bibb, Ron Sexsmith and Sarah
Finer, each of the songs features Elvnas on vocals
and either acoustic guitar or piano. The addition
of a number of Sweden’s best backing musicians,
including multi-instrumentalist Kalle Hedeqvist,
helps layer the songs and helps give each a
distinct identify. Elvnas has a strong talent for
melody and his smooth vocals make songs such
as ‘Your Naked Soul’ and ‘Mistaken For A Man’ a
pleasant listening experience. There are also a
couple of duets with Irma Schultz and most notably
Frida Ohrn on the enchanting ‘I Will Change It All’.
A tender version of Pete Seeger’s ‘Water Is Wide’
clocks in as the longest song on the disc. While
the material is rarely bluesy, it would probably be
best characterised as folk, it would find appeal to
those with a broad music taste and love of acoustic
music.
Duncan Beattie
ROBINSON
Beneath The Ballroom
Palawan
Andy Robinson is a multi-instrumentalist from
Worcester who names Bob Dylan, Tom Waits and
John Martyn among his influences and tells tales
of life with his pop songs which are full of catchy
melodies and harmonies. He has received airplay
on Radio 2 and supported A-Ha at the Royal Albert
Hall (some people may have preferred to keep
quiet about that one). The music is catchy and the
songs are like little picture postcards with guitar,
piano, sax and clarinet among the instruments
used. Opener ‘Mr Popular’ has a slightly eastern
feel to it with Robinson’s light poppy vocals
painting the pictures. ‘Without Love’ features
a catchy melody fuelled by sax and clarinet
as Robinson tells of his ill luck in the romantic
stakes. There are no credits shown on the album
cover so presumably he plays all the instruments
himself and the arrangements and production
are very good. The lyrics of ‘Anyone You Want’
are delivered in sweet, clear, soul inflected tones
as they proclaim “you can be anyone you want”.
If only! Keening violin introduces the harrowing
‘Nightmares’ featuring half-spoken lyrics and a
musically chaotic climax before fading gently away
Blues Matters! 108
into the ether. The super catchy ‘That Girl’ features
jaunty fiddle and scat vocals and is also issued
as a single. It is the sort of number that could be
picked up by someone like Wogan and made
into a hit. The gentle ‘I Can’t Change’ featuring
acoustic guitar, cello and violin is a beautiful
reflective ballad tinged with sadness. ‘Receipt For
My Heart’ is a fiddle fuelled eastern style rave up
as Robinson spits out the words of the title. There
is no Blues influence here but this is an interesting
and well made album with lots of catchy melodies,
quirky lyrics, and good playing and I found it very
pleasing indeed.
Dave Drury
SLEEPY EYES NELSON
Where The Town Ends
Cheapwine Records
This is a tasty vignette of a timeless Country
Blues EP really at only 26 minutes for the ten
tracks. Recorded in the artist’s home, all but two
tracks are self penned and elemental in nature
with Sleepy on guitar, basic stomp percussion
and a pleasant and effective conversational style
vocal. The lyrics are sometimes humourous, as
in ‘Fried Chicken Blues’, but it has to be said
mostly depressing like, ‘Dying Rodent Blues’ with
it’s bleak vision of “dying rats in the walls of my
house”. However the overall effect, in part due
to the lovely resonant twanging guitar sound
is strangely hypnotic, uplifting and affecting.
You begin to empathise if not identify, with the
sentiments expressed, as in ‘I Like To Drink On My
Own’ “come evening time” and begin to wonder
if the songs are truly autobiographical. ‘Worried
Blues On My Mind’ says he “tried to leave the
house but could not go” conjuring up the thoughts
of an agoraphobia sufferer. Echoes of this too in ‘St
Vincent Street Blues’ with it’s strange background
rhythm using a grating noise like grinding cogs.
The two tracks not written by Sleepy have
seemingly been written for him as ‘Preacher Man
Blues’ sees him “digging my grave all my life”, and
‘Laughing Mortician Blues’ has his baby just “cryin
and lyin”. Although you have to wonder how he
gets the opportunity for romantic dalliance! The
final track ‘Postman’s Blues’ also strikes a sadly
familiar chord with “letters filled with dread”. Don’t
be put off though, this is a truly engaging and
rewarding listen for lovers of Country Blues and
I would love to learn more about this intriguing
troubadour.
Bob Chaffey
SARAH MACDOUGALL
The Greatest Ones Alive
Independent
Second album from Swedish/Canadian rootsy
singer/songwriter is packed full of thoughtful,
melodic songs about life, death and the universe.

She has already received international recognition
for her alt. country/folky songs and has performed
live on the Bob Harris show. Opener ‘Sometimes
You Lose, Sometimes You Win’ is a catchy,
gentle rocker featuring acoustic guitar and sweet
vocals from MacDougall and rootsy touches of
Weissenborn slide guitar from Tim Tweedale.
MacDougall is a storyteller and title track ‘The
Greatest Ones Alive’ is a song about growing up
and sometimes losing touch with friends and your
roots. Centrepiece of the album is the touching
‘It’s A Storm! (What’s Going On?)’ featuring a
small string section as MacDougall negotiates her
way through life’s choppy waters. The uptempo
‘Song # 43’ is a country rocker featuring pedal
steel from Tim Tweedale and some Duane Eddy
style twangy guitar from Matt Rogers. Longest
track on the album at 6.43 is the gently rolling
‘Cold Night’ a moving tale of a lost love who never
truly believed. The album closes with the heartfelt
‘We’re All Gonna Blow Away’ which features lovely
harmonium from Annie Avery giving the song a
traditional and churchy feel. This is a very fine
album full of passion and honest emotions which
should appeal to the folk club crowd.
Dave Drury
STRETCH
‘That’s the way
the Wind Blows’
(A Collection) /
‘Unfinished Business’
Repertoire.
A double whammy
for me, two albums
containing much the
same material on each,
perhaps the former
shading it as it has a Jazz Mix of the classic ‘Why
Did you Do It?’. For us older members of the
readership, Stretch were a phenomena back in
the 70’s, led by Elmer Gantry and Kirby Gregory.
They famously supported Rainbow on their 1976
‘Rising’ tour and it was generally acknowledged
that Stretch blew the main act aside. They were,
in their day, regarded by some critics, as being
the greatest blues/rock outfit of all time. ‘That’s
The Way The Wind Blows’ is a twenty track
compilation and is a classic lesson in the history
of a great band. All the gems are there, through
‘Fixin’ To Die’, ‘Showbiz Blues’ ,’Rock and Roll
Hoochie-Coo’, plus a bonus EP disc containing
the aforementioned ‘Why Did You Do It?’. Special
mention goes to the informative booklet included,
a real bonus for all of us anoraks! ‘Unfinished
Business’ contains new recordings of Elmer and
Kirby’s classic hits and was recorded in 2010. The
new line-up includes Justin Hildreth (drums) and
Jim Scadding (bass) who have performed and
recorded with the likes of Nina Hagen, Thomas
Dolby, Lene Lovich amongst others. ‘Why Did
You Do It’ is there again, along with ‘Flames’,
plus inventive versions of ‘I Live The Life I Love’
‘Can’t You Feel It’ and ‘Down In The Bottom’. Both
albums go to prove that Stretch has integrity and
craft in bucketloads. They are an astonishing band
with a classy repertoire. In the words of Johnny
Winter, they are ‘still alive and well’, do get a copy
of one or the other, and re-live a great and historic
period in British Blues and R’n’B
Clive Rawlings
COTT RAMMINGER
Crawstickers
Arbor Lane Music
What a treat this album is. Instead of a guitar
based format, Scott Ramminger, singer/
songwriter and band leader is a saxophonist,
playing tenor, baritone and alto sax throughout.
And what a joy to hear Ramminger strutting his
stuff through eleven original songs that veer from
slow Blues, boogie woogie and shuffle to the
Mardi Gras groove of ‘Real Fine Gumbo’. This
track captures the excitement of New Orleans,
the atmosphere recreating the street party feel
with fine trumpet throughout and some great
piano playing. Following this is a country Blues,
‘Three Dollar Beer’ that opens with some natty
accordion playing, whilst ‘Give A Pencil To A Fish’
is a swinging romp with some fine soloing from
Scott, and with cheeky trumpet retorts. ‘There
Must Be Something Wrong With You’ sees the first
of two fine duets, here with Mary Ann Redmond.
The setting could again be New Orleans and
there is some excellent muted trumpet playing.
‘Fast And Loud’ is a pure up-tempo rocker with
boogie woogie piano and belting vocals from
Mary Ann. ‘I Dreamed I Met Jesus’ recreates the
gospel sound in a great slow song as Scott met
Jesus” in a bar having salad and an Amstel Lite”.
Rammingers baritone sax suits the low end of this
song perfectly. Changing style again, ‘That Rumba
Beat’ introduces a Latin rhythm with bongo’s
underpinning the beat and an almost Santana feel
to the guitar solo. This is unpretentious music,
from a band that sounds as if they are thoroughly
enjoying themselves. I loved the instrumentation
here, a great variance from the norm. Scott
Ramminger defines ‘crawstickers’ as “things that
stick in the mind” and that’s a perfect way to define
the music on this album.
Merv Osborne
THE DEADLY GENTLEMEN
Carry Me To Home
www.deadlygentlemen.com
There are Hillbillies hiding under my bed, jabbering
Blues Matters! 109

