068 - Blues Matters

ALVIN LEE
ON THE ROAD TO FREEDOM
FROM THE UK!
ANDY FAIRWEATHER-LOW
LEWIS HAMILTON
ANDY TWYMAN
LITTLE DEVILS
PAUL LAMB
FROM THE USA!
CHAZ DEPAOLO
JON CLEARY
ALVIN LEE
NOTHIN’ BUT THE BLUES!
JOANNE
SHAW
TAYLOR
NEW FACE OF THE BLUES
OCTOBER/NOVEMBER 2012 ISSUE 68 £4.75

ANIMALS & FRIENDS WITH
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conditions please visit butlins.com/terms. Butlins Skyline Limited, 1 Park Lane, Hemel Hempstead, Hertfordshire, HP2 4YL. Registered in England No. 04011665.

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, Martin Cook, Norman Darwen,
Dave Drury, Sybil Gage, Nick Garner, Stuart A. Hamilton,
Brian Harman, Nat Harrap, Gareth Hayes, Trevor Hodgett,
Billy Hutchinson, Peter Innes, Duncan Jameson, Martin
Knott, Brian Kramer, Frank Leigh, Mike Lightfoot, Geoff
Marston, Ben McNair, Michael Messer, Martin ‘Noggin’
Norris, Merv Osborne, Mike Owens, Frankie Pfeiffer,
Thomas Rankin, Clive Rawlings, Chris Rowland, Paromita
Saha, Pete Sargeant, Dave ‘the Bishop’ Scott, Graeme
Scott, Andy Snipper, Steve Swales, Suzanne Swanson,
Richard Thomas, Tom Walker, Daryl Weale, Kevin
Wharton, Mel Wallace.
Contributing photographers:
Christine Moore, Liz Aiken, Annie Goodman, 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.
What a year this is! First the Queens’ 60 th
Jubilee and then the Olympics!
What a time Team GB had! What a stadium!
What an opening night! So many great performances,
so much effort and dedication all around us! We’ve
seen what can be achieved when energy and effort
are pooled and people pull together (shame the
Government can’t see that more clearly) and then we
have the power of the Paralympics on top showing the
great depths of determination and pride that can be
achieved.
That Olympic fl ame was an inspired creation indeed
and stood for all to see, much like so much Blues
music proves to be an inspiration to so many of us.
That is what Blues Matters was created to do all those
years ago. We’ve reached out and achieved so much
and brought so many ‘names’ to the fore in different
ways helping a great number of acts along the way.
As you may now be aware, BM’s Jaks stage at Butlins
is fi nalized (page 97) and we have many great acts
for you all too see. Three nights full of the Blues all
under one roof. Tickets are selling out fast so if you’re
planning on attending next year’s Butlins Rock N Blues
event, book up now while tickets are still available. All
the HQ team and many of the BM writers will be there
so come and say Hi.
It is very disappointing to hear from some of our clients
of malicious e-mails going around trying to discredit
this publication we can assure everyone of our best
efforts and if this has led to any of you have any
concerns do pick up the phone or go to our web site
where you can fi nd our verifi ed fi gures. Shame there is
always someone who feels the need to act that way.
We are improving the website, have refreshed the
magazine with a new look cover, widened distribution,
introduced a blog which can be advantageous to
advertisers as well as supporters, improving Facebook
and now being on Twitter.
In short, there are more and better opportunities to
reach more people via Blues Matters.
We are ‘Spartacus’ apparently… work that one out!
P.S. There are some changes in both the text size
and the B&W “retro look.”
Let us have your views on these changes, please
send feedback in THANKS.
Dont forget your feedback to us :-
editor@bluesmatters.com / or use the
‘contact us’ on the website

Your latest copy of
Regulars
6 TOP TEN
Todd Sharpville.
8 FEEDBACK
10 HAPPENIN NEWS
Blues News.
40 CD REVIEWS
Over 45 reviews.
111 BLUE BLOOD
Blind Dead McJones Band (112), Buffalo Summer
(111), Damascus (113), Porter (112).
118 GOT LIVE
Ben Waters Boogies Band (119), Blue to
Brown (119), Ian Siegal & The Mississippi
Mudbloods(121), J Alexander & The Blues
Devils(120), Keith Thompson (120),Michael
Chapman (121), Mitch Laddie (122), Nicky
Moore (118), Philipp Fankhauser (118).
Features
Blues Matters! delivers!
14 INTERVIEWS
Alvin Lee (86), Andy Fairweather Low (66), Andy
Twyman (28), Chas De Paolo (14), Henri Herbert
(38), J D McPherson (24), Joanne Shaw Taylor
(76), Jon Cleary (16), Lewis Hamilton (34), Little
Devils (30), Paul Lamb (20), Robert Cray (98).
53 FESTIVAL FEVER
Abertillery Blues Festival (53), Edinburgh Jazz
and Blues Festival (58), Summer Tyne Americana
Festival (62), Windsor International Bluesfest (56),
Woodstock Rhythm & Blues Festival (60).
104 FEATURES
Blindman Billy Allerdyce (104), Blues DJs pt.
2 (124), Blues in Schools (126), Johnson to
Bonamassa (106), Mud Morganfield & Hugh Laurie
(110), Roots Music Report (125) The Effect of the
Effect (108), The Story of John Campbell (114).
CD REVIEWS start page 102
ALVIN LEE, BETTY WRIGHT AND THE ROOTS, BETTYE LAVETTE,
BEX MARSHALL, BLODWYN PIG AND MICK ABRAHAMS BAND, BRAD
HATFIELD, CARMEL, CHRISTOPHER HOLLAND, CLIMAX BLUES
BAND, DICK FARRELLY & MAT WALKLATE, EDDIE MARTIN WITH HIS
BIG BLUES BAND, ELVIN BISHOP, ERIC BURDON & THE ANIMALS,
GRUHAK, IKE TURNER, J SINTONI, JAMIE HARPER, JOE JACKSON,
JOHNNY RAWLS, JON CLEARY, LARKIN POE, LIL’ ED & THE BLUES
IMPERIALS, MATT EDWARDS, MORGAN O’KANE, MUDDY WATERS,
PAUL LAMB & THE KINGSNAKES, PAUL MARK & THE VAN DORENS,
PETER GREEN SPLINTER GROUP, PORTER, RICK ESTRIN & THE
NIGHTCATS, RJ MISCHO, ROBERT CRAY, RON SAYER JR., RORY
BLOCK, RUSTY SHACKLE, SAFEHOUSE, SLIM BUTLER, STEVEY
HAY’S, TAB BENOIT, THE A B C & D OF BOOGIE WOOGIE, THE ALAN
BOWN, THE DUNWELLS, WILDCAT O’HALLORAN BAND, WILL JOHNS.
Blues Matters! 4

WE NEED YOUR
UNWANTED
• Your local Cancer Research UK
shop needs donations
• Clothes, accessories, DVDs, CDs,
books and quality homeware all
accepted.
• Each bag you donate could raise
up to £30 for the charity
To find your nearest Cancer Research UK shop please visit
www.cancerresearchuk.org/shopping
Registered charity in England and Wales (1089464) and Scotland (SC041666)
Blues Matters! 5

Without a doubt, Todd Sharpville is one
of the most soulful blues guitarists in the
world today along with having a burgeoning
reputation for being an incredibly soughtafter
songwriter & lyricist: a veritable “Randy
Newman of the blues”! Additionally, his
shows are famed for being highly intense
affairs, emotionally charged and full of
spirit. One of a small minority of British acts
who’s a regular “face” on the international
touring circuit, Sharpville is in the process
of taking the USA by storm and reminding
blues fans around the world of the invaluable
contribution that Britain still offers to blues
culture.
1.‘Pack It Up’ - Freddie King
The fi rst track on the fi rst blues album I ever
bought. I was 12 years old & a 50’s rock n’ roll
freak. I desperately wanted to explore Elvis’s
early infl uences so I decided to immerse myself
in the blues. Went to a record store & picked up an LP with a cover that looked like the kind of thing that fi t the image in my
head. Turned out to be Freddie King! I had an epiphany half way through the song, deciding there & then that I wanted to
quit my childhood dream of becoming a doctor & instead learning how to play blues guitar like Freddie... My parents nearly
had a heart attack when I told ‘em!
2. ‘Strollin’ With Bones’ - T-Bone Walker
The Master pure& simple! Although I stumbled across the blues thanks to Freddie King, my guitar style mainly originated
from all that is T Bone... I could almost say that he’s the foundation to the building… This song particularly emphasises
Walker’s lifelong relationship between his horn arrangements & his guitar playing. The two somehow weave around each
other like high class boxers in their prime (Muhammad Ali & Joe Frazier spring to mind!).
3. ‘You Upset Me Baby’ - BB King
The version from the original Crown album. BB’s fi rst two Crown albums still totally blow me away. His voice was so
pure & perfect in those days. The horn arrangements set up the spaces for his lead so perfectly. They frame the tasteful
sweetness of his guitar. Probably the most perfect epitome of a gentleman of the genre. Damn, BB even plays like a
gentleman!
4. ‘Jumping At Shadows’ - Fleetwood Mac
Specifi cally the version from “Live At The Boston Tea Party” Peter Green at his very best. It’s almost as if this Duster
Bennett song was written specifi cally for Peter. His guitar weeps, moans, wails, like no-one else’s. His vocals are so
intimate & soulful; the dynamics of the song are so immense. If there was any justice in this world, this song would be the
thing that pops up whenever you look up the word “pain” in the dictionary. A perfect example of the absolute essence of
what Peter was all about. If you ever try to introduce his music to a newcomer, put this on fi rst. Gets ‘em every time!
5. ‘Look Watcha Done’ - Magic Sam
This is messy yet tight; perfectly sloppy. His voice is enormous in every sense & totally unforgiving. He confi dently croons
at you, while beating the hell out of you with his guitar at the same time! I love Magic Sam for the same reason I also love
Lightnin’ Hopkins; they both play each note with the conviction of the devil! Even when they mess up, they do it with so
much self-belief; they can’t help but make everything sound right. I rarely record covers, yet I had to do a version of this on
my “Meaning Of Life” album.
6. ‘I Can’t Stop It’ - Jimmy Liggins
The one other song I covered on the “Meaning Of Life.” Jump blues at its fi nest. The band arrangement on the original
track is simply awesome. I’m a total horn nut, and I wouldn’t change a single note of this. Not many folks know about
Jimmy Liggins & his band (The Drops Of Joy). He was one of the fi rst bluesers who unwittingly crossed over into the world
of Rock n’ Roll with his song ‘Cadillac Boogie’. Recorded on the speciality label, you can fi nd a lot of it re-issued on Ted
Carroll’s Ace Records label. Pick some up & you’ll get hooked!
7. ‘Tell Mama’ – Etta James
I can’t cite Etta James without also mentioning Koko Taylor. I love them equally. This particular Etta song is one of the
Blues Matters! 6

things I turn up loud in the car when I’m in a hurry. Likewise, it’s
my “open the blinds & drink my coffee” tune in the mornings.
Bright, positive, upbeat, energetic... I’ve always loved everything
Etta ever did, from tunes like this one to “Damn Your Eyes”
(possibly one of the fi nest modern blues ballads ever written).
8. ‘Let’s Have A Natural Ball’ - Albert King
Another killer horn track! A 100% perfect arrangement that
frames Albert’s hallmark guitar licks. I adore so much of what
Albert ever put out, but I especially love this early stuff. It really
helps the listener understand exactly where he was coming from
in regards to his approach behind all the later material. I’m also
a glutton for his ballads. “I’ll play the blues for you” has to be one
of the most enduring blues songs of all time.
9. ‘The Gift’- Joe Louis Walker
Joe was my mentor through my teens, so I hear a touch of him
in almost every guitar solo I play. Although The Gift isn’t really
indicative of what Joe’s mainly known for, I have a huge amount
of personal affection for it. I always felt that this song (the title
track of his second solo album) was Joe’s fi rst real foray into
expressive, stark lyricism. This ballad speaks of his family’s
moral ethos, the plight of his race, the death of his friend Mike
Bloomfi eld, his personal battle to quit heroin, and it somehow
manages to tie all these things together under a banner of
faith &self-belief. Anyone who thinks blues lyrics are all about
cliches& tired stereotypes are deluding themselves... To this day,
Joe continues to make great music.
10. ‘Too Hot To Handle’ - Duke Robillard
I’ve always felt that Duke Robillard and Jimmie Vaughan are
two perfect American examples of what I love about Peter
Green’s musical ethos. They all play to express as opposed
to impress. Simple, tasteful, heartfelt, classy. The things great
blues guitarists are supposed to be made of... It’s hard choosing
one specifi c song of Duke’s (after all, he’s been hugely prolifi c in
his career to date), so much to choose from! However, this early
track from the Pleasure Kings days (after he’d founded Roomful
Of Blues) is SO indicative of everything Duke’s known for. His
style is steeped in T Bone Walker to such a beautiful extent that
it somehow manages to evoke everything that’s cool about T
Bone without emulating him at all. I discovered his music back in
the early 80’s, and am honoured to now be his friend & working
with him all these years later. He did an amazing job as the
producer of my “Porchlight” album & I relish every opportunity
I get for us to gig together. A true gentleman and one of the
greatest living blues guitarists in the world today. I recommend
that everyone look up his “Blues For T Bone” on youtube (from a
live German TV appearance); mind-blowing stuff!
11. ‘74 Years Young’ – Buddy Guy
OK, I know this is number 11 out of a list of 10, but the blues
has NEVER been about conforming! Neither has Mr Buddy Guy,
which is why I’d say he’s still one of the most exciting players
out there. I’ve loved him since the fi rst time I saw him on stage
(along with Junior Wells) & I always will. Very hard to pick a
specifi c track, which is why I’ve decided to go for something
really recent. The song was written by his producer, Tom
Hambridge. Despite his age, Guy still kicks the shit out of most
guitarists, & his voice somehow teases the lyrics out of each
song like a naughty schoolboy in a playground who’s managed
to convince the girl with pigtails to show him her knickers...
“Leave your ego, play the music, love the people...” - The late,
great Luther Allison
Blues Matters! 7

What you
want to
vent!
FREE JHS ‘The Blues’ Harmonicas
The writer of every letter published will receive Three FREE JHS
‘The Blues’ Harmonicas courtesy of JHS & Co. Ltd. (www.jhs.co.uk).
This 10 hole vamper model is available in keys: C, D, G, A, B, Bb, E
and F. Please advise your choice of keys when you send in your letter.
Hi Alan &Gez,
This is not sent so much to get into Feedback but to let
you know how much I personally rate Blues Matters as a
magazine. Over many years now I’ve read about the blues,
played the blues, wrote about it, discussed it, goodness
knows how many live gigs over the time and still loving
every one goodness twenty seven years going to Famous
Oxford Blues, and it still keeps getting better all the time
and buying blues CD’s. Along the way I’ve bought at one
time or another pretty well every blues mag. that comes
along from Blues Revue, Blueprint, Juke Blues, Blues &
Rhythm and Living Blues. Then just recently this new one
produced by Classic Rock magazine, all colourful and all
that. But, and this is my real point, Blues Matters is in my
opinion ,other than your USA equal Living Blues comes
anywhere near to the level BM does. They may have gloss,
boast great writers and all that, what none of them have is
that very special quality that reading BM you feel part of a
blues family, that the whole scene is covered, the live gigs,
not as some do just the selected ‘big name’ gigs that come
(no offence at all to the big names love em!), most have a
very selected choice of reviews by again the best known
names, whereas BM has introduced to us so many new
names, and I mean over the years folk like Matt Schofi eld,
Oli Brown, Ian Siegal, Joanne Shaw Taylor, Danny Bryant
and oh a certain Mr Joe Bonamassa plus many more,
artists we’ve been able to catch up and see live following
your articles and reviews. As I’ve said I’ve read and
subscribed at one time or another to most of them, but BM
is the one I come back to every year because it’s simply
the best of the lot. Sadly since Borders closed Living Blues
is not so easily obtained anymore. I believe BM goes from
strength to strength because it doesn’t boast about the
so called best writers, because those you have are very
good, it doesn’t boast about the credentials of its reviewers
because again they write fairly and honestly out of a love
for the music. The articles are not sprinkled with four letter
words that seem so sadly to be a common part of some
rock based magazines around these days. BM and yours
and the teams work pays off producing just about the most
looked forward to magazine, I look forward to each issue
and read it right through, often at least a couple of times,
your reviews lead very much into what I’m more likely
to purchase ‘blueswise’. This may seem a bit of a long
letter but I just wanted you to know how I feel and how
Blues Matters! 8
surely every other reader of the magazine feels, and also
a massive vote of thanks to the fabulous promoters who
continue to put great nights of live blues on throughout the
country. So again, you’re the best mag that there is in blues
today. KEEP IT UP!
Pete Clack (Oxford)
BM:We blush with pride and thanks
Best wishes and well done on keeping producing an
interesting and enjoyable magazine - I particularly like the
mix of old and new - without Blues Matters I wouldn’t know
about a lot of great new music - and it’s always good to
hear about people like TS McPhee - to know they are still
keeping the music alive.Cheers
Graeme
Little Devils
BM:Graeme, thank you, this is what we are all about the
mix is so important and being able to bring new names
to the fore as we have done over the years and an
unpredictable range of features, we get entranced too!
Hi Blues Matters, I just fi nished reading the excellent
interview with Otis Grand. I have to say I don’t fully agree
with everything he said as I am a big fan of the burning
guitars of post-SRV, but at the same time he made
some excellent points. We want to see the traditions of
Muddy Waters, Freddie, Albert & BB King, etc. etc. We
don’t want to see the greatest musical genre on earth
lose its roots. However, at the same time, we don’t want
to see the wide range of expressions to be stifl ed and
narrowed. I was recently at the Abertillery Blues Festival
where we saw so Guitar genius in the form of Virgil and
the Accelerators, Blues Rock in Devil’s Creek, Traditional
British blues – Steve Roux and The Brass Knuckle Band
and so much more. I also had the privilege of meeting
the lovely Christine Moore, one of Blues Matters fabulous
team. Blues Matters presents us with all this and more, the
spectrum of the Blues! Thanks a Million.
Stephen Atmos
BM: Never one to beat about the bush is Otis and has
some fi ne albums behind him and to come! The Roots and
the branches as Muddy used to say, the Blues is the roots
and the rest is the branches. We hope we are a trunk that
grows form the roots laid and helping to bear the fruits that
are to come, bringing the new along with the existing and
seeking the variations, so interesting and fascinating!

Michael Messer Resonator Guitars
www. michaelmesser.co.uk
Available online at
www.buskerguitars.co.uk
Louisiana Red playing a Michael Messer LIGHTNING
Michael Messer BLUES
(Painted steel body)
Michael Messer LIGHTNING
(Nickel-plated brass body)
With over thirty years experience of
playing and collecting resonator guitars
behind me, I have been working with a
small guitar workshop to create what I
believe are the most authentic and
playable metal-bodied resonator guitars
at a realistic price.
With no frills or unnecessary design features, these are
properly built affordable musical instruments for
working musicians. Based on original 1930s designs,
these guitars are hand-built in a small workshop
under my control to my own specifications. I have
done everything possible to get an authentic
sounding and very playable guitar into your
hands at a realistic price.
Each guitar is serial numbered by hand.
If Blues Matters! readers would like to ask me
questions about MM guitars, please visit the
forum on my website.
Shine on
Michael Messer
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LEFT:
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RIGHT:
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LIGHTNING
Blues Matters! 9

Latest news
from our
Blues world
to afford the same quality of advertising that the major
labels have always enjoyed.
For further information about the Roots Music Report, send
an e-mail to rmr@rootsmusicreport.com or mail us at:Roots
Music Report, 13501 Ranch Road 12, Suite 103-327,
Wimberley, Texas 78676. USA.
ROOTS MUSIC REPORT
What’s It All About?
Roots Music encompasses a variety of different musical
genres and their offshoots. Deeply rooted in, and directly
proportional to, the ongoing development of American
culture and society, Roots Music features alternative and
traditional country, American folk, roots rock, blues, and
bluegrass music. The Roots Music Report was developed
to mirror the activities of these various formats and will
feature weekly music charts and reviews, as well as
articles on roots music, artists and labels. These charts
will identify and help develop new recording artists,
independent record labels, and bring to light the careers of
many exceptional but otherwise “unknown” performers.
These charts will refl ect the radio airplay spins of some
of the most prominent people in the genre, worldwide.
Reporters to the chart include radio stations who are
playing the roots music; record stores and distributors
selling the products; clubs booking the artists; and key
music correspondents throughout the world.
he Charts provide important information to numerous
companies. Radio stations are assisted in their selection
of records for airplay; Distributors and Stores as to which
product to stock in their own areas; Bookers and Promoters
as to the acts who will sell tickets in their areas. In addition,
the chart is an important tool for keeping local media in
touch with the happenings of records and artists spanning
all of these formats.
Each individual aspect of roots music has its own Top 40
Chart (Roots/Americana Country Music Charts, Roots
Rock Music Charts, Blues Music Charts, Jazz Music
Charts, Bluegrass Music Charts, and Folk Music Charts).
All aspects will fl ow into a communal chart, which,
ultimately, will weave the “Root Stock” into the Roots Music
Top 100. Each individual aspect is also represented with
its own section in the Roots Music Report, featuring artist
news and reviews of new product, and live performances.
Reporters are currently being lined up for each genre.
Charts, reviews, profi les and advertising can be accessed
by anyone on-line. However, only subscribers have access
to the in-depth chart reporting information (the so-called
“raw material”) of the actual chart listings.
To underwrite the costs involved in maintaining the Roots
Music Report Top 100, advertising is accepted on the web
site from those companies with products pertinent to our
audience, or whose music appears in any of our charts.
Since the majority of labels in the roots music arena are
independent, we have structured our on-line advertising
prices to be signifi cantly more suitable to the independent
label budget than those of printed publications. With this
strategy, we hope to enable small record labels and artists
Blues Matters! 10
CURTIS SALGADO Soul singer/harmonica master,
undergoes successful cancer surgery
Award-winning soul blues singer/harmonica master Curtis
Salgado underwent successful surgery on July 18 in
Portland, Oregon, to remove a cancerous growth from his
lung, according to his manager Shane Tappendorf. Doctors
removed the entire lower lobe of his left lung where a
metastasized mass was found. Salgado will return home
within a week, and will require a recovery time of up to four
weeks. Doctors anticipate a complete recovery. Salgado
had a similar mass removed from his lung in 2008.
Winner of the 2012 Blues Music Award for Soul/Blues Artist
of the Year, Curtis Salgado has recorded eight critically
acclaimed solo albums. He tours internationally with his
own band and has also toured as vocalist with the Robert
Cray Band, Roomful of Blues and Santana. Salgado is
also credited with being the inspiration for John Belushi’s
character of Joliet Jake in The Blues Brothers. Salgado’s
new CD, Soul Shot, on Alligator Records, is being hailed
as his greatest album to date and continues to receive rave
reviews and radio airplay worldwide. Blues Revue calls
Soul Shot, “A joyous celebration of life. Soul Shot is this
millennium’s fi nest soul blues record...deep, commanding,
and essential.”
“I am extremely grateful for the overwhelming support of
my family, friends and fans and the courageous people that
have faced this fi ght before me,” the 58-year-old Salgado
wrote from his home this week. “I also want to thank the
promoters and venues for their understanding regarding
my medical situation. We will do our best to reschedule all
of our performances affected by my surgery.”
Salgado, who was diagnosed with liver cancer on March
23, 2006, underwent successful liver transplant surgery
on September 30, 2006 at the Nebraska Medical Center
in Omaha, Nebraska. Donations to help with Curtis’s
expenses can be made online at: http://curtissalgado.
chipin.com/curtis-salgado-medical-fund. Donations can
also be made to the Curtis Salgado Fund c/o Odaglas
LLC Donation Account at all US Banks or by mail to US

Bancorp, 2550 NW 188th Avenue, Hillsboro, OR 97124.
For additional information please visit www.curtissalgado.
com and www.facebook.com/CurtisSalgado.
BETTYE LAVETTE Legendary american soul singersongwriter
celebrates 50 years in music by releasing
her new studio album “thankful n’ thoughtful” in the uk
on monday 1 st october.
To mark the UK release, Bettye will perform a rare one-off
concert at London’s JazzCafeon Tuesday 11 th December.
Table reservations: 0207 688 8899, Box Offi ce: 0207 485
6834.
Released by ANTI-Records, the new album is
produced by Craig Street (Norah Jones, K.D. Lang,
MeshellNdegeocello, John Legend) and features
contemporary tracks written and previously recorded by
Bob Dylan, The Black Keys, Tom Waits, Neil Young, Patty
Griffi n, and Gnarls Barkley, and others.
“Thankful N’ Thoughtful” opens with the funk injected Bob
Dylan cut ‘Everything Is Broken’ and, as Bettye moans and
howls the title refrain, you have no doubt as to the trouble
she’s seen. On Gnarls Barkley’s ‘Crazy’, she slows the
pace down, thenwrings every drop of sweat and blood from
each and every syllable till your spine tingles. ‘On Dirty
Old Town’ (The Pogues/Rod Stewart), Bettye reworks the
lyrical setting to ‘Detroit’ - singing about her fi rst love at
Northern High and the Detroit race riots. When she takes
on The Black Keys’ ‘I’m Not The One’,the sensual grit of
the song sizzles with her all-knowing rasp.
ALLIGATOR Gives Buddy &The Professor the Vinyl
Treatment
Blues great Buddy Guy and New Orleans music legend
Professor Longhair will get the vinyl treatment on October
16, 2012 when Alligator Records releases a seminal
album by each artist on glorious 180-gram vinyl.Buddy
Guy’s 1981 album Stone Crazy! was originally recorded
and released by the French Isabel Records label during
the guitarist’s unfortunate exile from the U.S. record biz -
none of the major labels were willing to give Guy a deal!
Alligator Records picked up the album and another,Alone
& Acoustic, recorded by Guy with his lifelong friend and
musical foilJunior Wells, for stateside distribution. At six
songs and 40 minutes,Stone Crazy!is short, but strong,
offering up some of Guy’s most incendiary houserockin’
performances.Rolling Stonemagazine, in its review of the
album said “the artist at his frantic and frenzied best...
savage guitar and fi ery vocals...both a fi ne blues record
and one of the year’s most passionate albums.”
Professor Longhair’sCrawfi sh Fiestaalbum is widely
considered to be a highlight in a lengthy career littered
with such, and a labor of love for Alligator Records founder
and the album’s producer Bruce Iglauer. In our2011
interviewwith Iglauer he said “the idea of recording
Professor Longhair - somebody of that status, somebody
that had been making immortal records since I was fi ve
years old - it was beyond my wildest dreams.”
Working withDr. Johnin the studio, the artist threw himself
into the making ofCrawfi sh Fiesta. As Iglauer remembers,
“Fess took that album so seriously; he helped craft every
note on that record. We’d do a take and it would sound
great to all the rest of us and he’d say ‘no, no, I can do
it better,’ and then he’d prove it.” As a result,Crawfi sh
Fiestaearned Longhair a 1980 W. C Handy award as
“Contemporary Blues Album of the Year,” and was
termed a “masterpiece” by theVillage Voice.Both of these
classic albums have been out of print on vinyl for better
than 20 years now, and have been re-mastered by the
Alligator crew to bring them up-to-date and sounding
great for the digital age. Guy’sStone Crazy!and Professor
Longhair’sCrawfi sh Fiestawill also be available for
purchase from all the major download services.
GOVENOR HASLAM announces Memphis Blues Trail
Grant
Tennessee Gov. Bill Haslam and Tennessee Department of
Transportation (TDOT) Commissioner John Schroer today
announced three transportation enhancement grants to the
city of Memphis totaling nearly $1.5 million.
The grants will provide $666,523 to fund Phase 4 of the
Wolf River Greenway, $285,944 to the Memphis Blues
Trail, and $529,436 to the fi rst phase of the Walker Avenue
Streetscape project.
“While each of these projects is very unique in nature, they
all serve to enhance lives of those who live and visit the
city of Memphis,” Haslam said. “These investments create
new recreational opportunities for residents and visitors,
showcase the city’s heritage, and make much needed
safety improvements for pedestrians.”
The Memphis Blues Trail project is designed to recognize
and promote blues music’s heritage in Tennessee and
Memphis. The project will make physical improvements
to an 11-mile section of Highway 61, from the Mississippi
state line to Crump Boulevard. These improvements
will consist of trail marker, directional and historic site
designation signage; blues music crosswalks; gateway art
projects; and landscaping at key intersections.
“Through transportation enhancement grants, TDOT
has funded more than $270 million in non-traditional
transportation projects,” Schroer said. “This program
has assisted communities all over the state in their
efforts to revitalize downtowns, highlight historic areas,
provide alternative means of transportation, and increase
opportunities for economic development.”
The grants are made possible through a federally-funded
program administered by TDOT. A variety of activities such
as the restoration of historic facilities, bike and pedestrian
trails, landscaping and other non-traditional transportation
projects are eligible for grant funds under the federal
program.
State Sens. Jim Kyle (D-Memphis), Beverly Marrero
(D-Memphis) and Ophelia Ford (D-Memphis) and state
Reps. G.A. Hardaway (D-Memphis), Barbara Cooper
Blues Matters! 11

(D-Memphis) and Antonio Parkinson (D-Memphis)
represent affected portions of Shelby County in the
Tennessee General Assembly.
BLUESMOVE UK CALABRISN BLUES FESTIVAL &
HOLIDAY
Bluesmove UK is organising a very interesting and
innovative event in Calabria, Southern Italy, in May 2013:
a festival and holiday lasting all of four weeks! The event
will be based at two adjacent holiday villages in Capo
Vaticano on “The Coast of The Gods”. Guests will be
accommodated in purpose built bungalows and have
access to all the usual holiday village amenities such as
bar facilities, swimming pools, tennis courts, private beach
and even a boules court. The countryside and coasts in the
area can only be described as spectacular and it’s usually
very warm and sunny in May but not as stifl ing as it can get
in August so it’s a great time to visit the area!
Bluesmove has put together an exciting and eclectic
array of blues performers with headliners including
Eugene Bridges, Otis Grand, Cherry Lee Mewis and Todd
Sharpville backed by maestros of their instruments such
as Nikke Strom, Deak Harp, Guitar Ray, LeBurn Maddox,
Pippo Guarnera and Mike Paice. Four gigs on and three
gigs off site each week with every gig featuring two of
the headliners, instrumental workshops during the day
led by the musicians you’ll be seeing on stage and jams
whenever! The off-site gigs will also give the guests the
opportunity to visit places of beauty and interest in the area
before enjoying the gig in the evening.
The festival will also incorporate the Olive Tree Project
which is designed to give promising young musicians
the opportunity to have a free holiday and free workshop
participation.
Bluesmove tell us this is a deliberately small scale affair
with no more than 250 guests in any one week so it’ll
be a very intimate not to say exclusive experience and,
since the musicians will be accommodated on site too, an
opportunity to hob-nob with some of the best blues players
around.
Bluesmove hope to do a repeat performance in 2014 in
Calabria and maybe elsewhere if they have they energy!
Have a look at www.bluesmovepromotions.com if you want
to fi nd out more.
HMV GROUP has completed the £32m sale of
Hammersmith Apollo following clearance by the
German Federal Cartel Office and the Office of Fair
Trading.
The venue has been sold to a new joint company formed
by AEG and CTS Eventim,Stage C Limited.
As a result of the sale, HMV is expected to amend its
existing £220m Bank Facility with its existing lenders and
extended it to 30 September 2014.
The venue was owned by Mama Group, who HMV paid
£46 million to acquire in 2010.
HMV CEO Simon Fox told Music Week last year the
company had invested little over £60 million in the
subsidiary in total - and that it was looking to recoup that
amount and more with the sale of its live music assets.
Mama Group continues to operate the following London
venues; HMV Forum (2300), Heaven (1000), The Garage
(800), Barfl y Camden (450), Jazz Cafe (400) and The
Blues Matters! 12
Borderline (300), and regionally the Manchester’s HMV
Ritz (1500), Edinburgh’s HMV Picture House (1500) and
the HMV Institute in Birmingham (1500).
RY COODER
has a politically
charged album
titled Election
Special on the
way. The album is
due on August 21
just ahead of the
U.S. Presidential
election in
November.
Ry wrote all the
songs on the album
except for Take Your Hands Off It with his son Joachim.
Here is what RyCooder has this to say about the tracks on
the album:
1. Mutt Romney Blues: Reverend Al Sharpton said, ‘How
he treated his dog tells you a lot about him.’ Where did Mitt
Romney learn that hollow laugh of his? A correspondence
course on how to scare your dog shitless? He sure scares
me, I don’t mind telling you.
2. Brother Is Gone: The only logical explanation for the
Brothers I could come up with is, they made their deal at
the crossroads with Satan. Satan will need to get paid, but
in the meantime, they are doing everything in their power
to hurt you and me. The big hurt.
3. The Wall Street Part of Town: Is there a Wall Street part
of town in your town? Start your own, it’s easy. When the
police come, remind them that you pay their salary, such
as it may be.
4. Guantanamo: There’s a beautiful Cuban song about a
country girl from Guantanamo. The lyrics were written over
a hundred years ago, and they say something about peace
and freedom, so I guess the problem hasn’t been solved
yet. Prisons are the new growth industry.
5. Cold Cold Feeling: The president, alone in the dark,
walks the Oval Offi ce fl oor. Before you criticize and accuse,
walk a mile in his shoes.
6. Going to Tampa: As a mother, will Sarah Palin lead the
Republican convention in a prayer for Treyvon? Will ‘Stand
Your Ground’ stand? Don’t forget your bed sheet and keep
your money in your shoes.
7. Kool-Aid: A lament for this guy Zimmerman, and all
the many Zimmermans. Too late, they fi nd their masters
have given them gun rights and new ‘Stand Your Ground’
lynching laws instead of good paying jobs and secure
futures. They drank the Kool-Aid, they really drank it down.
8. The 90 and the 9: A possible political discussion
between a father and child. Here in Los Angeles, they allow
military recruiters in public schools. If you speak against
it, they come down hard on you. I don’t even know what
name you give to a criminal conspiracy like that.
9. Take Your Hands Off It: Woody said, ‘This land is your
land.’ There’s a famous photograph of a sign that reads,
‘Don’t let the big men take it away.’ On the other hand,
James Baldwin believed the concepts of nationhood such
as freedom, equality, and democracy are superstitions,
nothing more.
BLOGS will become a feature in the forthcoming issues a
new update for all those not on the internet. But if you are
then start checking the Blogs and joining the Blues Tweet
@ Blues Matters