away like chickens
pecking. Bad thoughts
and tales of murder
and drunken selfdoubt.
Boograss.
Imagine a parallel
universe where Nick
Cave writes lyrics for
the Charlie Daniels Band. After an amphetamine
binge. Well, you’re about half way there. ‘Carry Me
To Home’ is the product of The Gently Gentlemen
– five old heads on very young shoulders from
Boston, USA. The Gentlemen play what they
describe as ‘epic folk and grasscore’, songs of
death, obsession and drinking. Wonderful stuff
that bends the Bluegrass genre to snapping point
and is a joy to behold. Tires you out, though.
Things do slow down sometimes, the title track
is a mournful beauty of a song, all regrets and
mandolin melancholy. ‘The Road Is Rocky’ is a
contemporary take on a Bill Monroe classic and a
real beauty. Then we get the scary stuff. ‘Police’ is
a tale of gun-waving horror and paranoia. Album
standout ‘Sadie’ is five minutes of cat-scrape violin,
a bullett-by-bullett account of stalking, obsession,
murder and hiding bodies, told from the darkest
prison cell. ‘Bullet In My Shoulder’ is the tale of a
wanted man, waiting for his final breath...‘shackled
chained strangled, dangling while they stone my
face in.’ This is a dark, enjoyable ride. According
to their website, The Deadly Gentlemen will come
to your home to teach you how to play ‘infinite
velocity banjo’ and ‘raging fiddle improvisation’
technique. But would you dare let them in?
Martin Cooke
SON ROBERTS
Tell That Story
Gate
A couple of decades ago, we’d have called quite
a number of the tracks on this CD “high-energy
blues” - rock-influenced blues without actually
being blues-rock, I guess. Canadian singer/ blues
harp player/ songwriter Son works firmly within
a blues format but his music tends towards an
attractive, lively sound with some contemporary
touches, a very accessible style and a general
good-time feel. He is a strong singer and writes
interesting material that does indeed “tell stories”.
He can fit his harp playing into funky numbers -
reminding me of Little Sonny in places - or good
old rocking blues. The accompanying musicians
add appropriate touches of soul, funk, jazz, or rock
whilst maintaining the blues base throughout, and
although all are more than adept, co-composer and
guitarist John Crosbie deserves special praise for
his contributions from start to finish. And then when
Son does go for a straight-ahead blues (more or
Blues Matters! 110
less) as on the harrowing ‘Brakeman’, he is equally
impressive. This is a fine set then - and it would be
good to hear what Son could achieve with some
big label backing...
Norman Darwen
RUSSELL MORGAN
Surrender
Rayrecordings
Although this 8 track CD runs to 37 minutes and is
thus longer than some album releases, Russell’s
website describes this, his debut release, as an
“EP”. Cheshire-based Russell has an eclectic list
of influences, from acoustic ace John Martyn to
jazz legend John Coltrane, and the songs here are
equally diverse, from folky ditties like the opener
and the Mississippi blues-inflected title track to
the hard blues-rocking, heavy riffing, psychedeliatinged
‘Push It Up’. Russell has a very distinctive
singing voice, his acoustic playing is individual but
occasionally bearing traces of Mississippi John
Hurt and the 60s folk and folk-blues revivalists,
and his song-writing strongly individual – which all
together makes for a very interesting release.
Norman Darwen
THE JANKS
Hands Of Time
Sprouted Records
More roots rock for
me, as this month
seems to be bringing
in a lot of bands
who want to be the
Band. The Janks
from California are
the latest, and if I
was writing for a mainstream magazine I would
be flinging the name Fleet Foxes around in an
attempt to seem hip and with it. But I’m neither of
those, so will stick to my true and tested seventies
musical references. When The Janks are good,
they’re very good, with ‘Dead Man’ a ringer for the
aforementioned Band. Elsewhere they get a bit
more up to date with ‘Drama King’s Ball’ a tune
that would sit happily on a Mercury Rev record.
Brothers Zack and Dylan Zmed, along with their
mate Garth Herberg (blimey, even the names
are straight out of Laurel Canyon) are all capable
musicians, and for a young band have a mature
handle on their material. There’s a wee bit too
much jingle jangle for my own tastes, but they’re a
new band, and have the time to toughen up a bit.
I was really taken with the harder hitting ‘Demon
Dance’, and that’s a road that I’d like to see them
explore a bit more. The album ends on a bit of
a downer, with a surfeit of ballads, so different
sequencing might have made a difference. Nearly
but not quite.
Stuart A Hamilton

STEVE GERARD & THE NATIONAL
DEBONAIRES Featuring JAMES “ROCK” GRAY
Voodoo Workin’
Blue Edge Records
It is a strange world sometimes! Here we have
a very fine album indeed featuring some really
strong musicians Greg Demchuk harp, Mike
Sedovic keyboards, Preston Hubbard bass, Doug
James horns, Dwight Ross drums, Steve Gerard
guitar along with vocals from James Gray. Now
this seventy-one year old man had never been
in a studio before in his life. Why? His vocals are
weathered with age but he slides those around
the instruments with consummate skill. Based for
most of his life, I think, in Jackson Mississippi he is
a super find. This is a terrific album of down-home
Blues that just gets totally inside you. For sure it
can be argued that this is Blues from the past and
does not carry the genre forward. I say who cares?
When music is this good it is still very relevant.
The title track kicks things off with James growling
his way through way is a fairly short but succinct
cut. James really hits his stride on a fabulously
rich version of Willie Mabon’s ‘Michelle’ has a
nice late 1950’s feel reminiscent of Fats Domino,
wailing sax included, before we get to the first Gray
original, ‘One Of These Days’. There is a lovely
Hammond B3 playing throughout this including
on the lead break. Has there ever been such an
evocative sound? Big Joe Turner’s ‘TV Mama’ is
covered effectively as indeed is the previously
mentioned Fats D’s belter ‘My Girl Josephine’.
There is not a bad cut on this album but the
highlight for me his the self penned slow Blues
‘Sweet Little Woman’. The album has a lovely
fifties feel throughout and it just works on every
level and I love it.
Graeme Scott
SUGAR RAY & THE BLUETONES
Evening
Severn Records
You only need to look at these guys and before
you press ‘play’ you realise it’s going to be good.
If there’s a standard image for mature, blue-eyed
urban blues, then The Bluetones have it – it’s
The Sopranos with instruments. There are very
few bands outside America who can duplicate the
gasoline-flavoured raunch of Chicago. Paul Lamb
and The King Snakes came close, but for the likes
of Sugar Ray, featured here, Jimmie Vaughan,
Duke Robillard or The Fabulous Thunderbirds,
it’s that cultural osmosis of actually being there,
constantly travelling the USA’s highways, the
all-enveloping blues past and present seeping
into your pores which produces records like this.
Sugar Ray sings plays and writes from his heart.
The harp playing is thick, meaty, and straight off
the Illinois stockyards. The Bluetones’ version of
Johnny Young’s I’m Having A Ball, is terrific, as is
their reading of Otis Rush’s You Know My Love
likewise, and as composers, their original tracks
always deliver with grit and authenticity. They also
have the glory of guitarist Monster Mike Welch,
and the production on this 12-track set leaves you
feeling as if you’ve consumed a rack of the best
barbecued ribs around. It all swings, bounces,
pokes you in the heart, and makes you realise how
healthy true American blues still is. If you want
to know how the city sounds – this is essential
listening.
Roy Bainton
TOMMY EMMANUEL
All I Want For Christmas
Favoured Nations
Acoustic Records
Tommy is, without doubt,
one of the finest, or indeed
the finest, acoustic player
in the world today. I’ve had
the pleasure of working
with him once and been
astounded and mesmerised by his skill twice
more in concert but I find myself at a loss as to
how to effectively review this album. For example
I am at heart a pretty romantic soppy kind of guy
who loves the whole Christmas thing so when
faced with eleven classic and well loved perennial
favourites and one new, to me, tune I’m already
onboard. Throughout Tommy is accompanied by
another master craftsman, John Knowles and as
you would expect the playing is simply exquisite.
The captured sound is superb and the whole
thing just flows around you like warm milk with
chestnuts roasting on an open fire (yes that track is
also included). Were it not for the seasonal music
the interaction between the players reminds me
of the joy to be found listening to the Chester &
Lester albums. You know what I mean where the
music has a gentle swing throughout as it touches
the edges of Blues, Country, Jazz and Old Time
and the players are just enjoying bouncing licks
off each other. The arrangements are at one of
the same time both traditional and also original.
Melodies remain intact but there is also so much
room in there for interpretation as well. Apart from
a little scatting on ‘Santa Claus Is Coming To Town’
it is vocal free so sit back relax and let any the
stresses of Christmas shopping and preparations
just felt away. This is an album of pure bliss for any
lover of both the season and wonderful playing.
Graeme Scott
TOM MORIARTY
Fire In The Dolls House
Driftwood
Blues Matters! 111

I really wanted to love
this album. I am a sucker
for a dark and smoky
voice over an acoustic
guitar and Mr Moriarty
possesses a cracker. He
writes songs that should
be full of dark emotions and captivating hooks
and it just doesn’t catch a fire. When he should
be blowing me away with a huge passion and
deep emotions he gets trite and clever and when
he moves into a more poppy form he sounds like
a bad seventies throwback. The title track starts
just right with his voice almost cracking with his
righteous anger but it never explodes and when
he sings “there’s a fire in the dolls house – let it
burn, let it burn” it feels as though he has given up
on his rebellion rather than setting the fire itself.
‘Smile If you Wanna Get High’ bubbles along
nicely, developing into a tasty piece of white soul/
light rock and ‘Where Are You Now’ has a lovely
sixties pop feel to it – Mary Hopkin would have
done it real justice – and west coast tambourine
as well. But I found myself reaching for the nexttrack
switch too often, it felt as though I had heard
all there was to tell me early on in each track and
that is probably the heart of the problem – he isn’t
doing anything very different or new. The quality of
the playing is excellent and the recording quality
just as you would expect from an album recorded
at Abbey Road but people won’t be queuing up to
cross the road in memory of this album. He has a
great voice and is nearly a terrific songwriter – just
not this time.
Andy Snipper
THE BOTTOMS UP BLUES GANG
Handel It
Independent
It seems that the Blues Gang are essentially
Kari Liston, on lead vocals, kazoo, whistle and
percussion. and Jeremy Segel-Moss on guitar and
vocals. Virtually all the material is self penned and
they are supplemented throughout by numerous
other musicians on a miscellany of instruments.
Although based in St Louis, it appears from the
sleeve notes that the gang refers to the various
geographically dispersed members allowing the
core artists an itinerant life style. With ten tracks
over 48 minutes, this is an interesting release with
very well written material covered in a mixture of
retro styles. ‘South Broadway Blues has boogie
piano and a strident nasal country style vocal
from Kari. ‘First Of May’ is a ‘Jeeves & Wooster’
type piece featuring kazoo. ‘New World Blues’
TOP 20
1. Various; Barbecue Any Old Time- Blues From The Pit
1927-1942 (Old Hat CD)
2. Johnny Winter: Roots (Megafore CD)
3. Various: The Fame Studios Story 1961-1973
(Kent 3CD)
4. Big Maceo: Complete Sides 1941-1950 (JSP 2CD)
5. Little Joe Ayers: Backatchya (Devildown CD)
6. Barbara Lynn: A Good Woman - Complete Tribe And
Jetstream Singles 1966-1979 (Kent CD)
7. Various: This May Be My Last Time Singing - Raw
African-American Gospel On 45RPM 1957-1982
(Tompkins Square 2CD)
8. Gospel Alive- Sacred Recordings Made In The Field
(JSP 3CD)
9. Louisiana Red & Little Victor: Memphis Mojo (Ruf CD)
10. Muddy Waters: Electric Mud/After The Rain
(BGO 2CD)
11. Howlin’ Wolf: Smokestack Lightnin’ - Complete
Chess Masters 1951-1960 (Hip-O Select 4CD)
12. John Mayall & The Bluesbreakers: In The Shadow Of
Legends (Blues Boulevard 2CD)
13. Little Milton: Grits Aint Groceries (Concord/Stax CD)
14. Ligtnin’Hopkins: The Houston Hurricane
(Properbox 4CD)
15, Jo-Ann Kelly: Key To The Highway (Superbird CD)
16. Jimi Hendrix: Hendrix In The West (Sony CD)
17. Eric Clapton & Wynton Marsalis: Play The Blues -
Live From Jazz At Lincoln Centre (Rhino CD & DVD)
18. Ana Popovic: Unconditional (Electo Groove CD)
19. Jay Tamkin: Alibi (Rokoko CD)
20. The Blues Band: Few Short Lines (Repertoire CD)
Blues Matters! 112