Franny from “The Treatment!”
@ Colne
Tomn Attah@ Colne
Tantrum @ Colne
Porter @ Colne
BDMB @ Colne
Kyla Brox @ Colne
Victor Brox @ Colne
Blues Matters! 13

CHAZ DE PAOLO
Rockin’ Da’ Blues with Suzanne Swanson
The New York State Blues Hall of Fame does not usually celebrate those from another jurisdiction, but that was
not the case with New Jersey native, Chaz DePaolo, who was honored on June 10 , 2012. The choice was clear
as he has toured widely in the U.S. Canada and Europe. This blues/rocker has performed on stage with Leon
Hendrix, Commander Cody, Bernard Purdie, BuddyMiles, Jose Feliciano, Harvey Brooks, Blue Lou Marini, Stir Fry,
Brian Downey, Pete Brown, Monster Mike Welch, Vince Converse, Leon Russell, Rory Gallagher Tribute, member
of the Groundhogs rhythm section, and the legendary David Maxwell, Steve Phillips of The Notting Hillbillies,
as well as the Grammy nominated Reese Project. His roots are very New Yorker being that his mother was a
Broadway show-girl and one of the famous Rockettes, a precision dance company performing out of the Radio
City Music Hall in Manhattan, which has existed for over seventy-seven years.
You returned not long ago from a successful tour of Poland, with Leon Hendrix, doing an exhilarating thirty-three
concerts in forty days. That must have been difficult at times, how did you keep your momentum up?
For me, being on the road for me is like breathing. It is what I do so I have no problem living out of a suitcase, using
Laundromats, or long drives; this all goes with the territory. I could travel for eleven hours over night, do a sound check,
and when it is time to hit the stage you do your job. I love every minute! I like the challenge of being pushed to the brink
and then playing the best show I can!
In the December 2011 issue of Poland’s “Gitarzysta” magazine you had a two page spread. Has that changed into
how your audiences now react to you in Poland?
The “Gitarzysta” article was defi nitely a highlight in my career. All musicians dream of being featured in the magazines’ that
feature their peers. Blues Matters included!! More people did begin to recognize me after the article. I have performed over
250 shows in Poland in three years so it just reinforced my presence in that country.
You have a background with the business side of the music industry. Did that influence you in any way to become
a full time performer? Was there a ‘magic moment’ that made it all come together for you?
I always wanted to be a full time performer. I was surrounded by show business. My mother was a ballerina and a
“Broadway Show Girl”. I had performed on stage in one of her productions in 1980. I always wanted to play music and
express myself through the guitar. I ended up working in the “Music Business” side due to a hand injury that occurred
when I was twenty-two years old. I could not use my right thumb very well and had to change my major in college from
performance to music business. I was shattered. Eleven doctors told me I would never play professionally due to a severe
chronic tendinitis in my right thumb and wrist. So I became a music intern on the Blue Note label in New York City, and
then started working in radio promotion. I promoted releases that ranged from Ice Cube,Carole King, and Gospel music.
My last employer was Priority Records which was the number one Hip Hop label in the world. I was setting up sales and
Blues Matters! 14

CHAZ DE PAOLO
in store promotions for Snoop Dogg, Ice Cube, and Jay Z. One night in 1992 I had to attend a “meet and greet” at “The
Limelight”, with one of our artists in New York City, it was a rock act the label was releasing. I remember how it killed me to
watch these guys on stage while I was in the audience. I told myself right then, “I will fi nd a doctor to help me so that I will
play again.” I found that doctor!I began treatment with a nasty medication and a cast I slept in every night for three years
and at age twenty-seven, I started to play again. It was a slow process.Atthirty-one I released my fi rst CD.
Every musician has unique techniques for writing their songs and composing material. Can you please share
where your inspirations come from and how you translate them into compositions?
Song writing for me comes from an emotion, or a situation. My songs are written about everything from relationship issues
to my battle with depression and alcoholism. The CD “Flirtin’ With The Blues” covers the depression issues. The title track
‘Flirtin’ With The Blues’ contains my favourite lyric…”loving life but fearing it is no way to live…” the “Bluestopia” CD covers
my relationship issues and childhood trauma. The song “Pearly Gates” was written in Ireland on a train ride between
Galway and Dublin. It is the conversation I will have with my brother and sister who passed away when I was eight years
old. They were in their teens and I was the last one to see both of them alive. My songs are therapy for me with the stories
that describe the path of my living.
Your discography is impressive with eight albums: Bluestopia - 2009 Rojer Records/Blue Skunk Music - Flirtin’
With The Blues - 95 North Records 2005/ Rojer Records 2006 - Fins Chrome And The Open Road (Compilation)
- 95 North Records 2005 - Inundations (Compilation) - Origin Records 2002 - NY Jazz And Blues Society
Compilation Volume 1- 2002 - Quintessence: Fret Essentials Volume 1-2002 - Live From Montreal - Rojer Records
2000 - Eclectic Impressions - Rojer Records 1999. Do you have material you are working on at present and when
will it be released?
I have new material for a CD called, “Serendipity”. It will be released in 2013. I will then be following that up with a full
length release called “Flirtin’ Acoustic”.
We noticed that you have some interesting endorsements, being
Chaz De Paolo Limited Edition Signature Model Guitar - Wicked Instruments- www.wickedguitars.com - Jazz
Kat Amplifiers- www.jazzkatamps.com - Curt Mangan Strings- www.curtmangan.com - Spectraflex Cables-www.
spectraflex.com - Guyatone Effects Pedals- www.Guyatone.JP/musician/guya_scene.htm - Please explain
to our readers about your Chaz DePaolo Limited Edition Signature Model Guitar. How did that come to be
manufactured?
The ChazDePaolo Limited Edition Signature Model guitar is one of my most cherished accomplishments. It has Lollar
P90s with a hollow body. The guitar is manufactured by Wicked Instruments of Greenfi eld Park, Quebec, Canada. The
owner Nicholas Djikman, and I worked closely on designing it. Nicholas came to see me perform one night in Canada after
he heard that I was interested in his instruments. I did not know he was in the audience. After my performance he asked
to speak with me. We sat down and Nicholas started asking me questions about my music and life. After about two hours
of talking he sat back,put his hands behind his head, and said, “How would you like to be my fi rst artist to have a signature
model guitar”. I was fl oored! This is every musician’s greatest dream!
Having just returned from a popular run at the Quebec, Canada, Beauport Blues Festival, are you planning to
return to Europe anytime soon?
I will return to Europe in January, and February, with dates in Norway, Sweden, and Poland. Hopefully several other
countries may be added.
What advice can you give to younger musicians out there now who wish to follow in your footsteps?
My advice to young musicians is to love the
music fi rst! Be professional at all times. Keep
your instrument in good repair. Keep writing
songs and always follow up every lead. Create
your own sound, and be a step ahead. Stay
away from alcohol and drugs. It sounds like a
cliché but it does end careers when abused.
Do not trash other musicians. Especially when
they are successful! Be inspired by them! Most
of allstay true to yourself and is honest with
the music you create. People will hear your
integrity when you play.
We look forward to seeing you along
the ‘Blues highway’, Chaz. Many thanks
for your time spent with Blues Matters.
May you have even greater success and
inspiration in the years to come.
Suzanne Swanson
“The Blues And Nothing But The Blues”©
copyright
Blues Matters! 15

British born Jon Cleary has been based in New Orleans for two decades, and has firmly established himself as
a New Orleans artist receiving critical acclaim from within and outside the Crescent City. He has played with
the good and great of the blues scene including Taj Mahal, B.B King, Dr John as well as regularly jamming with
the great Fats Domino. He has recorded several albums as a solo artist and with his New Orleans band, The
Absolute Gentlemen. His new album ‘Occapella,’ (Having Fun with the Songs of Allen Toussaint), takes you on
a vibrant journey of the Toussaint songbook and features contributions from the likes of Bonnie Raitt and Dr
John. This summer, Cleary has been touring with Dr John as a member of his band and as his support act. Blues
Matters Paromita Saha (who is also fellow Brit living in New Orleans) went and caught up with him while he was
performing in London to discuss his new record and to hear his great anecdotes about playing with some of New
Orleans greatest R&B legends.
BM: How did the concept for this album come about?
JC: It started with Toussaint’s tune ‘Occapella.’ It occurred to me that a capella version of it had never been done. I
just started fooling around with it one day. I had an idea to put some fi nger snaps to it and started rocking out vocal
parts. At there same time, there was talk that I had to make a new record and somebody said why don’t do you do
it around Toussaint, and then one thing led to another.
Did you have to seek Toussaint’s blessing at all? Has he heard it?
Not really. He has heard it. It took a long time to make it and at various stages. I would send him one thing and
another thing to keep him in the loop. He is a man of very few words. I think he likes ‘When The Party’s Over,’ is
his favorite on the album. I think he digs it.
Blues Matters! 16

You said it took a long time to make? Why is
that?
Well I played everything myself and I did it in my
studio as well as all the engineering and mixing.
My studio is in the Bywater of New Orleans.
Allen Toussaint has a big catalogue of songs,
how did you go about choosing the songs that
you did?
At fi rst, I wanted to do the most obscure songs
that I could fi nd, but my manager said, ‘you need
to throw in a few things that people are going to
recognize. You’ve got to strike the right balance.’
So I phoned a few Allen Toussaint experts and
some tunes were suggested. I would listen to as
many as I could. The idea was to take each of
them and do something different. ‘Poor Boy Got
To Move,’ a song that Allen Toussaint sung as
a kid and it was obvious at the time that he was
taken by Curtis Mayfi eld and The Impressions.
It was recorded in the early 60’s at a time when
Jamaican vocal trios were doing the same thing.
So, I thought why not do it like a rock steady track.
A lot of rock steady stuff sounded old because
the recordings were really rough. When I started
putting it down using modern equipment, it
sounded cleaner so I thought why not shift it over
as Lovers’ rock which happened when I was in
England about fi fteen and sixteen years old. I also did ‘Occapella’ without any instruments.
Why did you choose to record the Toussaint classic Fortune Teller without any lyrics? I think many would
say its lyrics are the highlight of the song.
It’s a great story but there is not very much happening musically. So I thought I use that fragment of the melody -
one simple chord progression and hardly even use it at all. I just kind of quote it and just play a bunch of rammed
stuff on the front and gradually let it morph in and let it morph out again. It only gets quoted for a few minutes in
the middle of the thing. I just made it up as went a long.
You have some interesting guest appearances from Dr John, Walter Wolfman Washington to Bonnie Raitt
on your record – how did you get them involved?
Different people come in for different things. I have a band called the Absolute Monster Gentlemen. I brought them
into sing. They are great musicians and players. I wanted to showcase their singing so they came in and sung
a couple of tunes. They sang on ‘Occapella’ and ‘Popcorn Pop Pop.’ On the fi rst track, we got Mac Rebennack
(Dr John) and Bonnie Raitt. I played with her for ten years. She was out on a gig so her vocal part was done in
a dressing room somewhere. I recorded her vocals on a laptop with a pair of headphones. I already had cut the
track and I put her vocal part down. Mac Rabennack came down to my studio. Terence Higgins from the Dirty
Dozen band played drums. James Singleton the bass player who played with James Booker came and played the
bass. I played all the stuff on the other tracks.
Tell me about the first time you met Dr John?
Dr John came over to England, and I got a gig where I played guitar with him. I was in awe of him.
Do you think the record would have sounded any different if it was recorded outside of New Orleans – say
like in London?
Not really, at the end of the day the studio is a room full of microphones and machines. I was able to take as long
as I wanted with this record because it was my own studio, which meant I could get up in the middle of the night,
put everything down and get back to bed. I could spend two days playing one song. This is the luxury of having
your own studio. You can work at your own pace, which is something I prefer. You play music when you feel like it.
It’s not something that you turn on and off.
The reason I ask, is because there are British artists like Marianne Faithful and Huey Laurie who choose to
record in New Orleans because of its unique ambience and also because they want to create a particular
kind of a record. I guess it’s different with you as New Orleans is your home?
I went to New Orleans with the same idea, but to do that properly takes more than a couple of weeks. It took me to
thirty odd years to get to that sound.
Blues Matters! 17

Has the record been received differently in New Orleans to the rest of the world? I can imagine the New
Orleans audience is a pretty tough one to please
Not really. Music in New Orleans is not an academic subject. Outside of it is when people tend to get precious
about it. They are more likely to be forgiving about it in New Orleans than they will be in London. In New Orleans
music is just music – it’s either good or just bad. It works or it doesn’t work. New Orleans music is meant to
make you feel good. It’s meant to make you dance. People in New Orleans who make the music, don’t read the
books about it, they just do it. What’s great about this record, it alerts people to Allen Toussaint because he is so
important. He is one of the few guys amongst all the musicians that have come out of New Orleans who has the
ability to turn around raw talent and get it onto seven inch of plastic that you can carry around the world and put
on a record player. New Orleans is full of great musicians but it doesn’t have that many people who are organized,
and can write songs. He is able to take raw element and go through the whole process that ends up with a record.
Producers Paul Gayten and Dave Bartholomew were also like that. Allen Toussaint stabs a certain sound that
have evolved over a period of time from the classics like Fortune Teller right up to the seventies funk, with Labelle.
Tell me how your connection with New Orleans evolved to eventually make you want to up and leave
England?
It was family really. I had an uncle who lived in New Orleans. I grew up with a lot of musicians in the family. My
mum loved New Orleans jazz, so at home I grew up with getting a great education in New Orleans rhythm and
blues. As a kid I would hear stories about New Orleans when my uncle came back. I always wanted to go. So
I went as soon as I left school and I just fell in love with it. I had no desire to come back and I just stayed. As
someone who has been to New Orleans – you get it. Most people don’t. If you like the funk and the character,
which seems to be gradually disappearing everywhere else, you come to New Orleans as it’s there.
The New Orleans R&B artists that you listened to when you were young, like Fats Domino, Ernie K Doe,
Earl King and Johnny Adams, what was it like getting to play with them?
JI played with all of them. I moved to New Orleans, and spent the fi rst two years just listening and I had a lot of
good stuff to listen too. Then I had to leave and come back to England because my VISA expired and I couldn’t
live there much longer. When I came back to London and started playing the pub circuit, where I learned to hire a
band, hustle a gig, get paid at the end of the night and plug a PA system. I learnt to be a bandleader and as a side
leader too. I did that for two years and when I moved back to New Orleans. I started playing with the bluesman
Mighty Sam McClain at a place on Valance Street, which is not there anymore. It was a hip little gig back then.
One evening, Walter Wolfman Washington came and sat in and asked me to join his band with Johnny Adams.
I started playing weekend with Johnny Adams and Walter from 2am and 6am in the morning. Then the fi rst road
trips I did in the States were with Johnny Adams where we would ride in Walter’s station wagon and little gigs in
Blues Matters! 18

the black clubs in Mississippi and Texas. At the same time, I started getting hired by Earl King, Snooks Eaglin and
we were playing with Jesse Hill. All the R&B cats were around. I started getting hired to put bands together to play
at renowned venues like Tipitina’s, Snug Harbour and the Maple Leaf. I also got to play solo gigs. I got Professor
Longhair’s gig at Tipitina’s and when James Booker died, I got his gig at the Maple Leaf.
It must have felt as though you had some pretty big shoes to fill?
Booker used to play every Tuesday evening but now that he is gone -everybody is like ‘wow!’ I guess I just fell into
it in.
How did the New Orleans music community take to a Brit coming along and playing their music?
I was lucky to have a good education in New Orleans music. For example when I got hired by Earl King to play
‘Those Lonely, Lonely Nights,’ I knew the Huey Smith piano solo. I done my homework, I spent a lot of time paying
dues and learning all that stuff. If you play well, you get the gig, despite the fact you may have funny accent. If you
are hired, then you have to deliver the goods.
And how did the British music community respond to you when you returned from New Orleans with this
wealth of knowledge?
Diz and the Doorman were very popular at the time and he plays Professor Longhair kind of Jack Dupree style of
piano, so that was going on. I saw this in Time Out as soon as I got back. I thought to myself New Orleans piano?
Let me go and check that out. He invited me up to play and everyone loved it. The owner asked if I could make a
gig the following Wednesday. I think there was a general interest in New Orleans R&B, but there wasn’t that many
people that played that piano style. I was quite purist about it. There were a lot of musicians over here that could
play bits of everything. If anything, I had a real pure New Orleans ‘take,’ as that’s where I really learnt. Everyone
seemed to dig it. In New Orleans the standard is high. You have to go upstage and you have to work it, and make
sure everyone is happy at the end of the night. Otherwise, you won’t be asked back to do a gig.
As someone who is a regular to New Orleans, and plays at a basic level, I am too scared to pull out my
guitar or even open my mouth to sing. How did you feel when you first came to New Orleans as an up and
coming musician?
It is because you have the utmost respect for it. I was kind of the same way for the fi rst two years. I have been
playing since I was a baby. I was a guitar player when I was out there. In New Orleans, when you hear James
Booker, and I never really saw much of Dr John at the time as he was living in New York and Allen Toussaint really
didn’t do gigs so Booker was the only guy that I could get up close to. You realize that the standard is very high.
If you are going to do it, you’ve got to do it right. I didn’t have time for people who were going to take shortcuts.
I spent two years listening. There was a piano outside my house. I would play for hours every night, fi gure it out
and work on it. I more or less heard Booker every day nearly. He would play at the Maple Leaf bar when I was
working there. The Meters used to sound-check across the street at Jed’s Bar. Albert King used to come and play
at Tiptina’s. There was music all the time.
You must feel lucky to have been in New Orleans during a golden age, when the good and great of New
Orleans R&B scene like Fats Domino, Johnny Adams, Ernie K Doe, James Booker, Snooks Eaglin as well
as Earl King were all alive and playing?
Generally, you feel that the golden age was always sometime before. In 1981, I was thinking how I missed
Professor Longhair. I wish I were there back in the day to see Smiley Lewis who died before I could see him. But
in retrospect, it was kind of a golden age. At that time, New Orleans was a jewel town as a lot of business was
booming. Looking back, it was good time, as I had access to a lot of this good music.
What’s next on the agenda for you?
I play for another month in the States. After that I play in Australia and in October I return to Europe to hopefully to
play at the Jazz Café in London.
What sort of set are you thinking of doing? Will you have a band?
I am not sure what I am going to play. I have been touring with a trio. I like playing with a trio as it gives me a lot
of room to stretch out. The trio is called the Philthy Phew. The quartet is called the Absolute Monster Gentlemen.
They are two different sets of line up. Stylistically, it’s different but by virtue of the fact that the musicians from the
band are New Orleans, it comes out sounding New Orleans even though the songs are not necessarily about
Mardi Gras and Bourbon Street.
What is going to be your next project?
There are several records I could make. I might do a solo record, which I haven’t done yet. It could be a Monster’s
Gents’ record which could be a soul and R&B thing. There are several different ways to go and or I could produce
several other people. Right now I’ve got a new record out so I will let it sink in.
PS: I hope it goes really well and good luck with it. See you in New Orleans!
Thank you very much and see you in New Orleans too!
Blues Matters! 19

by Andrea
Jones
Paul Lamb has in illustrious career spanning 30 years, having started playing the
harmonica during his childhood. He is now widely regarded as a true British master of
this classic blues instrument and was recently inducted into the British Blues Awards
Hall Of Fame. With a packed calendar of dates not just in the UK but throughout Europe,
it’s not surprising that Paul and his band the King Snakes are still in popular demand!
BM: Paul, you first started playing the harmonica at a very young age, in your early teens, what was it that
inspired you to start playing harmonica?
PL: A school friend called Paul Woods played saxophone and his Great Grandad was Stan Laurel & his brother Keith
played drums for Frankie Vaughan, so he gave me a head start into show business. Then Paul played Strangers on the
Shore for our class and I was hooked on music. Then I heard John Mayall and I picked up the harmonica and then found
my holy grail in Sonny Terry.
Sonny Terry was a great influence to you, what was it about his playing that set him apart for you?
He was the whole orchestra on his own…the real deal. He didn’t need a band he WAS the band.His rhythms were
fantastic, his foot stomps were his drums ...along with his great voice and all those whoops and hollers he was a one man
band.
In your DVD ‘Paul Lamb’s Personal Journey Through The Blues With A Harmonica’ you talk about and
demonstrate the different styles of various harmonica players who have influenced you over the years and indeed
you dedicated the DVD to both Sonny Terry and also Big Walter Horton one of your other all-time heroes, what
can you say about him?
Well Big Walter was the top for acoustic tone. His fantastic control of that tone makes him, for me the King of the Chicago
players.
There are some very talented harp players on the blues scene at the moment,both in the UK and Europe, who
each have their own individual styles and this is great to see but do you think the harmonica is still as popular an
instrument today as it was in the early days?
It’s like fashion; it’s always ebbing and fl owing with new and interesting talent emerging. The harmonica will always be
popular because it’s so versatile and expressive whilst being relatively cheap and transportable.
You’ve also worked outside the blues industry in other musical fields working with people such as Pete
Waterman, Mark Knopfler, Rod Stewart and The Who!What can you tell us about those experiences and are you
still involved in other projects?
I have been very privileged to work with so many different musicians and projects. I call them my bonuses in life. On
a lighter note, we headlined at the Colne festival with Pinetop Perkins in 1996 and I had a rehearsal with him in the
afternoon. After a great half an hour he looked up from the piano and said to me “you play real great …shame there are
not too many people in “ . I had to let him down gently that this was just the rehearsal and we played a capacity crowd that
night to great applause!
He was indeed a true Gentleman. I certainly hope that I continue to receive new and varied projects to keep the creative
juices fl owing.
So what lies ahead for you and the band, you play a lot in Europe and of course the UK, do you have any plans to
go to the States or further afield?
I have worked everywhere except the USA, that’s not to say I wouldn’t go there if the price was right. It’s just that there is
a mountain of red tape/ work permits etc. that makes it diffi cult to raise the money enough to support a 5 piece band. Also
they have a lot of home grown talent at their disposal. As for the rest of the world we have been fortunate to play Far East,
Middle East and closer to home and long may it continue.
Do you think the blues will ever achieve popularity again in the ‘commercial’ main stream music world and do you
think it’s important to do so to reach young audiences to keepblues music alive?
Blues originally had chart successes back in the 30’s 40’s 50’s and then along came The Beatles and The Rolling Stones
that based their new style on the Blues.The Blues had a baby and they named that baby Rock & Roll. I believe that it is
only a name and that the word genre is an uncomfortable tag that pigeon holes various styles. I played the Gloucester
Rhythm & Blues Festival recently and the kids went crazy. They had never heard of the Blues but knew good music & had
a great time.It is so important to keep all music alive and live.
Blues music seems to cover a very wide spectrum these days, ranging from rock to folk, how do you feel about
this and do you think that in Britain particularly, we’re moving too far away from the traditional roots of the blues
and becoming too diverse?
Blues Matters! 20

Blues Matters! 21

Blues is about inner feelings and covers all the topics of life, such as relationships, money, drink, love, truth and happiness.
With this in mind it will always cover a wide spectrum but with the same core values that are still pertinent today.
Now you must be excited to have a new album out ‘The Games People Play’ which is a handpicked selection of
songs recorded over 4 live shows, how did you select the songs for the album?
This was a very random selection. Every show I feel / gauge the audience before the show and write out a brief list of
songs but depending on the audience, this can and does change as the show progresses. I believe it makes for a unique
live experience that has come out on this recording.
The title track I remembered from the 70’sby Joe South and whilst on holiday in Barbados heard it again and I just
had to do my version.There’s a lot of talk at the momentthat it’s getting tougher and tougher to make a living as
a musician, particularly in these tough economic times. How do you see the current live music scene and what
advice would you give to anyone starting out in the business?
The music business has always been tough and certainly today it isn’t going to be an easy ride for anyone starting out.
However you must fi rstly believe in yourself and remember,what doesn’t kill you will make you stronger. My Father also
told me to get a day job but joking apart, just go for it.
Paul, you’ve had a wonderful and long career as a touring musician andI’m sure you havemany stories to tell,
having played alongside the likes of played alongside the likes of Junior Wells and, Buddy Guy but what would be
your most special memory if you had to single out one?
Back in 1975 I submitted a tape to Sounds Magazine that was holding a competition to win a place to represent the UK
in the World Harmonica Championships in Offenburg Germany. I didn’t know then but one of the magazine writers and
judges was a man called Steve Rye (he sadly passed away some years back), who also had a love of Sonny Terry’s style
and the tape I sent was me playing Sonny Terry’s ‘Blues For The Lowland’. He apparently was blown away and so I was
immediately entered into the competition. This was my fi rst time out of Blyth never mind out of this country, so in Germany,
I won 2 nd prize for an individual and 1 st as Team GB. Steve Rye & I became fi rm friends and he went on to introduce me
to Sonny Terry and Brownie McGee at a show in Cambridge,they were touring with Chris Barber’s All Stars. Later on in
London,Sonny took sick one night and Brownie asked me to fi ll in for him….that’s my highlight!
And if you hadn’t taken this career path, what do you think you might have done if you hadn’t been a musician?
Maybe a game keeper?
Game keeper? Tell me more are you a country person at heart?
Oh I suppose this all comes from my Grandfather. He was a bit of a rogue and I loved to be around him and hear all his
Blues Matters! 22 22

stories. He travelled the Baltic in the First World War with the merchant navy. After surviving that he went on to be an artist
and also a poacher “gentleman of the country side”. He always respected the land and when food was short the family
never went hungry… he also played the harmonica, quite a character. I do have my roots in the country and am also a
keen bird watcher / twitcher hence the gamekeeper notion.
For anyone learning or wanting to play the harmonica, have you any special tips or do’s and don’ts?
The harmonica is a vehicle for expressing your inner soul and feelings. Find yourself a role model and practise acoustically
until you are notes and tones perfect. Then move on to your own style and develop your own personal style.Maybe
another tip is “less is more”…sometimes players try to cram in so many notes and if you can get that one note it can be the
only one needed.
And finally I have to ask this question, do you think that there is room for more female harmonica players?
There is always room for more harmonica players especially of the female variety.. Competition is good for everyone.
Thank you
Paul, it’s been
a real pleasure
and in the next
edition of Blues
Matters, I have
the pleasure and
will be reviewing
Paul’s DVD ‘Paul
Lamb A Journey
Through The
Blues With A
Harmonica’ which
is dedicated
to Sonny Terry
and Big Walter
Horton.
Blues Matters! 23

Paromita Saha
Signs And Signifiers From Chicago
JD McPherson and his fellow band-mate/ producer Jimmy Sutton have been hitting the airwaves here and
abroad with their 21 st century yet purist take on black R &B and fifties rock & roll. Hailing from Chicago, the band
started drawing considerable attention following the online release of their video ‘North Side Gal,’ which featured
the band singing in an antiquated looking studio, attracted over 300,000 views. Their debut album “Signs And
Signifiers,” and packed out shows have been receiving critical acclaim on both sides of the Atlantic as well as
attracting a huge following much to the surprise of JD, a former art teacher from Oklahoma and Jimmy Sutton, a
working musician and producer from Chicago. Paromita Saha caught up with the jet lagged pair just before they
were due to go on stage at London Camden’s Dingwalls.
BM: How did both your paths cross?
JS: In a way, JD and I are very likeminded, which was one of the things, that made the recording process was very
enjoyable for both of us. He originally he approached me on My Space fi ve years. He sent me a link to his work and I was
really impressed with his singing, his songwriting, wordsmith and his sense of melody.
(At this point, JD walks into the dressing room.)
JS: There is he is right now! We’ve been talking about you!! After I invited his band up to Chicago couple of times, he
expressed an interest in putting out a solo album on rhythm & blues and black rock & roll. One of the reasons, why he
started to talk to me about it, was because all my previous bands were Jump Blues like the Jimmy Sutton’s Four Charms.
I had another band called the Del Morroccos that was like Link Wray meets The Shirelles. As we talked about this record,
I told him that I was building this studio over the past eight years about putting much more emphasis into my label Hi-
Style records. To put in a nutshell, we wanted to create a record that was timeless, yet wasn’t trying too hard to get away
from the things that we love about old music. At the same time, we wanted to use words that he writes in the third person
fi ctionally as well as personally from his own experience. We wanted a record that didn’t lie.
How difficult is it to retain a balance of sounding authentic and faithful to the music you love yet produce it for the
21 st century audience?
JS: It’s a real fi ne line. I as a listener wanted to hear that a record and we are really proud of it.
On the cover of your record Signs & Signifiers and in your shows, you are surrounded by antiquated recording
equipment, is that something you have used a lot?
JS: The fact JD was the fi rst one to record a full-length record in my studio – which I had been building when he came to
me; it was almost as the stars were aligned.
Did you already know about his studio?
JD: Yes I knew. You had stuff going from your picture on My Space. I knew he was recording people.
JS: He is referring to an early video, where I was interviewed years ago. I started collecting this equipment and building
this studio. I had no idea back then, but I felt I was onto something.
It sounds like you were definitely doing it for the love?
JS: Imagine starting to play music because you want to make money, that’s the worst scenario. I guess we are just
fortunate that we are able to do this for the fun of it and at the same time make a career out of it too.
I have to say from listening to your music, is like a history lesson as you can trace the evolution from blues to
black R&B to early rock & roll. Tell me about your influences?
JS: The sounds from the early fi fties and sixties from New Orleans to Chicago from Specialty Records to Chess Records
and a lot of the rock& roll that came out of south Michigan are a big infl uence on us.
Is there one particular record for both of you that would have kicked off this passion for black R&B and black rock
& roll?
JD: I really remember being affected and paying attention to ‘Keep A Knocking,’ by Little Richard on Specialty Records. It’s
a successful record. You will probably hear it once in your life, even if you are not into music. I guess remember listening to
it over and over again because it was like guts and blood. It makes our hair stand up. It’s so intense. I guess that’s the one,
which pops up into my head.
JS: For me, it’s everything by Chuck Berry to Bo Diddley. And also there is another side, as when I grew up it was The
Ramones, Debbie Harry and The Clash. For me, it’s also listening to Bo Diddley and that slow instrumental called Aztec.
I love stuff like the mood type music from back then. It’s almost kind of ethereal. Yet when I was coming of age, I felt The
Clash took you to another land, as did authentic rock & roll.
JD, on your website you say that rock & roll was programmed into American minds to understand swinging blues.
Blues Matters! 24

Blues Matters! 25

J D McPHERSON
What was your thinking behind this?
JD: That was a pretty broad generalization that I made. I have seen it over and over again. We would be playing this stuff
and people would come in and they probably would have never have regarded it in their entire life. They would be moved
by it, start dancing, buy beers and listen to the band for the night. They don’t know that they like it. It’s like the same reason
why everyone likes New Order’s Blue Monday when it comes on the radio. It’s immediate and gets you ready for a good
time. I really think that the blues and simple one, four, and fi ve structure and twelve bar blues are a really important form.
Think about how many English artists are captivated by it?
JS: The Beatles, Stones, Zeppelin.
JD: There is so much you can do with twelve bar blues.
JS: It’s a good point about people not knowing this kind of music. At the same time, we would like to think that people like
the album not because it belongs to a genre, but because it’s good music. As Ray Charles said, there are two kinds of
music – good music and bad music.
Is getting mainstream success something important to you as artists?
JS: Neither of us has been playing in the mainstream. I have been playing since I have been sixteen years old. This is
what we do.
JD: There are ten thousands of bands out there that play knowing they probably won’t want to leave their town because
it’s just what you do.
JS: Chicago has got an amazing music scene. Some of the bands will not even take an attempt to go on the road. Why
do that when you can play four or fi ve nights a week in Chicago. If you have something special and you can feel the
momentum, and all people are interested are being there to see you fi rst, that’s when you say time to hit the road!!
When you took your sound out of Chicago, did you ever worry about how it would be received by audiences?
JD: When we put our records out into the digital world like Facebook and You Tube, we were immediately getting requests
to play festivals over a year. At the time, I was working full time in a job and so I was like okay let’s do this. We played a
few things and once in a while we headed up to Chicago and do a gig there and we just tried doing our best. Meanwhile
Jimmy was running his label by himself, doing a great job, all of a sudden, things started happening.
JS: The video release of ‘North Side Gal,’ started getting passed around within the industry from label to label,
management companies. It seemed to turn a lot of heads and we thought to ourselves. “Mmmh.”
Blues Matters! 26