is a rather discordant protest song about Big
Brother with some good work on harp and there
is also some jazzy stuff here with various brass
instruments including my bete noire, the trumpet. ’If
Only’, a haunting loved and lost ballad with spartan
guitar work is the highlight for me. The downside
is the lack of tonal light and shade in the lead
vocal, working well on ‘Stop Tellin’ Me What To Do’
a Country Blues with clever conversational vocal
interplay, but lacking the depth and empathy to
blend with or enhance the other varying styles on
offer. The sole cover of Ray Charles’ ‘Drown In My
Own Tears’ has some lovely fluid guitar from the
late Bennie Smith, but the Eartha Kitt style vocal
grates. A Dylanesque ‘Quick Fix For Livin’’ with its
clever lyric is marred again by the strident nasal
atonal vocal. Well worth a listen for lovers of rootsy
Americana and New Orleans Blues, I am sure their
music would be done better justice in an intimate
live setting.
Bob Chaffey
TOBY WALKER
Shake Mama Shake
Band In The Hand
Records
Toby Walker was born in
the Suffolk county town
of Islip, Brentwood Long
Island in nineteen fifty-six
and his first exposure
to the blues was as a
teenager from the records of the Rolling Stones,
then through the good auspices of a neighbour he
was introduced to the music of Buddy Guy. From
that moment on he was completely hooked and
determined to find the roots of this wonderful music
for himself so, three days after his graduation
from high school he went on the road for the
next two years or so travelling across the U.S. in
search of the music and the people that played
it. Consequently during the last twenty years or
so he has listened to, played with and generally
been with such blues luminaries as; Wade Walton,
James ‘Son’ Thomas, Eugene Powell, Jack
Owens, Turner Foddrell, R.L. Burnside and Etta
Baker. From his time with them he has completely
immersed himself in the many forms of acoustic
blues to such an extent that he is now highly adept
at many forms, including Piedmont, Ragtime,
Delta, Texas and Chicago blues, his splendid
renditions are as infectious and mellow as a warm
richly glowing summer’s afternoon, while his
extremely intricate and dexterous fingerpickin’ is
as scorching and blazing as the midday sun. His
commanding brusque vocals are enticing and fruity
yet, at times contain an edge of world weariness,
which adds a greater level of depth and texture
to the atmosphere of the music which can only be
described as ‘sweet, ripe and juicy as a Summer
peach. A note of thanks here, should go Toby’s
wife Carol for the splendid bass playing. This
album of sixteen covers features such classics as
a swirling rendition of Mance Lipscomb’s ‘Shake
Mama Shake.’ While Blind Willie McTell’s ‘Mama
Tain’t Long For The Day’ contains a beautifully
mournful slide and ‘Broke Down Engine,’ simply
oozes remorse. Toby infuses a wonderful period
feel to his playing by selecting and using only
vintage guitars, some of which are; a nineteen
hundred Colmbia Parlor, a nineteen thirty National
Triolian and a nineteen thirty-five Gibson L-00.
He also brings numbers like ‘Crazy’Bout An
Automobile,’ back to their original freshness and
footappin’ lustre while the urgency of Huddie
Ledbetter’s ‘Midnight Special,’ is certainly not lost
in the mix of time. These versions are as fresh
and meaningful as the day they were originally
recorded.
Brian Harman
TIM AVES & WOLFPACK
The WOLFPACK Burnham Sessions
Square One Records Square
From the ashes of the bands Automatic Slim and
The Rockin’ Armadillos Tim Aves in the latter
party of two-thousand and nine put together The
WOLFPACK, a band that primarily exists to make
music in the tradition, spirit, ethos and muscularity
of ‘Howlin’ Wolf.’ A man whose recordings and
performances were to say the least, chillingly and
resonantly primeval, sweepingly other-worldly
and to some downright scary! Assisting Tim who
takes lead vocals, harmonica and guitar, are; Paul
Lester; drums, Rob ‘Tank’ Barry; bass and Joel
Fisk; guitar and providing piano where needed is
Dale Starr. A sparkling and toe-tapping mixture
of thirteen spirited numbers are featured, Willie
Dixon’s “Down In The Bottom,” kick starts the
proceedings with Tim growling and snarling in a
manner not too dissimilar to Lee Brileaux of Dr.
Feelgood, the equally harsh twisting and curling
guitars of Tim and Joel combine to emulate the
stupendous guitar work of the recently departed
Hubert Sumlin. Their enjoyable entwined playing
can also be heard on other numbers such as;
‘Killing Floor,’ ‘Do The Do’ and ‘Tail Dragger’.
Robert Johnson’s ‘Kind Hearted Woman,’ is played
as a very pleasant, almost jaunty slow sweeping
shuffle. Tim’s only original number on the album
is ‘Walking In Robert Johnson’s’ Shoes,’ which is
an undiluted white hot offering to Robert Johnson;
visceral guitar, screaming slide ridden passages,
backed by a stomping bass, definitely bone-jarring
rockin’. One can only imagine the scene, heads
down and teeth bared, blurred fret board, this
Blues Matters! 113

number takes no prisoners. Lastly there is a Tim’s
own offering to Howlin’ Wolf, a fourteen minute
live epic version of ‘Smokestack Lightnin’’ that
weeps, wails, weaves, speeds slows and grabs
you down to the toes. Together the band combine
to ensure that the enduring appeal of these
legendary bluesmen continues while at the same
time adding a modern day feel, thus, ensuring that
what they play does not merely constitute a tribute
act. Well worth a listen!
Brian Harman
STEVE ROUX & THE WHITE KNUCKLE BLUES
BAND
It Might Just Be Too Late
Independent-sample only
Unfortunately no track listings were available for
this valid release from WKBB, the sleevenotes
and artwork being mislaid by the postman.
Sometimes this can be an advantage to reviewing
as preconceptions are absent. This is a genuinely
interesting Blues outfit that mix old with new, hip
with traditional, as they oscillate with a sound that
conjures both barroom and studio image. First
impressions suggest a lighter Tinsley Ellis. In every
respect it is a cracking album and the average
reader of this journal will lap it up. There’s enough
reinvention here to make the most straightforward
of covers appear innovative. Anyone wanting Blues
in the background will like this. Anyone wanting
Blues in their face will like this. Just twiddle with
the volume knob. Look out for track seven and
every positive memory of every blues guitar hero
will be rekindled with sufficient magic and mystery.
The whole album is a sweet reflection on the
Blues. Then – KAPOW! An internet search reveals
that WKBB is led by Steve Roux. Remember him?
He released a fantastic Blues album nearly twenty
years ago, then has popped up infrequently with
this outfit and the companion band The Brass
Knuckle Blues Band. Essential and deserving of
greater acclaim.
Gareth Hayes
TRENT ROMENS
Aware
New Folk Records
Trent Romens is only 19
years of age but on this
album he demonstrates
his prowess for both
the Acoustic & Electric
guitar, as well as writing
some excellent material,
ranging from traditional country blues to more
aggressive rocking blues. He is already virtually a
complete artist, his vocals are fine although I am
sure they will improve with age and gain some
Blues Matters! 114
depth to them. The two cover tracks covered on
the album perfectly demonstrate Trent’s abilities
and knowledge of blues dimensions; he moves
from some searing electric guitar work on the
classic rocking ‘Going Down Slow’, supported by
a full band compliment, to performing an acoustic
Country Blues version of Big Bill Bronzy’s ‘Key to
the Highway’. Trent performs with a lot of freedom
and incorporates other musical influences into
his material, the final track ‘Hey Now’ breaks the
trend of artists rocking out and is an acoustic
song with Reggae type choruses. For an artist so
young this is a very promising debut album, he has
immersed himself into the Blues and I will watch
his development with interest.
Adrian Blacklee
VARIOUS ARTISTS
The Flash Records Story
Ace
I am almost embarrassed to admit that Flash
Records is a label that I have never heard of in the
past but this superbly packaged and presented
2CD set has opened my eyes – and ears. This is
around 2 hours of the best of the second division
and there is no shortage of music here that
deserves space on any collectors shelves. The
fascinatingly named b Brown and his McVouts lead
the 1st Cd off with ‘Good Woman Blues’: 2 minutes
38 of rollicking Blues tinged rock n roll with some
excellent guitar over boogie woogie piano. Haskell
Sadler is up next on what sounds suspiciously like
the same track but with added harmonica. The
frantic ‘Mambo For Dancers’ is the second from
the McVouts but the first real star track is the doo
wop of The JayHawks, ‘Counting My Teardrops’ –
lead singer James Johnson from Brooklyn has a
strange, strangulated falsetto with added vibrato
nd they feature here on another eight or so tracks.
The Emanon ‘4’ give yet more flavour to the mix
with the sultry ‘Blues for Monday’ and the rocking
‘Oh! That Girl’. This is one of the biggest problems
with this set though and I suggest maybe with
Flash Record themselves – they couldn’t settle on
anything that could be called a house style and the
bands were pushed into playing in multiple forms
rather than developing a sound of their own. Flash
was born from an entrepreneurial mission to back
up a record store with their own acts – if one of
their acts failed to sell enough they would find their
singles packaged as a freebie with a hit single of
the day – and never really had the musical nous
or understanding of the scene to break any of their
acts nationwide. There are some real gems in here
– Sheryl Crowley should have been a superstar as
could James Curry and their collaboration on ‘I’ll
Be Seeing You’ is electrifying. All told a fascinating
listen and well worth a punt – another Ace!
Andy Snipper