J D McPHERSON
Why did you pick Rounder Records?
JD: First of all, we talked to a few labels, and then I saw Rounders’ archive. It was everybody from Jimmy Rodger, to
Jamaican artists to this band like Delta Spirit, which were this big rock band. I knew they were career- building label. I
mean look at Alison Krauss. She has won 30 something Grammy’s and she could have left to go to any label she wanted
but she stays with Rounder because she knows she is well supported by them. We know for a fact that they trust us to do
right by them and at the same time they will not infl uence us to do anything.
JS: Rounder is a career-based label. They are interested in the whole album as opposed to just getting a hit. However, we
are lucky that we have a single that is doing well.
JD: We are very fortunate in that respect.
JS: They are interested in physically coming out to the shows. They feel the energy and presence of the shows. You could
tell that they were excited. The owners were really into it. Everybody on all levels of the company was really into us and we
felt that energy.
What’s the next kind of record you are going to make? Will you stick to this sound?
JS: I would say we would be moving in the same direction.
JD: If the first record is going in one direction. We are going to keep going in the same direction. It will still sound different
from the fi rst record
Isn’t there the risk that if you stick to one sound – you could end up being pigeonholed or being trapped in a
niche?
JD: No-one can help being pigeon holed, that is always going to happen to everybody. You are always going to be
compared to be someone else. The people who say, “Oh I really like this because it sounds like Elvis,” even though it
really doesn’t sound like Elvis, they are making some kind of connection and I appreciate that. But there are always people
who will say it is like a rhythm and blues record but there are different things on here and the packaging isn’t quite or retro
thing. There are new people showing up to the shows all the time and the audience is getting growing more diverse. That
is an incredible thing to witness.
JS: It’s like when people say the record says it sounds vintage, timeless and refreshing. We are happy to hear those
words. As for being pigeonholed, it’s more about the quality of the music. You can’t dwell too much on what people think as
to what genre of putting this onto. We just want to be good and put out good recordings, and write good songs. We want to
create an environment where JD feels he can run.
On this particular record, you got a particular group of musicians together. Will you be doing the same for your
next project?
JS: We are all Chicago musicians. It’s hard one to say as we are starting to play with guys on a regular basis. It’s a good
question.
JD: We meet people all the time. We have some great players in mind. I will like to play with some of these established
folks.
Would you consider working with someone like T Bone Burnett, who is also known for his interesting production
techniques?
JD: I thought about at that fi rst. It could be interesting but T Bone Burnett records are unmistakably “T Bone Burnett.’ He
has a unique sound. I am just wondering. I am really curious as to what it will sound like.
JS: Who knows?
JD: We love his records.
JS: You can hear our wheels turning. It’s a great question, but I don’t know if we can answer that right now.
JD: One thing I love about him
is that his records are very
atmospheric. I like that quality. I
really would like to steal a bit of
that from him. He adds greats
tone and atmosphere in songs,
which bring an ethereal quality.
(At this point the rest of their
band and crew rush into the
dressing room as it is thirty
minutes before they are due
on stage. I quickly wrap up the
interview.)
Anything you would like to
say to Blue Matters readers?
JD: We love the blues and hope
they like the record.
(On that note, JD and Jimmy
Sutton rush off to play to another
packed house in London.)
Blues Matters! 27

Blues Matters! 28
by Darren Weale
Recently featured in our Blue Blood
section about the potential stars
of the future, we’ve been keeping
an eye on the progress of one man
Blues boogie band Andy Twyman
for some time. Why? Because
we’ve seen him live and heard
his recordings and we’ve been
impressed. We’ve also noted that
very experienced musicians we
respect like Robin Bibi and John
O’Leary have strongly praised
Andy. Above all, he combines an
aptitude to play blues standards
in a refreshing but respectful way
with the kind of innovation in tunes
and lyrics that can connect with the
younger audiences that are vital to
the future of the blues. So, when
Andy writes about Pot Noodle, he
is clearly using his Noodle (and
for the benefit of our international
readers the latter reference to
Noodle is some old British slang
for brain and wits). So, we believe
Andy is a must-see act who blows
away any tired perceptions of the
blues and reminds the listener
of the joy and irreverence and
originality that the music can
provide. As a must-see act, Andy
becomes a must-interview act,
which is exactly what we have
done with the questions and
answers below.
BM: For people who may be new
to your music, how would you
describe it?
AT: It’s high energy one man band
boogie and blues with drums, guitar, harmonica and vocals all played live and together, no backing tracks or any of
that stuff. My song lyrics are usually of a comical surrealist style. I’ve got a particular fondness for lyrics about food and
chickens although I’m not completely against non-chicken and food based music. The act is a bit like Dick Van Dyke meets
John Lee Hooker.
Listening to your music, I’m curious as to what made you take this alternative take on the blues lyrics?
I don’t see it as particularly alternative really. Old blues was about kidney stew and my blues is about Pot Noodle. Old
blues was about the chicken shack and my blues is about chickens snorting cocaine. I’ve never had kidney stew or been
to a venue called the chicken shack so I write about what I know. I’ve had plenty of pot noodles and I know for a fact that
cocaine is the drug of choice for poultry these days as rolling spliffs is just too hard when you have claws. I think people
latch on to my lyrics. It’s bizarre, if I’m playing to a crowd that aren’t already familiar with my music, nine times out of ten,
they’ll be singing the chorus line of ‘I Eat Pot Noodle With A Plastic Fork’ along with me before the song is over. In some of
my more regular venues, some of the crowd have turned up with rubber chickens and pot noodles!
I understand that you have a new album in the pipeline? What can we expect?
Yes. It’s nearing completion. A large portion of the album will be boogie. There should be a good helping of blues, maybe
a little country and rockabilly. I’ve rerecorded a couple of my favourite tracks from previous albums and EPs and added
some fresh tracks. I’ve got a nice one about my obese cat on this one. I’m also currently working on a ‘space blues’ track
to give the album a more intergalactic feel. There is a sample EP up on Spotify and iTunes now and shortly the album will
be complete and available to buy through the website, iTunes and all that malarkey.
You’re 20 years old, how do you find life as a one man band?
Well there’s a lot of driving around on my own but I quite like listening to Radio 4 in the car. I’m never alone when I get to

Website: www.andytwyman.com
Myspace: www.myspace.com/andytwyman
Facebook: www.facebook.com/andytwymanboogie
the gig and I’m lucky to have some great clubs on the circuit that I play, such as the Green Door Store in Brighton, The
Lock Tavern in Camden amongst others, which are always very busy and the crowd dance less than a meter from the
end of my bass drum. I’m particularly fond of the trendy Brighton and London clubs when I get to see all the young people
really getting into the blues, enjoying themselves and going crazy! I don’t want to be ageist though. I recently did a great
gig for the Veneratio charity, where a large part of the crowd was made up of people in their seventies and eighties. They
enjoyed the act too. One person remarked that ‘It was a damn sight better than ‘It’s A Long Way To Tipperary’
You mention the young people who enjoy your brand of blues. As a young person, how do you see the present
and future state of the blues?
That’s quite a frustrating question because I don’t know what blues is! I mean, if I said that I was going to put a blues
record on, I defi nitely would not be referring to Eric Clapton or Gary Moore, I’m talking about Howlin’ Wolf, Slim Harpo,
Sonny Boy Williamson. Some people may refer to Eric Clapton as blues though. He does use similar notes to blues
players like Hubert Sumlin or Albert King, but the phrasing of the old players and the groove that their bands laid down
are entirely different – more like jazz phrasing, less like rock. The vocal delivery is entirely different too. That’s not to say
that I don’t enjoy the Beano album, for example, or Johnny Winter, who was one of my childhood heroes, but they don’t
deliver their guitar licks or vocal lines like Muddy Waters. Anyway, I’m digressing. Young people are listening to lots of old
music at the moment. There are great blues and rock and roll scenes in the South East, where great young bands play
surf, rockabilly, blues, all that great stuff, many of them with really fresh original takes on the music. I play regular blues
dance nights where the entire crowd is in their twenties. On those kind of gigs, the DJs are usually playing the Chicago
blues and Rock and Roll because of the amazing grooves that those guys were laying down. They’re brilliant to dance
to. I’d like to see that era of blues getting more recognition. It wasn’t all about playing fast and playing as many notes as
possible. The grooves were outstanding. If you listen to Johnny B Goode really closely, you’ll hear that the drummer and
bass player are actually swinging, almost like a shuffl e, and Chuck Berry is playing in straight time. A lot of records from
that era are seemingly in straight time but there’s actually a shuffl e going on at the same time. I think it’s fascinating. At
that time, popular music was such a melting pot with different infl uences coming in. The blues side was brilliant too. Those
guys were masters of tempo. They could play shuffl es all night and each one would sound completely different because of
the subtleties of the groove.
I’m quite intrigued by your ‘Boogie Machine’ guitar. Could you tell me a bit more about it?
It’s a one string diddley-bow guitar. I put the D string from a bass guitar on it because I wanted a fatter sound than the
average diddley bow. The bridge is a fl at head screw and the nut is a piece of Meccano with a small dip cut in it. The neck
is a piece of two by four cut in half and the body is just a plank of wood I found. It has broken in half once or twice, I should
take better care of it really, but I’ve managed to glue it back together fairly solidly now. I generally play it with a glass
slide. People always really like it at gigs. It has a pickup on it that makes a great percussive sound when you hit it with a
plectrum. I sometimes take ‘drum solos’ using the pickup and my foot operated drums. There’s a good video on You Tube
of me playing the Boogie machine at the Green Door Store.
Your one man band sounds almost like a full band, but have you considered collaborating with any other
musicians?
Well, what I fi nd interesting about doing a one man band is that it doesn’t sound like a solo act or a band. It’s a peculiar
sound. There are quite a few blues acts that have just had guitar, vocals, drums and occasionally harmonica; R.L.
Burnside is one of my favourites as well as Jimmy Reed and T Model Ford. I like the sparseness of the sound. There’s
a lot of space in the music and the space is important because it shows what you are covering up with sound. It’s very
interesting to perform as a one man band because you have complete control over the groove and interaction between
the instruments. I have worked with plenty of other musicians though. My background was pub blues jams which I started
playing at aged twelve. My favourite place at the time was The Grey Horse in Kingston which had a great scene when
Robin Bibi was running the jam. There were always good players around. John O’Leary often turned up. I did a set with
Robin, Alan Glen and Papa George amongst others at the Bulls Head in Barnes recently which was great fun. There’s
some footage of that up on You Tube too. As I got older, I formed a few bands and then did a solo acoustic act for a while
before starting the one man band. More recently, I started a comedy progressive rock project with renowned jazz drummer
Dave Trigwell’. The style is quite infl uenced by the likes of ‘Gong’ and ‘The Bonzo Dog Doo Dah Band’. We’re going
out under the guise of ‘The Two Wrongknees’ and the video for the fi rst single ‘Funeral FM’ is up on YouTube too at the
moment.
Finally, what are your plans for the future?
I’m really looking forward to completing this album for starters! I’m going to keep performing as a one man band but I might
be looking to start up some other projects too. I’d love to expand my circuit a bit more next year. I play gigs and festivals
largely around Sussex, Surrey, London and Kent but I’d love to do more outside of the South East and get out on the
continent. I’m quite eager to attach a car honker to my one man band set up too. I think that could add another dimension
to the sound! I have also found an excellent chicken hat which I’d like to wear on stage.
At this point even the hardened Blues Matters writer has no choice but to slap his head and concentrate hard on avoiding
chicken puns and jokes like “What did you have for lunch? Chicken, but it was fowl and I only had a poultry portion.” It is
up to you whether you like that particular joke, but if you get a chance to go and see Andy Twyman play live, do so. You
won’t be disappointed. Don’t chicken out.
Stop press: Andy will be appearing on our JAKS stage at the Butlins Rock and Blues Festival in January
Blues Matters! 29

Talk with
Clive
Rawlings
Little Devils were formed in 2010 and in the short space of time since then have built a solid
reputation on the live blues circuit. The 2012 edition of the New Brunswick Battle of the Bands
saw the UK blues outfit make it to the final at the New Crawdaddy. Their new CD “Diamonds And
Poison” is receiving enthusiastic reviews. Graeme Wheatley gathered the band together to answer
questions from BM’s Clive Rawlings.
BM: A fair bit of your publicity refers to you playing ‘21st Century Blues’, apart from an album a few
years ago by Chris Thomas, how does that description sit with you?
LD: We were recording our fi rst album “This is how it starts…” in The Music Complex, in beautiful
downtown Deptford. As we were working on the songs, we seemed to be chronicling a new depression –
greedy bankers, corrupt politicians and desperate lives in dangerous times – that’s what many of our songs
are about – ‘Dress Down Friday’, ‘Orphans of the Storm’, ‘Last Orders’ – it was the ‘Same Old, Brand New,
Good News Blues….Again’! We were struck by the similarities between the 1940s, when a lot of blues
music was born and right now. So we try to reflect that in some songs, although it’s not all doom and gloom
– that’s the balance the blues has – good times and bad times always co-exist.
For the uninitiated, can you introduce the band?
Certainly, step right up boys and girls and make yourselves known:
Yoka (the Dutch Diva) – lead vocals, fl ute (with some occasional sax)
Vivienne Soan – saxophone, vocals (with some occasional harp)
Big Ray – lead guitar, Bill Austin – percussion, vocals, Graeme Wheatley – bass, main songwriter (and
rather guttural vocals)
How did the ‘Dutch Diva’ Yoka appear on the scene?
Yoka came to England to get into the London music scene. She ran a music bar in South East London,
where she was the house vocalist. The bar quickly got a reputation as the coolest place around as her
voice was stunning. I sometimes played there – trying out new songs – which always sounded better when
Yoka sang them! Vivienne and Bill and some other great local musicians would join in the jams so it just
grew organically. From that came “This is how it starts…” which we released in 2010 and the rest is history
– Little Devils were born but the music bar died, which is a shame but probably best for our health!
What pedigree does the band have?
We are all strays from Battersea Dogs Home – no pedigrees – mongrels all! Vivienne has played with lots
of luminaries including BJ Cole and Billy Bragg and is the cousin of the late great Gus Gudgeon. Yoka
played and recorded with Thijs Van Leer back in Amsterdam. Bill and my past is murky punky stuff – we
almost played together years ago – I was doing some recording sessions for Ten Pole Tudor and Lena
Lovitch and Bill was one of the drummers at the sessions – but our paths didn’t cross til years later! As a
songwriter – I have written for quite a few people including The Weinstein Company and Ronnie Milsap. Big
Ray is the newest little devil. He spent the last four years based in Antwerp performing alongside the likes
of Howlin’ Bill, Kathleen Vandenhoudt and Jasper Steverlinck on the blues circuits of Belgium, Holland and
France.
You’re one of those rare bands who release only original material, presumably they relate to
personal experiences?
Yes, lots of them do – some from my life and some are how I feel about situations – close to home and the
world at large. One of the most personal songs off “Diamonds & Poison” is “Black Diamond” based on the
Easington Colliery Pit Disaster of 1951 which claimed 83 lives including My Granddad’s brother, Bob Noble.
My Granddad was the sole survivor. Like many other kids, I would be taken to the memorial each Sunday
to look at the names of the dead miners. The price of coal was high that day. My Granddad never got to
hear the song, but he did live long enough to see the entire community destroyed when they closed the pit.
Blues Matters! 30