VARIOUS
Blues News Sampler
MIG Records CD
As it blows on the trade
winds across the Atlantic,
the blues often picks
up modifications and
transforms itself for the
European market. This
ten track sampler CD from
MiG (Made in Germany)
will give you a firm idea of
what you might raise your stein to in Deutschland
and neighbouring Euro enclaves, and it
encompasses some powerful, guitar-centric brews.
These are tracks, often from live sets, which
allow the artists full rein to show off their musical
prowess. They’re not all European acts, though;
for example, there’s a 13 minute outing from
Johnny Winter, that old rockin’ favourite, Susie
Q, the late, lamented Telecaster maestro Roy
Buchanan playing a heartfelt ‘Wayfaring Pilgrim’,
and no less than the Jon Lord Blues Project. The
latter serve up a moody, five+ minute version of
‘When A Blind Man Cries’, and if you’re a 70s
rock fan, check out this line-up – Ian Paice, Ian
Gillan, Roger Glover, and Richie Blackmore!. As to
whether said Blackmore is still wearing his pointy
wizard hat is not mentioned here. And there’s more
bluesy stardom; the Mick Fleetwood Blues Band
with Rick Veto interpreting Peter Green’s brilliant
‘Black Magic Woman’. However, I found the less
familiar acts of much more interest; Lance Lopez,
Dudley Taft, Papaslide and Todd Sharpville all add
their own stirring magic to this heady mix – and
I almost forget to mention Miller Anderson. This
is a cracking little sampler which confirms that
whatever mess the Euro might be in, music in the
EEC is still a blue chip commodity.
Roy Bainton
VARIOUS – HEAVY SUGAR
More Pure Essence of New Orleans R&B
Fantastic Voyage 3CD set
75 tracks. Count ’em! Seventy five! Rhythm and
Blues are just two words, yet they cover so many
categories of unrestrained joy. If you’re pop fan
under 35 you’ll no doubt have been sold that
pig in a poke that ‘R&B’ means the video output
of Beyonce, Rihanna or R Kelly; all gold lame
thrusting buttocks, hair extensions and bling.
Well, if that makes you happy, read no further.
Real rhythm and blues, wherever it came from,
California, New York, or Detroit, has more shapely
legs that a centipede on steroids, but its creative
genes are in New Orleans. After all, that’s where
jazz came from. When you receive a 75 chapter
Bible of the stuff such as Heavy Sugar, you realise
how much of a disciple you’ve always been. It
kicks off with the Reverend Penniman himself,
Little Richard singing the title song of probably the
best rock’n’roll movie ever made – The Girl Can’t
Help It. Anyone who has managed to watch the
recent 2 series of HBO’s exquisite New Orleans
series, Treme, is going to love this 3 record set.
All the great New Orleans names feature here;
Professor Longhair, Clarence ‘Frogman’ Henry,
the velvet-smooth Charles Brown, Fats Domino,
Amos Milburn, Smiley Lewis, the list goes on
and on. There’s also a couple of offerings from
the often overlooked Bobby Marchan, a kind of
Louisiana R&B Eddie Izzard, who spent as much
time in a dress as he did in pants – if you’ve never
heard of him, Slade’s first UK hit ‘Get Down And
Get With It’ was a Marchan composition. There
are tracks by the ebullient Frankie Ford, Huey
‘Piano’ Smith and his Clowns and a stirring Get
Out of My Life from Aaron Neville. This set is your
very own Mardi Gras in a box, the perfect Bayou
antidote to the dank misery of a European winter.
Make yourself a big pan of Gumbo, get some beer
in the icebox and put your Christmas Nintendo
Wiis and I-phones away for the night. Clear away
the furniture and annoy the neighbours – forget
Rihanna for the time being – this is proper R&B –
the real deal!
Roy Bainton
Blues Matters! 115

WHITEBOY JAMES
AND THE BLUES
EXPRESS
Extreme Makeover
Ripcat Records
You know how it is.
You listen to an album
once, and you listen
to the quality of the recording, the musicianship,
the interplay, the genres, and it passes muster.
Then you listen to it again. You really listen to it,
and you realise that it is not what you thought.
Although it is called ‘Extreme Makeover’ there is
nothing of the sort. This is the aural equivalent of
Jim Davidson or Bernard Manning put to a musical
backing. There is ‘Big Butted Woman’ which is one
of those fun time boogie pieces for distorted guitar
and harmonica, but which is simply a list of what
the singer looks for in women. It would not pass
muster as a bonus track on most albums. Here it
starts the album. In other songs, the band condone
murder, and although it proclaims to be a good
time album, it is not really one for anyone who
believes in equality. On the plus side, the playing
is of a uniformly high standard in that punky blues
way that is so popular these days, and the tracks
are generally fun. A cover of Willie Dixon’s perennial
favourite ‘I’m Ready’ is a fine reading, and the
excursions into jazz make for an attractive few
songs. The group has a fine guitarist in their ranks,
a good rhythm section and an effective vocalist in
Whiteboy James himself. Let’s hope that the next
album sees a bit more sensitivity in the lyric writing
though.
Ben Macnair
BARE BONES BOOGIE BAND
Bare Bones Boogie Band
Independent
Ah, at last the second album from this fabulous
quartet of Helen –of the raucous vocal, Iain-of the
riffy/driving guitar, Trev-of the solid bass lines and
Andy-no mean side kick in the skins. After their
great debut album this most certainly takes a step
forward and will enhance their reputation. This
disc shows better production and sound use (the
first was a little flat on dynamics somehow though
still a superb debut). There’s more variety here
on the menu too. ‘Fallin’ For Foolin’’ eases you in
with slow riffs then Helen’s sultry tones implore
you to get in deeper and hold your attention
while Iain spreads the chords on the bottom layer
of rhythm and Helen provides the rich topping
yes indeed this could well be the recipe for their
success. Subtle guitar lines weave over the easy
rhythm and you get a full 6.55 for an opener, you
Blues Matters! 116
guessed, I’m hooked! ..and there’s nine more
tracks to go! ‘Mean Old Man’ finds Helen in gentle
mood vocally and there is some lovely playing
from Iain on this easy number. She seems to have
enjoyed the mellow and continues the vein on the
very next rack ‘Wings’ which winds up toward the
end. But brace yourselves coz the boogie comes
back on ‘Second-Hand Hand-Me-Downs’ but in
an easy way. The more I listen the more I hear
Stone The Crows but different, and that is meant
as a compliment as if there ever was a band that
deserved to be huge it was STC. Wouldn’t it be
amazing to see Maggie Bell get on stage with
BBBB and hear the girls together. This album sees
another Stones’ song covered in ‘Love In Vain’
which features highly charged vocal over relaxed
guitar. ‘Travellin’ Light’ pumps up somewhat as
the penultimate rendition and the album closes
with the cheekily titled ‘My Man Loves My Van’ to
complete a joyful hearing of a damn good follow
up album (often the hardest one to do) that should
see the band move up another notch or two or
more.......
Frank Leigh
D’MAR & GILL
Real Good Friend
Airtight
The two musicians
Derrick “D’Mar” Martin
and Chris Gill who
form this unique band
play drums and guitar
respectively & before
playing the album I
was very sceptical
how these two musicians could
deliver a blues album with this instrumentation
but I needn’t have worried, this is a very strong
blues album, full of authentic style country blues
music. The majority of the material is self written
although the duo do a fine version of ‘My Babe’,
where some African style drumming provides
the rhythm base, the majority of the vocals on
the album are handled by Chris, who also plays
some slick National Steel guitar; as indicated the
duo follow a traditional Country blues path and
conjure up some similarities to artist like Tampa
Red and Skip James. D’Mar uses a wide range of
drumming equipment throughout the album and it
is good to hear the use of the conga, definitely an
under used instrument in current blues music, his
partner has a great vocal style that fits perfectly
with the raw and stripped bare music being played,
the final track on the album is an instrumental
called ‘International Blues Stomp’ and has a very
similar vibe to ‘Where Am I’ a short song from
Savoy Brown’s 1969 album a Step Further. This

album comes highly recommended and provides
a strong case for supporting the ‘Drummers
Union’ as after listening to Derrick plying his trade
I now understand how much variety there is to
‘Drumming’
Adrian Blacklee
GRAINNE DUFFY
Out Of The Dark
Independent
The first thing that hits
you about Grainne’s
voice is it’s mixture of
Bonnie Raitt, Shania
Twain and Sheryl Crow
which in my books can’t
be a bad thing. As you
may have gathered
from the opening sentence this CD is a mix of
Blues/Rock/Country, Grainne has mixed all these
genre’s in this album, great listening. Hailing from
Castleblayney, Co. Monaghan, Ireland you may
not have seen her perform much in the UK, then
it’s no surprise that you may not have heard of her.
Take my advice and if you get the chance definitely
check her and the band out, we did this year and
you won’t be disappointed. Not only does Grainne
sing but she also writes and plays guitar. All of the
songs on the album are self penned apart from
‘Rather Go Blind’ and ‘Thrill Is Gone’. The title
track ‘Out Of The Dark’ is an instrumental which
Grainne plays. Her band credits on the album are
guitarist Paul Sherry, Ronnie O’Flynn Electric bass
drums and percussion, Richard nelson Lap Steel
Redal & Dobro, John McCullagh Piano Hammond
& Wurlitzer Ian Sands and Charlie Arkins
Harmonica. Stand out tracks for me are ‘Each and
Every Time’, ‘Bring It All Together’, ‘Bad To Worse’
and for complete contrast the ballad ‘Waiting
For You’. This album will please anyone who
loves heartfelt vocals, great music with raunchy
interludes. Definitely one for the collection.
Christine Moore
LANCE LOPEZ
Handmade Music
Made In Germany
Music
Predominantly
this is a Blues/
Rock release,
following on from
previous albums,
Lance shows he
can rock like any
other virtuosos
giving the nod to other
such guitarists e.g. Stevie Ray Vaughan and
B.B.King. The former having an album produced
by same luminary who has produced this release,
Jim Gaines who recorded it at Ardent Studios in
Memphis. From the off with his in your face song
‘Black Cat Moan’ the listener knows what they
are going to get and he delivers with style and
panache with his own signature. Mixing slower
blues numbers ‘Dream Away’ in particular, he
expresses a mellower side to both his guitar
playing and softer vocal range. Wheras on
rockier numbers such as ‘Get Out And Work’ he
has a more powerful gritty vocal. At times this
release has the impetus and drive of a live take
such is the quality of production. It seems more
traditional texas blues based and shows his
songwriting is improving as he is maturing, his
already well known in your face fretworking. It is
his guitar playing that resonates throughout the
album as techniques shown on the instrumental
‘Vaya Con Dios’. His band has changed since his
last acclaimed release ‘Salvation From Sundown’
and are a very tight powerhouse. Also his playing
is ever improving, shown in arguably the best
track ‘Travelling Riverside Blues’ emphasising
what a master of this blues phenomenon is.
Colin Campbell
Rock’n’Reel is now
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Blues Matters! 117

GOT LIVE
ARTISTS KEEPING
THE BLUES ALIVE
KENNY WAYNE SHEPHERD Koko London 07/11 -
@ Roadrunner
Kenny Wayne Shepherd makes very few excursions
to these shores so the chance to see him at Koko
on Monday night was not one to be passed up and a
very healthy crowd packed the place out to agree with
me. After a good set from the very pleasant Instant
People we were greeted with a screen descending
from the heavens and three aborted attempts to show
a DVD of Kenny cavorting in Clarksdale and with
Double Trouble (Stevie Ray Vaughan’s old band) but
the screen finally lifted and we were knocked back on
our heels by over an hour of ferocious Texas Blues
& Rock by a band of top class. Opening up with a
selection from the excellent new album ‘How I Go’
Shepherd showed exactly why so many rate him as
Kenny Wayne Shepherd
one of the most exciting guitarists on the scene today. He played with real power and verve, very much in
the vein of his heroes Stevie Ray Vaughan and Albert Collins, but with a touch of subtlety, too, when the
music called for it. Vocalist Noah Hunt was in full bellow and the communication between Shepherd and
Hunt was obvious – playing together for 14 years will do that for you. Together with Chris Layton (from
Double Trouble) on drums, Tony Franklin on fretless bass and Reverend Riley Osbourn on B-3 & keys they
make for a fine and very experienced band. The show was slick but not so much that it lost passion and it
was obvious that Shepherd and the band love what they do and aren’t just another slickly oiled machine
churning out the hits but they don’t take too many risks and I can’t put it up there as one of those ‘I was
there’ moments. However, in full flight they do make a superb noise and the audience was going crazy for
them from the off (along with yours truly). Encore of ‘Blue on Black’ and ‘King Bee’ saw us into the night
and looking forward to the next visit – hopefully not another 5 years.
Andy Snipper
JOHN MAYALL BAND / OLI BROWN BAND - Live @ Cadogan Hall, London
The veteran bluesman and band leader always manages to pull something special out of the bag for his
visits to the capital and tonight’s Eve-of-Halloween performance had magic and quality in equal measures.
Stepping out to announce his opening band for the evening in the shape of the Oli Brown Band, Mayall
mused aloud whether any of the audience might be ‘ interested in guitar players...’ - the ultimate tease for
the London blues fans as sharp six-string work is a guaranteed feature of any Mayall show.
Oli Brown and his two cohorts took the stage and take a stealthy slink into their first offering ‘I Can Make
Your Day’. I recognised the snare drum work immediately as that of Wayne Proctor, band and session man
par excellence and of course as any modern blues enthusiast will know a kingpin of the admirable band
Amor, tall man John Amor’s group project after the first incarnation of The Hoax. With bassist Ron Sayer
aboard, not much could go wrong in the engine room with this well-chosen support slot. Ron and Wayne
also sing, which brings another dimension to certain parts of the arrangements. Looking like Albert Lee’s
shock-haired nephew, Brown sings and plays with a crisp mixture of abandon and precision and more to
the point with his ensemble not sounding particularly like other trios past or present. One reason for this is
the wide range of songs he selects. He steers his white Tele through ‘Mr Wilson’, then veers into a Robin
Trower mode for a languid solo that purrs and bites. ‘Devil In Me’ has a choppy swing and emphatic vocal.
Then he does justice to a song from the late great Donny Hathaway’s ‘Extension Of A Man’ album - ‘ Love
You More Than You’ll Ever Know’, singing like an angel and playing with a clipped fervour. One of the best
moments of the whole night. The three players sing during the funked-up fun of ‘No Diggity’ then a Johnny
Winterish closer wraps up the set. Just right.
When the star attraction takes the stage, the audience is well and truly warmed up and ready to savour the
songs. Mayall blends crowd pleasers and nods to his original influences – especially Rice Miller aka Sonny
Boy Williamson 11 - plus some of his superior originals.
Rightly renowned for bringing fabulous line-ups out on tour, John Mayall has really found the cream in
the Chicago rhythm section of drummer Jay Davenport and fusion bassist Greg Rzab. Davenport sound
uncannily like an early Butterfield Blues Band sticksman a lot of the time as he rattles out breaks and rolls
Blues Matters! 118

but at other times it’s as if ‘Spectrum’ era Billy Cobham is sitting in. When Rzab solos as Mayall often
encourages him to do, the Stanley Clarke influence is manifest but deftly aimed to complement the mood
of the material. The crowd take to his lively outings, as he makes the bass strings sing and sound akin to
high-flying birds or even at one point a pterodactyl being evicted from a nightclub by Robocop.
As for Texan axeman Rocky Athas and his red Les Paul, he makes his mark in his usual subtle way. With
years of experience framing the gritty vocals of Larry the singer in the Rocky Athas Band, this guitar ace
has nothing to learn about playing in a band. The guitar tone is kept on the edge-of-feedback level but at
comfortable volume, enabling Athas lines to sing and swoop; and whilst others solo, he keeps up a sonic
thread of chords, chugs and fills. Tonight’s events keep him on his toes, but knowing Rocky as I do, he
always welcomes the challenge to bring the right dynamics to the set.
As for Mayall, I have seen several Bluesbreakers line-ups including ‘Crusade’, the Bath Festival all-star
grouping with Peter Green and (at the Royal Albert Hall) the ‘USA Union” group ( with my hero Harvey
Mandel and the late Don ‘Sugarcane’ Harris) and I have never heard John play better than tonight. He is
truly inspired, upbeat and fluid and cannot disguise his delight at the quality of his players, name checking
them when he feels appropriate. His harp work is authentic and effective, his keyboard stints organically
solid and very musical and his use of his customised guitar his best ever, even taking in a variant of tapping
that sound fine against the agile Gibson lines of Athas. To see him on such form thrills the audience, it is an
exciting show and not the plodding visit to the blues museum some may have feared.
From the solo set starter ‘Another Man Done Gone’ with just longform ‘G’ harp for accompaniment, Mayall
drives things along, taking in Otis Rush gem ‘All Your Love’, SBJ’s ‘Help Me’, the lament ‘Blues For The
Lost Days’ complete with scorching Rocky solo, a bustling ‘Parchment Farm’ and a reflective but smoking
‘Nothing To Do With Love’ from his ‘Tough’ release. Some neat unison harp and piano livens up ‘Early In
The Morning’ and the familiar ‘I Wish You Would’ tempo of ‘Room To Move’ works pretty well.
Anything can happen in a John Mayall show and the audience whoops at the arrival for encores of the
teddy bear figure of former JMB guitarist and ex-Rolling Stone Mick Taylor and his gold Les Paul. Mick
seems happy as Larry to be aboard as he flicks out sharp fills and then produces a slide for some eerie
figures during the moody ‘California’, this evening given an airy Steely Dan touch. The evening ends with
a voodoo stomp through ‘Congo Square’ but for this writer the earlier dynamite version of Mayall’s ‘Mail
Order Mystic’ had alone justified the trip to the metropolis. Audiences throughout the country will find much
to enjoy when these two outfits arrive and perform
HENRIK FREISCHLADER @The Beaverwood Club. September 15th.
Drawing inspiration from Gary Moore, Stevie Ray Vaughan, Peter
Green and Rory Gallagher, to name a few, Henrik is his own man.
Making his London debut and promoting his new Still Frame Replay
CD you can easily see that he has forged his own blues/rock style
as a virtuoso guitarist with a sonorous, gravelly voice, but above all,
a real love of the blues. From the opening ‘The Blues’ onwards you
can see he has a firmly defined identity and mood. His vocals are
clear, soulful and devoid of clichés. The almost comical ‘What’s My
Name’ had the decent crowd joining in the chorus with gusto! Then
the whole mood changes for Peter Green’s ‘Loved Another Woman’
and an elongated ‘Bad Dreams’ a personal favourite. After the break,
the treat continued in the same vein. Credit must go, at this stage,
to the talented band members, Moritz on keyboards, Theo on bass
and Bjorn on drums. Standouts for me and the audience were the
beautiful ‘Memory Of Our Love’ a delve into Hendrix territory with
‘Foxy Lady’, before closing with the phenomenal Roy Buchanan’s
‘Messiah Will Come Again’ perhaps made more famous by the late
Gary Moore, to whom Henrik dedicated it. It was possible to hear a
pin drop in the quieter moments, wonderful! What we all witnessed
was a first rate, accomplished, blues-based guitar hero, who
possesses strong compositional skills complete with outstanding
soulful vocals. He certainly sets a new standard for bluesy heavy
guitar. Check him out, I guarantee you’ll love him and his music!
Clive Rawlings
Pete Sargeant
www.fairhearing.co.uk
Henrik Freischlader
Blues Matters! 119