Blues Matters! 31

Even his local pub closed. It was called The Black Diamond. We toured North England earlier this year and
it was very emotional to take the band to the memorial. I think we all had some quiet words to say.
How has the new album been received by the press and public?
Brilliantly. We’ve had some great radio and press reviews and the CD is selling very well. All the praise
might go to our heads – but we’ll keep our feet on the fl oor (that’s an in-joke off the album!). One of the
nicest things said, was by Mary Wheelan, producer of the TV show “The Song, USA” who loved “Soho By
Night” and wants us to play it on the show. We are currently looking into making a live video for the show.
All the press and radio reviews are on our website along with a free download bonus track, “Diamonds”,
that isn’t on the album.
Must have been a buzz to have been finalists in the New Brunswick Battle of the Bands this year?
We felt like winners just to be at the South East Heat in The New Crawdaddy – meeting the other bands
and people like Ashwyn Smyth from Digital Blues – all of whom were great – to get to the fi nals and make
friends with more people like Gary Grainger (we Geordies have to stick together) at the Garage was icing.
We had a blast – we keep in touch with the other bands – hope to share some stages with them down
the line a piece. Incidentally, it was Ashwyn who pointed out the link between ‘Black Diamond’ and Matt
Anderson’s ‘Coal Miners Blues’ – he was kind enough to play the two songs back to back on his show –
which we thought was really powerful.
Do you have a favourite track that you keep coming back to ‘live’?
‘Orphans Of The Storm’– it’s a blues progression musically but never stops changing – it’s like a chimera
– as soon as we think we are familiar with its shape – it becomes something else. I don’t think we will ever
stop re-defi ning this song – and I don’t think we would ever want to – it’s very much part of Little Devils
being – at the heart of the band. It gets such a strong emotional reaction from audiences – the vocal, the
sax, the guitar – all seem to raise the bar. It’s a song that is somehow bigger than all its parts.
What do you think makes Little Devils a bit different “live” from other bands?
There are loads of great bands out there, the scene is really healthy in terms of talented musicians - there’s
something for everyone. For us - well, there’s Yoka’s voice that can stop traffi c. And, as a 5 piece band with
2 female members I think one thing that catches people on the hop is when Yoka suddenly joins Vivienne
on dual saxophones – then switches to fl ute. We are also lucky to have Bill adding a touch of the great
Levon Helm with his simultaneous vocals and drumming. We are not a three piece guitar band – but Big
Ray is an awesome guitarist adding more pure blues into the 21 st century mix – all that and Vivienne’s
weird selection of hats and assorted paraphernalia!
What was your first encounter with the blues?
I was 15 and living in Hartlepool. My friend and I had tickets to see Rory Gallagher at Newcastle City Hall
(I still have the stub). This was my fi rst major concert and it was incredible. Towards the end, we had the
choice – do as we had been told by our parents and leave early to catch the last train home – or stay for
the fi nal number. Needless to say, we stayed and Rory played 5 encores. The last one, ‘Sinner Boy’, was
played to about 20 of us at the front of the stage. My life was never the same – but did we get into trouble!
Spent the night in Newcastle train station – my parents went crazy – grounded for a month – and worth
every minute! I loved Rory ever since. My son was born on the day he died, in the same hospital.
Early influences?
Beatles, Stones, Muddy, Dylan, Cohen, Waits, Wolf, Clash, Springsteen, all 3 Kings and Elvis (Costello)
and a supporting cast of thousands. Yoka adds Etta James, Bessie Smith, Big Mama Thornton and Eva
Cassidy, Vivienne cites Jan Garbarek and Big Ray says Dave Gilmour inspired him to pick up the guitar
then Walter Trout inspired him to turn the volume up to 11. Bill says he was a toddler in a pub somewhere
listening to some old guys jamming – and that was it for him – the idea that you can get paid for being in a
pub still hasn’t lost the magic for Bill!
What, in your opinion, is the public’s perception of the blues nowadays?
Have we come full circle? Back in the blues-boom days, the young punks of the new blues scene were
fi ghting against the “trad-jazzers” – who didn’t want anything to change. There are some places now who
only want bands to play a set of blues standards – week in week out – they don’t want anything to change.
Blues Matters! 32

Are the punks of the blues-boom now the “trad-jazzers”?
Still, there are bands, music lovers and magazines – who view “Blues Without The Blinkers”! If blues
doesn’t continue to evolve it will become redundant. There is room for everyone – it’s a wonderful genre of
music that can be inclusive, all embracing and all the more rewarding because of that – or it can wither and
die – what’s it gonna be? I can still feel a healthy pulse.
Being a songwriter yourself, are there any songs you wish you’d written?
There is a cast of thousands – revolving in my head constantly – but I am reminded of the exchange
between Oscar Wilde and Whistler – Wilde remarking on a witty jibe said “I wish I’d said that”, to which,
Whistler replied, “oh you will, Oscar, you will”.
How important is song collaboration in a band?
Collaboration is vital – music is all about connecting – Little Devils are like a gang – all for one and all
that jazz. Everyone inputs into every song – if you heard me sing some of my demos and play the guitar
parts you would quickly realise how vital it to have a vocalist with the range and sheer power of Yoka, and
musicians as brilliant as Vivienne, Big Ray and Bill all contributing to make the songs come alive.
Any interests outside music?
I must confess to a degree of self-interest – but I’d like to see the planet survive for a little while longer,
maybe even become a better place to live – so I am happy to support Amnesty International, Greenpeace
(Yoka used to work for Greenpeace incidentally), Avaaz, People Before Profi t, Shelter, Childline, WWF and
The New Cross Gate Benevolent Fund for wayward Little Devils (all donations gratefully received).
What music would we find playing on the tour bus?
We rehearse in the tour bus! Some of our best arrangements happen on the way to gigs – gotta keep
things fresh! When the music stops, we play games. Our favourite – and it’s been killing us for some time –
is looking for fi sh musicians – such as Skate Bush, Squid Vicious and Slim Carpo (Walter Trout and Julian
Bream don’t count!). It’s addictive. Last year, we asked fans for help and got inundated – fi sh everywhere
(Les scaled the heights!) – our Facebook was more like a fi sh tank. If anyone thinks they have spotted a
rare one – let us know via Facebook.
Where do Little Devils plan to be in, say, five years?
I was going to say anywhere above ground would be good, but Yoka, Vivienne, Bill and Big Ray say –
bigger and better stages, kicking up a storm!
Favourite biscuit? (my standard question, all answer!!) Vivienne says Hobnobs, Bill says Choc
Digestives. Yoka says “Farewell Custard Cream – live at The Albert Hall”. Big Ray says Rubber Biscuit and
I gotta go for King Bizkit!
What’s coming up next for Little Devils and how can people get in touch?
In September we are playing Farnham Blues & Rock and Roll Festival then The York Blues Festival. In
October we are off to Belgium and Netherlands. Back for a gigs at Gloucester Blues Club and Saltburn
Blues Club. Next year, we have a Boogaloo Weekender at Alvason Hall, Cheshire in March. In May, we
are playing at a festival / holiday in Calabria, Italy (a month of sun, sea, sand, and blues!) with Otis Grand,
Todd Sharpville, Eugene (Hideaway) Bridges and lots more. Check out all the STUFF on the website www.
littledevilmusic.com
Any message to BM readers?
Support the network – the independent mags, the blues DJs and all the venues and festival people
who work tirelessly because they love this music. Thanks a million to Blues Matters!, the readers (we
subscribe!) and to anyone who has been to see Little Devils – where ever we go - we’ll be back.
And finally?
If there’s one thing I could leave you with, it’s something written on the memorial plaque in Easington
Colliery. Easington has been ripped apart by the loss of its’ one dirty and dangerous industry. The people
are living in real hardship and have a lot of problems. The memorial is spotless. On the rock taken from
the pit, amid the 83 trees (one for each dead miner), there is a message. It reads “Get understanding and
promote good will in all things”.
Blues Matters! 33

Blues Matters! 34
By Duncan Beattie
The last two years has seen the emergence of Lewis Hamilton as a rising star. Hailing from Rural
Perthshire, his act the Boogie Brothers can genuinely claim that they are the hardest working blues band
in Scotland, having played over 200 shows in that time. These shows have included prestigious slots at
many of the Scottish Blues festivals and most recently Hebden and Maryport. From his first demo EP, and
throughout the subsequent albums “Gambling Man” and “Empty Roads,” Lewis has developed his strong
song writing, providing his own style of rocking blues which is sure to see his profile rise in the UK and
beyond. Duncan Beattie spoke to Lewis to talk about his development to date and views on the current
blues scene.
BM: Lewis, the Hamiltons are a musical family as your Laurie Hamilton was one of the finest jazz guitarists
in Scotland during the sixties, appearing as session man on numerous Grampian and STV shows, while
your cousin Steve, a Berklee graduate, has played piano with such notable names as Ray Charles and
Percy Sledge. Did this background influence your decision to perform music?
LH: It defi nitely did. Having a musical family made a huge impact on the way I looked at musicians, and guitars
themselves. I remember at the age of 10 playing my Uncle’s original 1970s Stratocaster just after seeing an article
about Jimi Hendrix’s Woodstock guitar in an early 80s guitar magazine. I knew I wanted a guitar just like that!
Given your family’s background in jazz, what was it that inspired you to turn to the blues?
At fi rst I never listened to blues, it was all Led Zeppelin and Red Hot Chilli Peppers, then one day I stumbled
across Cream’s version of Crossroads from the late 60s. That just blew my mind.
Your first regular stage appearances were as a guest artist for Lazy Poker (who were signed to the Blues
Matters record label) and then you joined The Jamie Harper Band. How did this experience serve you and
at what stage did you decide to form your own band?
Playing with the Jamie Harper Band really helped me to learn stage confi dence in a live situation. Jamie also
taught me a lot about stepping back in the mix a little bit and that you don’t always need to be on eleven at every
moment in time. That’s something I really appreciate learning at an early age and I think every young musician
could benefi t from. It was great fun but eventually I wanted to start singing and writing my own songs.
The strength of your own material is very significant. Having heard the songs on your demo EP I wrote in
Blues Matters that I felt you were a bluesman of clear distinction. In your live set, your original songs far
outnumber cover versions. How has your songwriting developed?
I started writing guitar riffs before I tried singing. The riff for ‘Gambling Machine’ was in my head for many years
before I actually put words to it. However, in the last two years I’ve started writing songs. I’ve begun with a topic,
phrase or melody fi rst and moved onto guitar parts afterwards. I don’t know if its better, it’s just the way I’ve
learned to do it.
You formed Lewis Hamilton and The Boogie Brothers at age 17 and have played in excess of 200 shows,
which is an exceptional number of live shows for someone your age. Please tell me about the band and
how your live show has developed during that time?
Well at fi rst the band played mostly blues/rock covers like ‘Black Magic Woman’ and ‘Roll Over Beethoven’ so we
didn’t really have our own sound. The more we gigged the more we began to interact with each other. We started
to add little riffs and subtle dynamic changes that many people wouldn’t notice at fi rst. The more we did this the
more interesting our set became. Once you add in two albums worth of original material to that, the band really
developed it‘s own sound.
You released your first self-produced album, Gambling Machine in February 2012 which came out to some
very positive reviews. How would you describe the album and what do you like most about it?
I would say “Gambling Machine” as a reasonable fi rst album, and I’m happy with it. Since we didn’t have much live
experience as a three piece, the album has more of a restrained studio-recorded sound, whereas “Empty Roads”
is a bit more raw and dynamic.
The album featured some notable contributions from Steve Hamilton on Piano/Keys, Fraser Speirs on
harmonica, Donald Lang on saxophone and Owen Nicholson on lap steel. How did their contributions
enhance the album?
It really helped to thicken out the sound. It made it slicker and more professional sounding than it would have been
with just the three of us at that time.
In a short space of time, you’ve played at nearly all of Scotland’s blues festivals, but more importantly,
you’ve had a very busy schedule playing shows in all parts of Scotland. How do you find the Scottish

appetite for blues, does it vary from region to region and do you feel that you’re established within
Scotland?
Scotland has a great blues scene during the festival time. Every festival we have played has been great fun and
we always get a warm reception and a good crowd during that time. We get a lot of repeat bookings once people
see us and they tend to come back in greater numbers. Also, having so many gigs does help to spread the word.
Now that we are established around Scotland, I think it’s time to focus on going abroad and pushing our music
further out.
You’ve now started getting bookings south of the border, with the first being the main stage of the Hebden
Blues Festival before Maryport trail. Are you keen to get more into the English blues scene and what are
your first impressions of it?
First impressions are great ones. It was nice to travel all that way and be given such a warm welcome at both
Blues Matters! 35

festivals. We’ve had return
invites. I really think English
bookings are mandatory to
further our career in the music
world.
Would you say your location
in rural Perthshire, has been
to your detriment as far as
your wider known profile
concerned?
I don’t think it helps being
away in the hills as far as
profi le is concerned. However
it is useful to be away from a
noisy populated area when it
comes to writing, practicing and
recording music.
Your second album “Empty
Roads” came out recently.
In contrast to your debut, it
is stripped down to yourself
on guitar and vocals, Nick
on bass and Santa on drums
and represents more what
you see in a Lewis Hamilton
show. Was that the specific
intention?
It was very much intended.
We all felt that the band’s live
sound needed to be captured
on CD, in a way that “Gambling
Machine” didn’t. Hence the
three of us being the only
musicians featured on Empty
Roads.
What are your favourite self-written songs?
I’m particularly proud of ’Like A Burning Tree’. It’s a slow delta-blues track from the new CD. I do love playing ‘E
You had a preliminary song writing nomination in the British Blues Awards and have been nominated in
blues/jazz category of the Scottish New Music Awards. How do you feel about award recognition?
I’m really grateful to be nominated for an award and it feels great to be appreciated! But if somebody is voted
higher and is considered to be ‘better’ it won’t bother me because I don’t think it matters in the bigger picture. The
view I have is that I don’t like anything that suggests one person’s music or musical talent has to be voted better
that another persons. The beautiful thing about music (especially blues) is that it’s about the way it makes you feel
when you listen to it, and not about whether it wins or loses a competition.
You’ve studied sound engineering (at Perth College) and produced and engineered both your albums.
How easy is it to engineer and produce your own work – are you self-critical in the studio?
I personally fi nd it a challenge (although very exciting one). Simply because I want to get the best results possible
and this can be hard to achieve when you don’t have a big record label backing you fi nancially. On the plus side
it’s really good fun and it gives me complete artistic control over my albums. Something that labels don’t always
offer.
Last year you were given the last minute opportunity to support German guitarist Henrik Freischlader
(after illness to the original support act) on several dates. How was the experience and how has watching
Henrik at close quarters influenced your own sound?
I can honestly say Henrik is one of the best musicians I have ever heard. The crazy thing is that I had never heard
of him before! I’ll openly admit that I took a huge amount in from his show and it will defi nitely infl uence the way
I play and write in the future. Yeah! It was great fun to support him again this year and such an honour for me to
share a stage with him!
Blues Matters! 36

Which other artists would you like to play with?
I have always been a big fan of Davy Knowles and I would love to jam with him someday. I also like Oli Brown’s
playing a lot, he’s a very sweet player. Maybe Aynsley Lister when I support him in early December. I think being
onstage with Bonamassa would top it all for me!
There are many very talented blues musicians in Scotland, yet readers may struggle to name many. Which
do you particularly admire and why do you feel others have not become as well known?
I particularly admire Dave Arcari for his originality, stagecraft and work ethic. I also love Gerry Jablonski’s stuff.
The Jensen Interceptors and Wang Dang Delta are in my top ten as well. Scotland is fi lled with talented musicians
and most of them are known in local areas but maybe not so much out of the country. The only reason I can think
of is that Scotland doesn’t have the same blues and rock heritage that England has, meaning there is less of a
market for our kind of music.
We’re working on a compilation of Scottish blues artists, which you will release on your own Lewis
Hamilton Music record label. Can you tell the readers a little about the project and your plans with the
album?
The project has a few goals. It will help promote some great and talented musicians that deserve a lot more
exposure than they get. It also gives something for bands to sell at gigs who don’t already have a CD. I’m really
looking forward to having it out!
(The album should be out in September. Look out for a future review in Blues Matters!)
As a teenager, what do you think can be done to ensure other young people listen to and appreciate blues
music?
There’s nothing that can be done to ensure that. Blues music has always been and will always be a specifi c
taste in comparison to mainstream rock and pop. I think it’s good for younger people to hear it and decide for
themselves if they like it or not. So many people are learning guitar right now. I’ve noticed guitar related music,
including blues, is being explored by kids of young ages more than in years past. Which I think is great!
Tell me about your guitar collection? You’re mainly a fender man, although you’ve recently bought a
resonator guitar.
I’ve always felt comfortable with Telecasters. I love playing and owning many others, but I always go back to
those odd shaped work-horses and I feel right at home. I’ve always wanted a resonator though. Since I’ve started
playing slide at the end of last year, I couldn’t wait any longer … I had to have one! It’s not a complete change in
direction, but a little versatility can’t hurt.
Is there any message you would like to give to the readers of Blues Matters?
Keep going to gigs and buying CDs of the great, talented musicians of today, to help a great music form stay alive!
Blues Matters! 37

of the Jim Jones Review - by Darren Weale
The Jim Jones Revue are a rompin’, stompin’ all out Rock ‘n’ Roll outfit with added leather and
brylcream. What are they doing in the pages of Blues Matters? Well, they’re here because we like
them, and because the attacking style of Henri Herbert, their piano player, reminded us of Jerry Lee
Lewis, who had a bit of Blues in his repertoire. We asked Henri about this and other things.
BM: As the piano player of The Jim Jones Revue, you might need to be fi t, but what explains all the
muscles?
HH: Genes! Seriously, though, fi tness is very important to us as a band since we all work so hard on stage,
and our tour schedule is relentless – we’ll often go for several days without much sleep. I like to keep fi t
by going for runs. Our upcoming tour schedule to promote our new album “The Savage Heart” is pretty
extreme!
Why did you take up piano and go on to play this type of music?
I think it just happened. My dad was a big infl uence. He is a very fi ne classical guitarist and my earliest
musical memories are of him playing his guitar. I suppose my earliest memories of recorded tunes are
Chuck Berry, Jerry Lee Lewis, Elvis and Jim Reeves. My dad gave me an Elvis record for my birthday
when I was about fi ve years old. It had “Money Honey” on it and I distinctly remember loving the piano part
on that tune. He also had and a Jerry Lee record called “Jerry Lee Lewis and his Pumping Piano”. I played
both these records over and over on a small player till they wore out. Jerry Lee and Chuck Berry impressed
me the most at a very young age. We had an electric piano in the house when I was growing up. I would
spend hours studying the records and learning Jerry Lee’s solos. I then played with various bands on the
Blues scene before joining The Jim Jones Revue which is now my only band. I’m lucky to be in a band
where the piano has such a big role. I am very excited to be a part of it, and am looking forward to the new
album release and tour.
Blues Matters! 38