REVEREND PEYTON’S BIG DAMN BAND:
@ Cluny Newcastle: 3rd November
Reverend Peyton
It is a little over a year since the Reverend
was here last. In that time the band has
graduated to the main Cluny venue.
They have lost nothing of the urgency and
excitement of their music and gained a
following of fun-loving post-punks in the
meantime.
Slinging on one of his beat-up Nationals, the
first number set the tone for the whole gig,
with slide moving up and down the frets at
breakneck pace. Breezy kept up a rhythmic
accompaniment on washboard while Aaron
sang along as he mashed the drum-kit and
thrashed the cymbals. The number was finished off with a cymbal kick from Breezy’s red cowboy boot.
Essentially much the same set as last year the songs have gained a confidence which comes from being
toured. My Burden Down saw a washboard solo, drum break and bucket solo, and the Reverend playing
guitar behind his head! Peter Gunn received an airing for an exhibition of the ‘thumb-bass line / melody
finger picked’ playing style. Slowing it down for ‘Feels Like Rain’ Peyton stroked sounds out of the guitar
neck with his slide. Then he worked the audience up with a “kick-ass” ‘Bad and You Know It,’ which had
us alternately clapping, stomping and screaming to the chorus. There were two numbers from the recently
released Patton tribute cd with ‘Elder Greene’ featuring Breezy on vocals.
The stomp-dancers had been front of stage all night, rushing at each other and bumping about, but with the
last number ‘Bottle of Wine’ there was an en-masse mosh from the punk contingent!
The presence of three local papers and the student press shows the spread of interest in the Reverends
music. The Cluny was packed for a Thursday gig, the band played with an energy which was reflected by
the audience response. Spread the word!
Mel Wallace
THE STRAITS @ Concorde 2, Brighton 20th September
I realise they are not Blues, but a lot of readers would have spent their formative years listening to them.
This gig was a warm-up for the band’s October nationwide tour, so they were probably concentrating
on fine-tuning. It is a tricky situation they find themselves in. Reforming after twenty years without their
mercurial leader, only playing a back catalogue, are they any more than just a glorified tribute band?
Musically the Straits, including original Dire Straits keyboard player Alan Clark, sax player Chris White,
plus guitarist Phil Palmer, who appeared on the 1991 album ‘On Every Street’, were on the money. New
frontman, Mozambique born Terence Reis, has the virtuosity to recreate those distinctive Knopfler riffs.
From the opening ‘Private Investigations’ through ‘Portebello Belle’ to the rocking ‘Tunnel Of Love’, they
were tight, together and driven. With his deeper, somewhat drier voice, Reis wisely doesn’t try to emulate
Knopfler, but he has kept much of his phrasing, evidenced on such as ‘Communique’ and a superb ‘Brother
In Arms’ whilst I found ‘Walk Of Life’ literally, a step too far! Only the aforementioned White appeared to
be enjoying himself, although Reis mellowed as the evening progressed. I couldn’t see Steve Ferrone
on drums to give an opinion. All the enthusiastic audience got for their money, apart from the music, was
‘thank you very much, goodnight’. Maybe the shadow of Knopfler means that they feel like a tribute band,
but they might like to take a leaf out of their inspiring guest, Jon Allen’s book and communicate. Fans do
care; the goodwill cannot only be one way!
Clive Rawlings
IMELDA MAY@ Middlesbrough Empire: 27th November
The Empire is a beautiful old theatre with golden cherubs, boxes and neck craning ‘gods’. It also has great
sound-techs because both vocals and instruments were clear and bright for this Sunday night sell-out.
Support act Big Boy Bloater and the Limits played a set of R & B with a Latin flavour which also crossed
into Rock ‘n Roll. The music set the mood for the night with favourites ‘Big Fat Trap’ and ‘Man or Monkey.’
It was clear from the response to these that parts of the audience were here for the support band as much
as the headliners.
After a short interval, while the stage was set up, the intro music of ‘Lady May’ was piped through the P.A.
The band took their places and as the house lights came up Imelda took centre stage to a huge roar from
Blues Matters! 120

Imelda May
the crowd. What followed was a great night of
entertainment from a singer and band that keep
reaching higher levels of excellence!
We heard old favourites ‘Love Tattoo,’ ‘Big Bad
Handsome Man’ and ‘Mayhem’ delivered in
Imelda’s unique style. There was a dip into the
blues for a great version of ‘Spoonful’ the Wolf-way,
and lots of Rockabilly with ‘Tear it Up’ being a stand
out. A poignant version of ‘Kentish Town Waltz’
showed one of her more gentle vocals
While Imelda moved around the stage in her
high-high heels, bat print dress and juju beads
the band were behind providing musical support.
They complement each other and show a musical
telepathy that comes from touring and being
grounded in the same roots. Bass-face Al Gare
can slap and pluck those big resonant notes or
provide a beat that hangs in the background. Steve
Rushton keeps up a steady beat until let go on a
mad ‘Animal’ solo. The brass and rhythm guitar of
Dave Priseman add so much, with his infectious
horn playing haunting the slower numbers. Darrel
Higham provides superb guitar runs which hold
everything together and again add to the overall
sound.
After the main set Imelda sang ‘Baby I Love You’
sat on Al’s side down Double-bass with Al accompanying her on ukulele. ‘Tainted Love’ with audience call
and response closed the show. That Imelda has come so far and is breaking new ground abroad is a great
advert for the Blues and music in general.
Mel Wallace
ROBIN TROWER @ Kendal Brewery Arts Centre 17th September
Standing only in the packed Malt Room for this gig in a very wet Kendal.
Virgil & the Accelerators opened with a powerful set of extended numbers at breakneck speed. This young
band are an old-style power trio with guitarist Virgil McMahon possessing possibly the strongest and
definitely the fastest rhythm hand I’ve seen. While brother Gabriel (drums) and Jack Timmis (bass), held
the line Virgil arched his back and produced one searing solo after another interspaced with manic rhythm
playing. A short but electrifying support hampered only by the muddy sound of the vocals.
Robin Trower cut three defining albums in the early Seventies which moved between full-on blues-rock,
psychedelic wig-outs and beautifully fluid seductive Strat sounds that took the listener to another place.
Tonight was very much a reprise of this – a set list of old friends greatly appreciated by his obvious
loyal following. We were treated to ‘Twice Removed,’ ‘Bridge of Sighs,’ ‘Too Rollin’ Stoned,’ ‘Little Bit of
Sympathy,’ ‘Fool and Me’ and ‘Daydream.’ It was clear that Robin enjoyed playing, and bass and drums
were focused, although the vocals again needed bringing up. The songs were good the music was great...
And although the songs were good and the music was great it felt that he has been in a holding pattern
for the 35 years since I saw him last - hoeing that same row. The loss of Jimmy Dewar, the soul inflected
smoky blues voice of Trower, has obviously had a serious effect on the music. It was not just the guitar that
made their sound unique.
That said, Robin and the band played a set of crowd pleasers and certainly seemed to enjoy the limelight.
A consummate guitarist, he made it all look so effortless. Only the trade-mark contorted facial expressions
showing the energy put into producing the sounds. Shouts for ‘Daydream’ started third song in. It was
dusted off as the final number in a set full of nostalgia that left the audience shouting for more.
Mel Wallace
C-FAB is comingOctober 2012
Blues Matters! 121

ERJA LYYTINEN @ The Beaverwood Club,
Chislehurst, 25/10/11
Erja Lyytinen’s website describes her as playing “ferocious
slide guitar Blues/Rock”, but based on her performance
at Chislehurst’s Beaverwood Club, what this lady is most
about is fun. As she tuned up, we were treated to her singing
‘Amazing Grace’, interspersed with dialogue with her band
in Finnish. Fun. The set? Sheer Blues entertainment; with a
dash of slower tunes from her new album ‘Voracious Love’.
Highlights included “Not a good girl”, which thudded to a
beat reminiscent of Muddy Waters. The tearjerker, ‘Can’t
Fall In Love’ made the most of Erja’s powerful, emotional
voice and beautifully crafted guitar solos. A well-paced and
sexy cover of ‘Steamy Windows’, inset with an excursion
into ‘Like a Virgin’, ended with glorious, screaming slide
work. The solid beat alongside the squeals of her slide
guitar in “Crowes At Your Door”. Song after song played
with a smile, ending with her standing and playing in the
crowd on a handy chair.
There was time to ask Erja a couple of questions:
What do you like about playing the Blues in the UK?
It’s nice to feel supported here and see the same faces.
The UK is the capital of music, with a great history, and
we’re using our roots in John Mayall and Eric Clapton and
going to play in the places they played.
Erja Lyytinen
What advice would you give to a Blues artist starting out?
Know your music and your tradition and listen to other stuff – have a big ear for it. Practice, practice,
practice and play with as many people as possible. Also, there was no promotion at first in Finland, so good
marketing is important.
Yes, Erja is fun. What fun can be had from the Erja Lyytinen branded red thongs on sale at her gigs, I leave
to others to decide.
Read who Erja named as a favourite British Blues artist in the Blog of the Blues http://blogoftheblues.
blogspot.com
Daryl Weale
JOANNE SHAW TAYLOR @ Fibbers, York: 26/11/11
An opening set by Paul Lamb and Detroit Breakdown blasted into action with the solid drumming of Layla
Hall and boogie bass of Joey Spina. Motor City main-man Paul Lamb provided some hard riffing against
this backing that strayed into heavy-metal once or twice. But this was not only an engine-room that
provided power but harmony vocals too. A premium support act.
This was borne out when Joanne Shaw Taylor took the stage for the headline set. Paul moved to bass
while Layla stayed behind her kit. The set exploded with ‘Going Home’, Joanne almost setting the frets of
fire with her guitar work, her long hair falling first over one shoulder then the other as she postured with her
guitar.
There followed songs from both White Sugar and Diamonds in the Dirt. Outstanding were Just Another
Word and the afore said Diamonds, in which her soul tinged vocals are used to good effect. Big chunky
break chords move the songs into different areas to riff and show off her technique.
That she is a dazzling exponent of guitar pyrotechnics is not in doubt, it is if you think every song should
include these. If you enjoy noodling for the sake then her extended version of Jimi’s ‘Manic Depression’
would have blown you away. She made a good fist of the song but it appeared to be just a vehicle to
introduce another detached solo.
So much better was main set closer, the Don Nix classic ‘Going Down’ which featured some blinding guitar
breaks and fret-work. It also had an amazing drum solo of epic proportions by Layla Hall, spinning her
sticks before handing them to Paul Lamb and using her palms.
The Venue had a turn-out of a hundred plus for a Saturday night. It was the end of the tour and while it was
a great night of live music sometimes it’s the holes between the notes that make the song stand out.
Mel Wallace
Blues Matters! 122