The Jim Jones Revue played the Letterman TV show live in the US. What was that experience like?
It was incredible! I’m amazed we got on to the David Letterman Show! Before I joined the band, the Jim
Jones Revue were scheduled for an appearance on the David Letterman show at the start of their last USA
tour. However, the main celebrity guest on that edition of the show wanted to play an extra song which
meant that there wasn’t time for the JJR so their performance slot was cancelled.
This time around our performance was again cancelled because the devastation caused by Hurricane
Irene cancelled all fl ights to New York on the eve of our scheduled performance. I remember I had packed
my suitcase for a three week tour of the USA, and was just about to set off, when I was told it wasn’t
happening. We were told that it would be rescheduled, but we were doubtful. When we fi nally got the
thumbs up that it WAS rescheduled we were all very relieved but we all knew that we wouldn’t believe
it was really going to happen until we actually hit the stage. It was great to play on that stage at The
Ed Sullivan Theatre where Elvis and Jerry Lee Lewis had done their thing all those years ago. The rearrangement
of our performance date meant that we had to change fl ights and other travel arrangements,
travelling through several time zones. Having seen the tour schedule for our new album it looks like we’ll be
doing a lot more of that over the next few months.
What advice would you give to a young pianist learning the classical way but actually wanting to
rock like you?
I never really applied myself to learning “the classical way”, I was seduced by boogie woogie at a very
young age and that was all I was interested in playing. I love to listen to classical piano music, but from a
playing perspective I have very little understanding of the classical discipline and practice. What I would
say to anyone wanting to play Rock n Roll piano is to listen to Jerry Lee Lewis, Fats Domino and Little
Richard. For me they are the greatest and they’ve been a huge infl uence on me personally and also on
The Jim Jones Revue. I was lucky because at a very young age my dad played me music that I became
passionate about. If I had not been exposed to all that great music at such a young age things may not ha
How do you feel about the new Jim Jones Revue album and the upcoming tour?
I am very excited about this album, it’s something very personal to me since I have been involved in
the song writing and arranging. It’s called “The Savage Heart”, and our producer was Jim Sclavunos,
the drummer for Grinderman and Nick Cave and The Bad Seeds. Jim produced the previous record
and we were delighted to have him on board for this one too. It is different to the previous Jim Jones
Revue albums; we’re exploring new musical and lyrical territory but it retains the energy and trademark
powerhouse feeling. The piano is still very much up front and key to the overall sound. I’ve been able to
bring infl uences from my favourite piano players Jerry Lee, Albert Ammons and Otis Spann into the mix,
and also infl uence from fi lm composers like Elmer Bernstein and Ennio Morricone. It’s been fascinating
to be part of the process from the early jams and song writing sessions up to the fi nished product, and
working with Jim Sclavunos was a valuable experience. Now that the album is done we’re getting ready
to tour the songs. I love touring and performing, and I’m very excited to be going to Japan in November.
It’s the fi rst time there for me and most of the band. We’re also touring the UK, France and Spain. It’s a
relentless schedule but well worth it in my opinion.
Do you have any blues influences?
Jerry Lee Lewis has an enormous amount of blues feeling in everything
he plays and sings. He’s been a massive infl uence on my contribution to
“The Savage Heart”. He is my number one infl uence, but I am also hugely
infl uenced by Otis Spann and Champion Jack Dupree. Also John Lee
Hooker, I love his rhythm and often try to replicate his attack. Guys like John
Lee Hooker and Howlin Wolf were great innovators and I draw inspiration
from this too by trying to fi nd new sounds and ideas. Albert Ammons and
Pete Johnson are big infl uences. Like Jerry Lee neither of them were strictly
blues players but they had a strong blues sentiment in everything they did,
and they were also great innovators. I’ve been lucky enough to bring some
of my blues infl uences to our “The Savage Heart”. The whole record, to me,
sounds very blues-driven.
The Jim Jones Revue will release their new album “The Savage Heart”
through Play It Again Sam/Punk Rock Blues Records on 15th October and
will be touring the UK in October. For a full list of dates go to:
www.jimjonesrevue.com/website/live
Blues Matters! 39

ALVIN LEE
The Best Of Alvin Lee
Repertoire
For Alvin Lee fans, it is
like waiting for a London
bus; there is no sign of
one for ages and then
three come along at
once! The month of
July 2012 brought this
excellent compilation album, news of his eagerly awaited
and critically acclaimed “Still On The Road To Freedom”
CD, and notifi cation that Gibson had nominated Lee the
greatest musician ever to have played an ES-335 guitar,
deservedly ahead of Clapton, Berry and BB King. Oh yes
and there was confi rmation that Alvin will be appearing
next Easter at L ’Olympia in Paris with that other blues
legend, Johnny Winter. It doesn’t get much better than
that. “The Best Of Alvin Lee” is proof that legendary status
is well deserved by a man who started out as the fastest
rock guitarist in the west and matured into a creative
and highly original and talented all-round musician and
lyricist. Too many of the English progressive rock bands
of the late 60s/70s have -+ended up as pale shadows of
their glorious past, exacerbated by personnel changes.
Fortunately, Alvin’s decision to embark upon a solo
career ensured that he avoided that fate and continued to
advance musically. The compilation starts with the high
octane ‘Keep On Rocking’ from the 1994 eponymous
album which is well represented here, the next two tracks
being the excellent ‘My Baby’s Come Back To Me’ and
‘Boogie All Day’. Fast-forward a decade to ‘Rock And
Roll Girls’, my personal favourite which gained Alvin,
Richard Newman and Pete Pritchard a standing ovation
on their last UK tour. Indeed, all of the choices from “In
Tennessee” prove that it deserved wider recognition than
it achieved. Other major highlights include the raw energy
of’ ‘I’m Writing You a Letter’ from ‘”In Flight”, the shared
vocals with Sam Brown on ‘Long Legs’, and the classic
guitar duets with George Harrison, ‘So Sad’ and ‘The
Bluest Blues’. A common theme throughout is the magical
interplay between Lee and Tim Hinkley whenever the
keyboard genius performs. Appropriately, the 30 th and fi nal
track is the national anthem, ‘Going Home’ from “Ride On”
with Ten Years Later, a 3-piece format which Alvin has
reverted to in recent years.
The Bishop
BETTY WRIGHT AND THE ROOTS
Betty Wright: The Movie
Curve Records
I’m not one for Soul Music, per se; but “Betty Wright:
The Movie” at 77 minutes, sure knocks a whole load of
other albums into the bin. Comprising a lady who has
been singing for decades, accompanied by an extremely
tight and funky soul band, The Roots, who can lock into
a groove as easily as turning on the lights, and armed
with a cache of self penned songs, this is truly an album
of quality, joy and damn good music. To top this list of
plus points, Betty has a truly great voice and delivers
a powerful performance, whether in a soulful, melodic
Blues Matters! 40
romantic mood or in a full-on rocking powerhouse roar,
this is quality from the start. Opening with ‘Old Songs’,
she exalts the quality of old songs and is a true tribute
to soul songs of yesteryear, whether on old vinyl or 8
track, with name drops of Stevie Wonder Prince and Patti
Labelle. Yet as retro as this may sound, she is also a lady
of today, and Calvin “Snoop Dogg” Broadus features in a
rap segment on ‘Real Woman’, a song dedicated to her
nephews and sons, giving a moral standpoint in terms
of the need to have proper relationships in life. Again
however, she adopts an opposite position with “…adult
theme music, time to put the children to bed” in ‘Tonight
Again’ a romantic and sensuous love song. Never one to
take the moral high ground, ‘Hollywould’, a song about a
girl named Holly who would do anything sexually, walking
the streets smoking dope and pimping herself for cash.
Again, powerful stuff. Throughout, the Roots lock and
groove in a way that reminds of the phatt Philly sounds of
the 70’s and 80’s. I’m not a soul convert, but Betty Wright
sure has hit it for me.
Merv Osborne
BETTYE LAVETTE
Thankful N’ Thoughtful
ANTI-Records
R&B legend Betty LaVette marks her 50th anniversary in
music with this release. Produced by Craig Street (Norah
Jones), ‘Thankful N’ Thoughtful’ features a selection of
contemporary tracks written by and recorded by amongst
others Bob Dylan, The Black Keys, Tom Waits, Neil
Young and Gnarls Barkley. Bettye has a built in way of
consuming each song in their entirety, her voice fi lled with
longing, rage, desire, survival and victory in equal parts.
Sounds obvious, but her voice is her instrument, rough,
tender and sensuous, sharing her hard earned wisdom
and story throughout these tales of her reinvention.
Special mention here goes to her band, Chris Bruce
on guitars, Jonathan Wilson gtrs/banjo, Glenn Patscha
keys, Jennifer Condos bass, and JJ Johnson on drums/
percussion. The album opens with Dylan’s ‘Everything is
Broken’, you can tell by Bettye’s moans and howls on the
title refrains, the troubles she’s seen. On ‘Crazy’ she slows
it down a bit, wringing every syllable till your spine tingles.
‘Dirty Old Town’, for the purposes of this album, relocates
to Detroit with it’s references to her fi rst love at Northern
High and the Detroit race riots. With ‘I’m Not the One’
the sensual grit of the song sizzles with her all-knowing
rasp. Every song here is a testament to her life and
her unrivalled skill for interpretation. By the time Bettye
fi nishes a track, she has fully inhabited the body and soul
of the song. From Neil Young’s ‘Everybody Knows This is
Nowhere’, to Savoy Brown’s ‘I’m Tired’ to the title track, a
lesser known gem from Sly & The Family Stone, Bettye
expels every word with such passion, you can feel her in
the present moment.
Clive Rawlings
BEX MARSHALL
The House of Mercy
House of Mercy Records
All of the tracks on this album are originals, written and
produced by Bex herself. The band members are clearly

collaborators and work very well together. When female
singer/songwriters are plentiful, instead of comparing Bex
to her peers, I would rather think of a younger version of
Bonnie Raitt. Seldom do we hear such blues infl ected
rawness in female guitar players, it’s refreshing to hear
it done with such authenticity and assurance. The sharp
guitar licks and gritty vocals make a statement saying
that this girl means business and in no uncertain terms.
From opener and title track ‘House of Mercy’ with it’s
funky feel, you know you’re onto a good thing. Bex has
recruited amongst others dobro master BJ Cole and there
is violin from Eileen Healy, banjo from Don Wayne Reno,
mandolin from Dale Reno, not forgetting husband Barry
on harmonica. These musicians crop up from time to
time, and, apart from drummer Crispin Taylor and bassist
Barry Payne are not a constant, but Bex’s own work on
Resonator doesn’t go un-noticed. Outstanding tracks for
me and illustration of the afore-mentioned have to be
‘Gone Fishin’ and ‘Rattlesnake’. If I had a song written for
me like ‘Barry’s Song’, I’d consider myself a lucky man!
As you can guess, this is a must - buy, Bex has hit the nail
on the head in all departments, writing, musicianship and
production.
Clive Rawlings
EDDIE MARTIN WITH HIS
BIG BLUES BAND
Looking Forward,
Looking Back
Blueblood Records
We Brits are often
pretty adept at putting
ourselves down, having
a whinge and a moan.
Yet sometimes your
chest just puffs out with
pride when we take in
the fact that we can do
stuff with music which is the envy of the world. Hailing
from the Bath/Bristol area, Eddie Martin is a fi ne example
of just what a bloody good job the UK can make of the
blues. Eddie sums up this cracking album thus: ‘I love the
humour and stinging guitar of Johnny Guitar Watson, the
guitar innovation and suave sophistication of Big Band T
Bone Walker and the spontaneity and blistering slide of
Elmore James. And I love the fantastic horn arrangements
of all three.’ Well, it certainly contains hefty elements
of all these. 14 tracks, all self-penned except for Funky
One Too, which was co-written with his featured guest
artist, Pee Wee Ellis. Martin knows his blues inside
out. He even lived in the USA for a time, holding down
residencies in Beale St in Memphis and in the Juke Joints
of Clarksdale Mississippi. Great harp player and vocalist,
he’s also a guitarist and drummer. Why a brass section
has never thought of calling itself The Little Big Horns
before is beyond me – but Eddie’s brassmen have that
laudable title, and they complement this big, fat and tasty
collection no end. Just get down with tracks such as Frog
in The Long Grass and Zombie Attack and you’re in big
band blues heaven. T-Bone, Watson and Elmore would’ve
been proud. With bands like this around, the blues is in
safe hands.
Roy Bainton
BLODWYN PIG AND MICK ABRAHAMS BAND
Radio Sessions >69 to 71<
Secret Records
The fi rst time I heard this release, it made refl ect on how
important, yet underrated the band Blodwyn Pig were.
Indeed, during ‘See My Way’, a song I remember well
from those heady days, I had to check to ensure that it
was Blodwyn Pig and not Roxy Music, so infl uential was
the sound of Jack Lancaster on horns. Mick states in his
booklet that this album presents rare stuff from the first
two incarnations of the Mick Abrahams Band as well as
some previously unheard material from the ‘Pig’. There’s
plenty of energy here although the sound on the opening
three tracks suffers a little form “age”. Of the thirteen
tracks, six are given over to Blodwyn Pig with the opener,
‘Ain’t You Comin’ Home’ demonstrating the power that
Rock in the 60’s and 70’s seemed to exude. Yet, this was
a time of experimentation and change, so instrumentation
was differed from the norm, and time changes were
introduced. John Peel introduces ‘City Of Gold’, the fi rst
of the Abrahams Band tracks. The song is the complete
antithesis of the Pig, with a more countrifi ed melodic air
a la West Coast Bands as opposed to the Blues Rock of
Blodwyn. ‘Greyhound Bus’ is a fast rocker, name checking
many of the places the band has obviously visited whilst
in the States. ‘Not To Re-Arrange’ visits a “Flying Burrito
Brothers” sound with a lush west coast sounding slide.
To me, the Blodwyn Pig tracks have the edge, although
dated they tend to represent a far more exciting blend of
music than Mick’s own band. Defi nitely one for the fans
and collectors.
Merv Osborne
BRAD HATFIELD
Uphill From Anywhere
Independent
And now it’s time for some Chicago blues. Which makes
me a very happy man indeed. Brad Hatfi eld is a new
name to me, but he’s come along to entertain with a
mainly original set of songs, alongside some well-chosen
covers of Blind Willie Johnson’s ‘John The Revelator’ and
Son House’s ‘Death Letter’. Now, to be fair, no-one can
really add anything to those particular songs, so it’s the
original material that really takes your fancy. The band
- Brad Hatfi eld vocals and harp, Jon Justice on guitar,
Bernie Hatfi eld on keys, Michael Bram on drums and Scott
Hornick - really know how to kick up a storm, and along
with a great production, courtesy of Justice, the material
really does move and groove along. There’s a good slow
blues on ‘One More Night’, a cracking roadhouse tune in
the shape of ‘Headstrong Baby’ and the rocking ‘Witness
To My Misery’. Hatfi eld is a great harmonica player,
and moothie fans will love his, and the guesting Dennis
Gruenlings work. Vocally, he’s got the chops as well, as
the closing a-capella version of ‘John The Revelator’ will
testify. Defi nitely an album worth hearing.
Stuart A Hamilton
ERIC BURDON & THE ANIMALS
Love Is
BGO
This album released in the USA as a double album in
1968 and culled to a single release in May 1969 for the
UK market, effectively marks the end of the Animals, apart
from occasional reunions. The name had been retained
largely for commercial reasons, and was and is forever
associated with the Animals’ classic trans-Atlantic hits.
Burdon, by now ensconced in the USA, and converted
from, as the liner notes put it, “erstwhile Geordie boozer
to beatifi c fl ower child”, had recorded two albums in the
Blues Matters! 41