THE DAVE JACKSON BAND & THE STONE ELECTRIC @ Beaverwood Club, Chislehurst 29
November 2011
The Stone Electric and The Dave Jackson
Band play loud, and rock with a capital
Grrr. And they appreciate each other, as
shown when Noni, the Stone Electric’s
feisty singer, danced and clapped during
The Dave Jackson’s Band’s set. Dave led
off with his self-descriptive ‘Born Again
Bluesman’, the first track off his new
album, DJB. Dave has a great, Robert
Plant-like voice. He sings face raised,
intent, into his mike. His guitar work is
slick and strong, and he is backed by
bass player and wife Jan, whose speedy
playing is as fascinating to watch as it is
good to hear, and a drummer who lays
down an insistent beat. Dave, by his own
admission, ad libs his song selection. This
gig’s surprise for both band and audience
was his playing, unaccompanied, George
Harrison’s ‘Here Comes The Sun’, a fitting tribute 10 years on from his passing. Indeed, Dave’s set was
like listening to a return to the era of Cream, Zeppelin and Hendrix, minus the LSD, and plus some strong,
original songs. Dave clearly enjoys playing with pace, as he did on tracks like ‘Lover Man’. Even in a ballad
he can’t help but rev the thing up, as he did with ‘Long Enough To Sing The Blues’. The Stone Electric are
a rare brother sister partnership between Noni and Austyn Crow. Melanie sings with the explosiveness
and tone of Tina Turner, as she bounces around the stage and stares menacingly at the crowd (between
smiles). Austyn brings fierce, head banging guitar. Yet just as the banging head is nicely into its pendulum
motion, he eases into solos with a Pink Floyd-like dreamy quality or Robert Cray coolness. And it works.
Evidence ‘BFM’, so strong it made me want to sit rapt in my chair to take it in. Evidence ‘Rock me baby’,
which lived up to the name. And the glimpse of a future album with the unrelenting rocker ‘Helter Skelter’.
Two bands. One great night. Read Dave Jackson’s Blues story and an upcoming exclusive interview
with The Stone Electric in the Blog of the Blues http://blogoftheblues.blogspot.com http://www.wix.com/
davejacksonband/djb http://www.thestoneelectric.com
Darren Weale
MAYFIELD’S RHYTHM RATS @ The Queen’s Head, Monmouth, Nov. 20 TH 2011
After two frantic and intense w/e at festivals and a few rocking gigs in Cardiff and Ebbw Vale it’s nice to
get out again only this time to a far lower key – you could say chugging pace- for some dirty down -home
back porch swampy laid horizontal (but far from comatised) Blues, Cajun even Reggae. I’m in the County
town of Monmouth and historic (and some say most haunted) C.16 th pub The Queen’s Head. Playing this
evening is local legend Chris Mayfield and his friends The (Rhythm) RATS - (local yes – but he’s very
well known in Blues Circles in Britain, Europe and good ol’ USA) Chris takes lead and vocals, Jane Pearl
vocals Kazoo, Ukulele and harp whilst Thaddeus Kelly plays steady drivin’ bass to perfection. Les Morgan
drums with aplomb as someone with his experience and music history can and new to me saxophonist
Kevin Figes (deputising for Mike Paice) sighs swings and slides succinctly and dare I say it? Sexily into the
general slow low keyed ambience engendered by The Rhythm Rats! They start with Walking with Frankie
(not as I call it the Lordy Lord song!) followed by a delightful Mississippi Magic. Jane takes the next two
numbers (her own creation) and then thrills us all with Sippie Wallace’s Keep Your Mouth Shut. Chris then
growls and gnashes his way through It Should Have Been Me (with that real fine girl) throwing some super
snarling guitar work in his own inimitable style. Jane sings perhaps my favourite of the night Percy Sledge’s
‘If Lovin’ You is Wrong’ (I don’t want to be Right). The audience has reach melt down by the end. All the
way through Sax man Kevin plays beautiful interludes that enhance the songs and impressed us all as
he is, after all, depping for Mike and not a regular with these guys. The second set gets under a way with
Jane singing ‘Built For Comfort’ (not for speed) and after Chris does a Reggae version of Lennons’ ‘Jealous
Guy’. Jane comes back with a perfect sultry sensual version of Etta James ‘Mine at Last’ with Kevin
producing a delicate sax solo to compliment this fine voice and beautiful melody. Les and Thad (rhythm
Blues Matters! 123
Dave Jackson Band

section) keep reminding us all snuggled into the
Queen’s front bar what pedigrees they have and it
shines through in all the numbers played keeping
at bay the cold damp foggy November night that
lays in wait for us outside when we leave! The
gig ended with Chris leading on Hard Times and
as they have overrun there was no encore alas!!
It was a much needed chill out session for me
after two hectic weeks running around the country
to flash brash festivals – just before the Xmas
season starts in earnest!
Diane Gillard Sister Feelgood
LARRY MILLER @ Beaufort Theatre, Beaufort.
17/12/2011
This was a gig that lifted your spirits and got you
rocking towards Christmas. Larry was his usually
ebullient self full of chat and ready for a good time
combined with some skilful and awesomely good
guitar playing and his voice was in tip top form.
As ever Larry was loud and brash and played
old favourites such as ‘Outlaw Blues’ and new
numbers from his latest CD ‘Unfinished Business’;
with tracks such as ‘Deliah’ and ‘Gamblers Hill’
supported by his excellent band, who many
recognise as the core element of ‘Storm Warning’
including Derek White (Bass) & Ian Salisbury
(Keys). The whole band pleased the audience
this was rocky blues at its best, and Larry as ever
Larry Miller by Liz Aiken
bought the riffs and magical playing associated with the late great Rory Gallagher. What a great night
out, proving once again that live music is unbeatable and the energy produced by Larry and his band left
everyone upbeat and energised.
Liz Aiken
JOE BONAMASSA @ BEACON THEATER, NY. NOVEMBER 4th 2011
The first of two nights at the Beacon Theater in NYC for Rochester New York’s own Joe Bonamassa was
a neat and tidy event. Looking cool and calm with his slicked back hair, tuxedo jacket, white shirt and
sunglasses, Joe and his band began the evening by ripping into “Slow Train” from his “Dust Bowl” album,
the first of twenty songs to be performed that night, many of which with special guests. This was followed
by Rory Gallagher’s “Cradle Rock”, proving to us Joe is a dedicated Rory fan. On through the set he went,
displaying tasty guitar licks. Joe’s lead guitar playing sounds like many other players, yet at the same time
like nobody else. He attacks with melodic flurries of notes combined with single notes that stand out loud
and clear. He’s an outstanding slide player too, as demonstrated on the sixth song of the night, “The River”.
It was nice to see blues singer Beth Hart appear on stage to give us soulful renditions of “I’ll Take Care of
You”, and “Sinner’s Prayer”, featured on the recently issued “Don’t Explain” album Joe and Beth recorded
together. To change the pace just a little, the next surprise guest was John Hiatt, who performed “Down
Around My Place” and “I Know A Place” with Joe and the band. A strange pairing you’d think, but Joe
and John worked together previously, collaborating on the “Dust Bowl” album. Shortly after was the next
surprise guest, the one and only Paul Rodgers, whose mere appearance brought the crowd to its feet
and lifted the energy level of the theater up a few notches. Paul’s performances of “Fire and Water”, and
“Walk In My Shadows” had Joe doing his best Paul Kossoff to the crowd’s delight. oe used quite an array
of guitars from his huge collection for this show. We spotted his signature Gibson “Bonaburst” Les Paul,
his signature Les Paul Gold Top, a black Music Man, and a double neck Gibson, among others. The crowd
in attendance enjoyed every minute of the performance, though it seemed they weren’t very hip to Joe’s
repertoire or had even a casual knowledge of the blues. Taking that one step further, at one point during
the evening a middle aged man needed to ask me “Do you know who John Hiatt is?” A fine evening of
good music it was, and you’ll get to see it soon yourself as this evening was filmed for an early 2012 DVD
release.
Barry Fisch
Blues Matters! 124

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Blues Matters! 126
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PETE HARRIS BLUES
BAND @ The Platform
Tavern, Southampton
24/11/11
This is a smashing City
Centre bar and this gig
was part of their Blues
& Brews festival with a
fantastic turnout for a
chiily Thursday evening.
The guys in this band are
hugely experienced having
individually played with
The Producers, Yardbirds,
Bob Pearce, Phil Guy,
Lowell Fulson, Mojo Buford
etc. The atmosphere was
crackling and the crowd
were lapping up songs
Peter Harris Blues Band
like ‘All Your Loving’ and
‘Further On Up The Road’ with Harris on guitar and vocals, Hugh Budden on harmonica and shirt plus
Steve Groves on drums and Bob Manley on bass..The material is mostly familiar and both punters and
band were clearly enjoying themselves. One of the highlights of the evening came with a lengthy and
superb version of BB King’s wonderful ‘It’s My Own Fault Baby’ featuring Harris singing soulfully and
soloing brilliantly on guiiar with superb harp fills from Budden. As always ‘Red House’ proved to be a crowd
pleaser and then came Budden’s moment in the spotlight with ‘Scratch My Back’ as the lovely Amanda was
invited on stage to jiggle her maraccas with the band. In addition to singing and playing well Budden milked
this number, for all it was worth, much to the amusement of all concerned. As the audience got rowdier
Harris switched to slide guitar for a rocking cover of Elmore’s ‘Fine Little Mama which eventually morphed
into ‘Talk To Me Baby’ complete with audience participation. A really enjoyable evening for everyone and if
you’re in the deep South (of England) then this is the bar to search out and the band to see.
Dave Drury
NIMMO BROTHERS @ The Prince of Wales, Ledbury (Herefordshire) October 16 th 2011 (4pm)
After watching the bikers Hog the Bridge (1st Severn Crossing) and invade Chepstow for the day and
revelling in all that noise, mayhem, leather, chrome and rock bands we (Jean and me) left for the delightful
run up to Ledbury. We drove through the autumnal splendour of the lower Wye Valley and into Hereford
bound for the equally picturesque town of Black and White timbered listed and often listing buildings of this
lovely historic part of the county.
In Church Lane - an ancient cobbled street leading up to the parish church of St Michael and All Angel - is
The Prince of Wales (the pub, not Charlie). Each Sunday afternoon about 4pm they have some excellent
bands /duos /solo artists play. So along with the friendly locals and landlord not to mention a succinct but
beautiful collection of real ales and ciders you are guaranteed a good time! It doesn’t get much better other
than when like this particular Sunday we had The Nimmos to have a real good time with! Unplugged and
uninhibited they set loose to their vocals and acoustic guitars and some of the finest truly emotional set of
blues and soul I have heard in ages.
Steve and Alan gave good account of themselves with beautiful clear vocals with real tasty guitar artistry.
Their programme was varied as they chose to play several songs from Nimmo albums and King King’s
(Alan’s own band).They included the finest rendition of ‘Feels Like Rain’ I’ve ever heard, along with the
orgasmic ‘Old Love.’ Thrown in for excellent enjoyment were the likes of ‘A comeback for the Blues’, ‘If You
Need Me Just Call Out My Name’, ‘Ain’t Gonna Be Your Fool Anymore’. They included their own‘political’
song ‘Perpetual Blues Machine’ - written whilst travelling down through Georgia USA. Their awesome
version of ‘I’d Rather Go Blind’ very nigh brought the house down. The whole audience gathered in the
small bar and only marginally wider lounge enjoyed everything they did especially a notable The World
Keep on Turning and returning to their last Nimmo Bros album If I could ‘See Through Your Eyes’. A brilliant
afternoon finished off with an encore or two for good measure!
Diane Gillard (Sister Feelgood)
Blues Matters! 127

BEFORE WE FORGET
CYRIL DAVIES
Cyril Davies, together with his contemporary Alexis Korner was
truly an integral part of the development of the Blues in the UK.
Whilst Davies’ recordings are very few, his vocals, 12 string
guitar and banjo. His tragic death at a very young age robbed
us all of a great talent.
Kevin Wharton explores the contribution of Cyril “The Squirrel”
to British Blues .
It’s unusual for me to be writing about a British white latter day
musician in this series, but a piece on Cyril Davies is essential
to an understanding of how British Blues developed. Davies
was born in Denham, Buckinghamshire to William Albert
Davies, a labourer, and his wife Margaret Mary (née Jones).
The Davies family is believed to have come from Wales.
Whilst still working as a panel beater, Davies musical career
started in the early 1950s playing with Steve Lane’s Southern
Stompers. It kicked off 1955 when he formed an acoustic
skiffle and Blues group with Alexis Korner. His role in the
group was as a banjo and 12-string guitar player. Legend
tells us that after hearing Little Walter he turned himself into
a Chicago-style blues harmonica player. Before meeting
Korner, Davies ran an unsuccessful skiffle club, and then
he opened a Rhythm and Blues club in London with Korner
entitled ‘England’s Firstest and Bestest Skiffle Club’. This
was rechristened the ‘London Blues and Barrelhouse Club’.
Popular with other musicians, the club hosted gigs by Blues
giants such as Muddy Waters, Sonny Terry and Brownie
McGhee and Memphis Slim.
During this period Davies and Korner worked as session
musicians, and often worked with Chris Barber’s band. This
necessitated using amplified instruments for the first time –
an unpopular move with their Blues purist audiences. The
closing their club led to Davies and Korner parting, and,
influenced by the
electric sound of
Muddy Waters, Davies formed his own electric blues band.
In 1962 Davies and Korner joined forces again, and opened
the Ealing Club in London. The club became a platform for
their band. Renaming the band Blues Incorporated, they
added bassist Jack Bruce, saxophonist Dick Heckstall-Smith
and drummer Charlie Watts. Long John Baldry and Art Woods
(brother of Ronnie) also joined the band occasionally. Many
young musicians visited Davies’ club and guested with Blues
Incorporated, including Rod Stewart, Paul Jones, Keith
Richards, Eric Burdon, Mick Jagger, Brian Jones and Ginger
Baker.
At this time Cyril Davies, along with Alexis Korner were part
of a small group of young British musicians who were hugely
engaged by the music form we know as Blues and it is
impressive to note the musicians who went on to help define
Blues Matters! 128
by Kevin Wharton
Cyril Davies

Before We Forget
ROOTS & new
ERIC BIBB
DEEPER IN THE WELL
Alexis Korner
Alexis Korner
the fine array of Blues we have now. Clearly, Davies was a
key player in its development. As a Blues purist however, his
future in Blues Incorporated was limited. By October 1962
there was a split in the band as some members wanted to play
crowd pleasers such as Chuck Berry songs while Davies and
others members wanted to play what they saw as only genuine
Chicago-style R&B.
Davies departed Blues Incorporated in October 1962 to form
the Cyril Davies All-Stars in November 1962. The original All-
Stars line-up was largely recruited from Screaming Lord Sutch’s
Savages, and featured both Long John Baldry together with
Davies on vocals to give Davies room to play harmonica. It
included Nicky Hopkins on piano, Ricky Brown on bass, and
Carlo Little on drums. They quickly recorded a successful
single, ‘Country Line Special’ driven by Davies wailing harp and
vocals. The music sounded so much like authentic Blues, it was
placed in the Pye Records catalogue alongside the recordings
of people like Muddy Waters and Howlin’ Wolf. Their second
single, ‘Preachin’ The Blues’ followed the departure of Watson
and Brown and the joining of Jeff Bradford and Cliff Barton on
guitar and bass and enjoyed a measure of success. For a time it
looked as if the All-Stars were heading to be a major force in the
burgeoning R’n’B scene in the UK. However, in 1963 Cyril Davis
collapsed late in 1963 and was diagnosed with leukemia. He
died in January 1964 at the tragically young age of 31years. The
core of the All-Stars was taken over by Long John Baldry and
formed the basis of his ‘Hoochie Coochie Men’.
The Cyril Davies All-Stars are an impressive part, but
nonetheless just a footnote in the history of UK Blues as they
had very little chance to commit their talent to recordings. They
never recorded an album, but their songs appear on several
anthologies including ‘A Shot Of Rhythm and Blues (Sequel
Records), ‘Stroll On’ (Sony Music) and ’Dealing With The Devil
(Sony Music). In ‘The Legendary Cyril Davies’ (Folklore, 1970)
you can listen to some early acoustic sides laid down by Davies
and Korner. This work is too early to be fully representative of
Davies’ work and a more representative set can be found on
‘R’n’B From The Marquee’ released by Decca in 1971.
A masterpiece
where Blues meets
Americana, Louisiana
and Cajun music...!
“Deeper In The Well” has been recorded
in Louisiana, a place where the old styles survive
and thrive and new sounds are born.
Eric gathered exceptional Louisiana musicians
as well as the legendary Jerry Douglas,
top dobro country guitar player in the US who also
contributed to the common project.
“Thusly assembled, in beautiful, not-too-hot,
bayou weather, the seven of us, brothers of varying
hue, came to record a celebration of our shared
Americana heritage: ‘Deeper In The Well’.”
Eric Bibb, October, 2011
To be released on March 5th
DFGCD 8720
UK Distribution by DISCOVERY RECORDS LTD
01380 728000
available from all good record retailers or order direct from
www.discovery-records.com
Stay tuned to Dixiefrog artists at
www.bluesweb.com
Blues Matters! 129

What’s coming up in Blues Matters?
Blues Matters 65 - Loaded with features and interviews with great acts
and great people!
Interviews – Joe Louis Walker, Steve Roux, JJ Grey, MO Blues, Oli
Brown, Charles Shaar Murray, Paul Rogers and more!
Features - Blues In Spain (Part 2), Pawn-Shop Guitars by Dave Stone,
A look in the History of Dixie Frog, The Blues Cruise and many more.
Red Lick:- Top 20 Chart
Plus the Magazine regulars: News, Feedback, CD Reviews, Gig
Reviews, Festival Reviews, Blues Blood and more!
Winners of the competitions in BM63 are:
SAVOY BROWN CDs – David Asbury, Nottingham
GARY MOORE DVD – Robert Keenan, Dumfries.
Congratulations to you both and enjoy the CDs and DVD which have
been posted
COMPETITION Time
For a chance to win a copy of Charles Sharr Murray’s book ‘The
Hellound Sample’ Answer the following
question to :-
contests@bluesmatters.com
Question:- What was the name of the band that
Charles played in between 1970/1980.
A: Steve Jobs and the Apple Consortium
B: Blast Furnace and the Heatwaves
C: The Blues Band
(Entries will be checked against membership)
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qualify)
Blues Matters! 130

Blues Matters! 131

Walter Trout
pick
Music Strings
www.rotosound.com
Blues Matters! 132