previous 12 months,
and new material was
therefore scarce. As a
result, some strange
covers were chosen and
given the acid infl uenced
rock treatment, so here
we have what had been
Spector’s wall-of-sound
‘River Deep, Mountain
High’, on the same
album as versions of
the Bee Gees ballad ‘To Love Somebody’
and even more remarkably the country standard ‘Ring Of
Fire’ The more understandable cover of Traffi c’s ‘Coloured
Rain’ has a guitar solo of over 4 minutes, and this typifi es
the album’s problem – more is less. The long-winded and
tedious ‘Gemini’ contains long spoken sections, and like
the other extended tracks loses its way after a promising
introduction. One hesitates to generalize or condemn, but
this like Hendrix’s later work may be another occasion
when mind-expanding drugs did not help to focus the
artistic process. This band combined the incomparable
voice of Eric Burdon with amongst others the talents of
Zoot Money, multi-instrumentalist John Weider and of
course Andy Summers, (later to fi nd fame and fortune in
Police), which makes the resultant disjointed affair all the
more puzzling and frustrating. What might have been...
Noggin
DICK FARRELLY & MAT WALKLATE
Keep It Clean
Independent
There is not usually a happy ending to a story that begins
with “I met this guy in a bar in Amsterdam, and we decided
to play together”. Thankfully, this is the exception to the
rule, and sees Mancunian Mat Walklate and Irishman
Dick Farrelly teaming up for a really enjoyable album
of acoustic blues. A couple of months after their Dutch
jam session, Dick Farrelly fl ew over to Manchester and
the two men spent 9½ hours in the studio. And with no
further ado, they had an album in the bag. Something that
should be a wakeup call for all these layabouts who spend
years making a record. Both men have a pedigree in the
business, with Farrelly having played with Eric Bell, Mary
Coughlan, Van Morrison, Mick Taylor, Noel Redding and
many others, whilst Walklate plays Irish traditional music
on the fl ute, harmonica, whistle and uilleann pipes as
well as fronting a couple of blues bands including Depot
and The Moocher. So what you end up with is a wee
treat, with two great musicians, kicking back and enjoying
themselves on a set of mainly Trad Arrs, including ‘Good
As I Been To You’, ‘Bottle Up And Go’ and ‘Black Cat
Bones’, with a few originals thrown in for good measure.
Stuart A Hamilton
JAMIE HARPER
Blue Smoke And Silver Lining
Independent
Jamie Harper is a well-known live performer in central
and northern Scotland. Now in his mid-30s, Harper was a
member of long standing Dundee blues band, Wolftrain,
before making his name as singer, guitarist and primary
song writer in The Lazy Poker Blues Band. For a decade
they toured heavily and appeared at many prominent
blues festivals. ‘Blue Smoke And Silver Lining’ available
Blues Matters! 42
as a download, from the usual outlets, is his fi rst solo
album and is fully self-composed. It is a long awaited,
his fi rst issued work since Lazy Poker’s ‘Positively Blue’,
issued on Blues Matters record label. Time though has
not blunted his fi ne talents. Harper has his own trademark
style which consists of a funking opening riff, some
melodic guitar lines and a grooving rhythm, heard in the
opening ‘Silver Lining’. A melodic vocalist, Harper has
always been a fi ne song writer with sensitive worded
lyrics, notably on ‘Legbone Break’ and the helpless tale of
the narrator in ‘Midnight Train’. It may be this album has
been an emotional release for Harper, with the subject of
broken relationships appearing regularly. However there
is plenty of variety with songs such as live favourite ‘Gotta
Give It Up Again’ and the atmospheric ‘Keep On Movin’,’
both standouts. Jamie Harper is not the only one of his
family to shine on this album, as his son Dale appears
throughout on drums and clearly relishing giving it laldy on
his kit, particularly on the slide lead ‘Shame’ and closing
instrumental ‘Blue Smoke.’ It’s an album well worth
checking out.
Duncan Beattie
J SINTONI
A Better Man
Independent
This is the second album from Italian guitarist, vocalist
and songwriter J Sintoni, following on from his 2007
release “The Red Suit”, and it’s really rather good. Signor
Sintoni has been leading his own band since 2000, and is
a regular on the European festival circuit, playing the likes
of the Pistoia Blues Festival, the Chianti Blues Festival,
the Voodoo Child Blues Fest and many others, as well as
opening for musicians of the stature of John Hammond
and Popa Chubby. All ten songs have been written by J
Sintoni, and alongside his cohorts
Andrea Taravelli on bass guitar and Carmine Bloisi on
drums make up a fi ne blues trio. It’s no great surprise to
see that the record ends up with a tune entitled ‘Song
For Stevie & Jimi’, as his infl uences are very apparent at
times, but there is enough talent here to indicate that he
could end up very much his own man. It’s his guitar work
that shines the most, so when that’s stripped back on
songs like ‘Consequences’, you can see where he needs
to work harder. The band are comfortable on straight
blues, slow blues and even a wee bit of funk, and on
album highlights like the blues shuffl e of ‘Love Should
Never Lose’, ‘Good Vibe’ and ‘Two Feet’, you can’t help
but nod your head in approval
Stuart A Hamilton
ELVIN BISHOP
Raisin’ Hell
B.G.O Records
A reissue of
outstanding quality,
this catches Elvin
Bishop at his best
ever live. Released
in 1977, this is a full
on “cultural event”.
The concerts were
recorded in fi ve
American cities. All
the way through this release there is a great sense offun
and exuberance, he can really work a crowd, his banter
much appreciated in a live setting. He is an accomplished

musician, and the concert stage is a better place to
express himself in the confi nes of the studio. Most the time
the feeling is upbeat and raucous shown in such tracks
as ‘Stealing’ Watermelons’ and ‘Struttin’ My Stuff’, whilst
bringing the mood down on the bluesy ‘Little Brown Bird’
and also his hit song ‘Fooled Around And Fell In Love’.
Throughout, his guitar playing is effortless and surprisingly
only sings lead vocals on four tracks. But his stellar fi rst
class band take main stage as well, including Mickey
Thomas vocals simply soar with Elvin’s guitar work. While
Elvin Bishop started off with the blues, working with an
all-star group of musicians in the Butterfi eld Blues Band,
he found his real space when he slipped back home and
was a major pioneer of the Southern Rock movement and
although this is not a blues release, the raw energy and
differing styles of music, funk, country rhythms will keep
people’s feet tapping for many years to come.
Colin Campbell
IKE TURNER
Blues Roots/Bad
Dreams
B.G.O Records
At last, two of Ike Turners
seminal works from the
seventies, available for
the fi rst time on compact
disc. Although probably
known for his work with
Tina Turner, he was well
known in the rhythm
and blues circuit in the
1950’s.On the Blues
Roots release he cut twelve tracks full of intense guitar
licks and soulful vocals. He plays all the instruments and
recorded it at his home studio a great accomplishment,
even quirky numbers with his own interpretations of such
classics ‘If You Love Me Like You Say’ and ‘Rockin Blues’.
There is also a bizarre self-penned track ‘Right On’ where
he certainly seemed to enjoy playing with the mixing
desk. Bad Dreams opens with ‘These Dreams’ a fairly
wacky and possibly over use of mixing desk this time.
The overall feeling is that this is a bit of a strange release
interlaced with monologues and other little oddities, but it
also has some great tracks, including a stunning version
of Elmore James’ ‘Dust My Broom’ full of swampy blues
and girl group backup vocals culminating in a gospel
type fi nale. ‘Rats’ just seems odd but musically competent
a rap about rats. This release was obviously not for the
“popular” market more experimental and pushing his own
boundaries as producer and entertainer. These releases
will serve as a memorial to a very talented and sometimes
maligned musician.
Colin Campbell
CHRISTOPHER HOLLAND
Corner Green
Cosmic Harmony Records Inc
Whilst we are unlikely to be reviewing any of Madonna’s
albums any time soon, we do take a look at some less
Bluesy offerings at times. Just as Blues artists like Piano
Red and Robert Johnson played Blues songs of joy and
celebration, we have here a whole album of upbeat tunes.
Corner Green is chock full of happy songs played by an
artist who clearly feels on top of the world and who wants
to share that feeling. This album is an organists and
keyboard players dream with magic words like “Moog” in
the instruments list. There are some beautiful melodies,
with some cracking accordion on the opener ‘Everything’s
Clear’. In fact, this strikes the note for the entire album,
with a cheerful interplay of instruments overlaid with
Chris’s mellow vocals. ‘Run Wild And Free’, a faster track,
has a Gerry Rafferty and indeed Beatles feel to it. It is
also easy to pick up some sounds throughout reminiscent
of Wings, Chris Rea and even the Bee Gees. ‘Under Her
Smile’ is an uplifting love song, and later ‘Grapes Of Love’
is about as Blues as the album gets, and is an outstanding
track. A whole array of demo tracks grace the album,
offering both value and some highlights, notably ‘Beautiful
Fish’. Mention should also be made of some outstanding
female vocals on the album, notably from Katy Shotter on
‘Spread Love’. No, this is not so very Blues. It is a different
outpouring of the soul, and something good to listen to
when in a glass half full mood, between the songs of hurt,
sex, drugs, betrayal, drink and discrimination that populate
much of the Blues. Nevertheless, this is a happy, dreamy
album to listen to and may just put you in a good Moog.
Sorry, mood.
Darren Weake
JON CLEARY
Occapella!
FHQ
When we think of the battering New Orleans experienced
with Hurricane Katrina, followed by the unforgivable
dismissive neglect of Dubya’s Big Government... then
it’s remarkable that the city’s beating heart – music –
has survived with such vigour. Here is ample evidence;
subtitled ‘Having fun with the songs of Allen Toussaint’,
this is a joyous celebration of great compositions put
through piano man Cleary’s unique funk machine. There
are stirring performances by Bonnie Raitt and Dr. John
and Cleary’s totally uplifting musicians, the Absolute
Monster Gentlemen and the Philthy Phunkateers. (Can
band names get any better than this?) Right up until the
last piano glissando there are startling twists and turns
on this journey through the Toussaint songbook that will
make you smile and get you up on your feet. As well
as the eponymous title track, there are true Toussaint
classics, such as ‘What Do You Want The Girl To Do’, and
a terrifi c version of ‘Pop Corn Pop Pop’ which even your
kids will enjoy. The whole set culminates with a moody
Fortune Teller, and all told, this album is a fi ne reminder of
how truly great songs can sound when handled by great
musicians – and Cleary is certainly one of the greatest.
Roy Bainton
JOE JACKSON
The Duke
Ear Music
Joe Jackson – singer/composer/arranger/keyboardist and
fi ve-time Grammy nominee, is one of the more intelligent
and adventurous survivors of the world of big-shoulderpadded
UK 80s pop. We all remember ‘It’s Different
For Girls’ but even whilst Adam Ant was slapping on his
war paint Joe had progressed – does anyone recall his
Jump’n’Jive Tour when he celebrated the music of Louis
Jordan? So – further up the tree of jazz respectability,
what have we here? “I revere Duke Ellington, but I didn’t
want this to be a reverent album,” he says of The Duke,
his new tribute to American jazz giant Ellington. If you’re
looking for musical convention, don’t look here.
Ellington’s pioneering spirit is evident throughout, but the
Blues Matters! 43

way Joe has showcased these classics is not only exciting
– it also demonstrates the true durability of the Duke’s
compositions. If you’re an old time pipe’n’slippers jazz
buff, then yes – Iggy Pop singing ‘It Don’t Mean A Thing’
(If It Ain’t Got That Swing) is going to be … irreverent.
Here are 15 Ellington classics stretched across ten tracks,
interspersing melodic and rhythmic elements which
would easily fi t with Ellington’s own, original freewheeling
approach. As well as Joe’s own vocalising on I’m
Beginning To See The Light, Mood Indigo, and I Got It Bad
(And That Ain’t Good), we get R&B diva Sharon Jones
as well as Iranian singer Sussan Deyhim performing
an exhilarating Caravan in Farsi, plus Lilian Vieira, of
the Brazilian/Dutch collective Zuco 103, with a stirring
Portuguese version of “Perdido”. The stunning range
of musicians includes contemporary jazz stars, violinist
Regina Carter and bassist Christian McBride; rock guitar
hero Steve Vai and ex-Steely Dan/Sting/Dylan sideman
Elliot Scheiner, who’s a 7 time Grammy winner. A tribute
album it may be, yet it’s also very much a Joe Jackson
album, from a creative mind with an eternal sense of
musical adventure.
Roy Bainton
JOHNNY RAWLS
Soul Survivor
Cat Food Records
Fairly apt album title as
Johnny Rawls has been
playing professionally
since the 1970’s, in
those early days he
backed musicians
like Joe Tex and O V
Wright although he did
not release his fi rst
album in his own right
until 1996, since then he has released solo
albums on a regular basis, drawing from his experience
on the road in his early formative years. The material on
this album is full of silky soul tunes impeccably sung by
Johnny, while Johnny has won several Blues awards for
his song writing and performances this album sits fi rmly
in the Soul Blues category, all the material has Johnny’s
trade mark silky smooth fi nish, fully supported by the band
members who additionally help out with the song writing;
the title track written by the bassist and keyboard players
is the pick of the songs. The supporting musicians include
a full horn compliment that provides a funky edge to some
of the material on this impressive album that is a must for
Soul/Blues music lovers.
Adrian Blacklee
LIL’ ED & THE BLUES IMPERIALS
Jump-Start
Alligator
You know what you are going to get with Lil’ Ed and
happily as soon as opening track ‘If You Were Mine’
crashes through the speakers you get the feeling that
in spite of recessions, cutbacks and the weather etc
everything is OK. Opening track ‘If You Were Mine’
features crashing drums, a raw, loose limbed, but hard
driving rhythm section and, of course, Ed’s scintillating
slide guitar and fi erce, passionate vocals. In fact a
veritable rocking rave up. The good times are here
again and it all adds up to an irresistible package for an
Blues Matters! 44
ancient Elmore James lover like me. ‘Musical Mechanical
Electrical Man’ is a bit of a mouthful to say but no worries
as it rocks and swaggers along like hell on wheels. The
pace drops occasionally as with the harrowing minor
key Blues ballad ‘You Burnt Me’ which features intense
vocals and expressive guitar as Ed tells of a lover caught
smoking crack. A chiming slide guitar riff introduces the
funky and frenetic ‘Born Loser’ and then some almost
jazzy guitar licks lead into the bragging jump Blues of
‘Jump Right In’ with the rest of the band joining in on
backing vocals. ‘Life Is A Journey’ is a melodic minor
key slow Blues which features a particularly fi ne and
expressive solo from Williams. ‘World Of Love’ is a blast
of jaunty rock ‘n’ roll and ‘Weatherman’ is another speedy
rocker as the band positively race to the fi nish. The
wonderful JB Hutto was Ed’s uncle and musical mentor
and the sole cover on this CD is a superb heartfelt version
of Hutto’s slow Blues ‘If You Change Your Mind’ which
features guest Marty Sammon on piano who trades licks
in exhilarating fashion with Williams corruscating slide
guitar. The humorous and rollicking’No Fast Food’ fi nds
Williams exclaiming “Why go out for hamburgers when
at home I can eat prime steak?”. Quite so! ‘My Chains
Are Gone’ features atmospheric organ from Sammon and
pretty guitar arpeggios from Williams as he relates a sad
tale of the end of a love affair. Closing track ‘Moratorium
On Hate’ is a heartfelt statement from Williams as he
declares “a veto on violence and a referendum against
crime”.This is a set of exciting, raucous, exhilarating and
raunchy Blues from musicians who just may be one of the
best bar bands in the business. Call up some friends, lay
on a few cold beers and fi re up the barbecue. The party
starts right here!
Dave Drury
VARIOUS
Harbour Of Songs
The Stables
Commissioned by The Stables in Wavendon, Milton
Keynes for its International Festival 2012 and produced
by Adrian McNally, keyboards player with contemporary
folk band The Unthanks, this CD release is basically a folk
and singer/ songwriter album inspired by The Lone Twin
Boat Project - which has successfully built and sailed a
boat made from donated wood. Fittingly, the 13 tracks
bring together young and old, established and upcoming,
American, Australian and British acts, though non-folk
fans may be familiar with the names of Janis Ian and
Ralph McTell (who can play fi ne ragtime blues guitar - but
doesn’t here), and many will recognise Nick Hornby’s
name, though maybe not in this context - yes, it is indeed
the author. Readers with a taste for Americana should
fi nd plenty to enjoy in this thoughtful and sometimes
hauntingly beautiful album, but if you are looking solely for
the blues, pass swiftly on.
Norman Darwen
RJ MISCHO
Make it Good
Independent
There are some albums that sound sterile, with every
single note carefully chosen and blended, so much so
that any life is removed from the recording. ‘Make It Good’
is not one of those albums. It sounds good, but it sounds
full of life. It captures perfectly the sound of musicians
having fun playing together. The group, led by vocalist
and harmonica virtuoso RJ Mischo plough their own
furrow of funky bluesy rock, with plenty of time for solos

and interjections. From the opening blast of ‘Trouble Belt’
and the fun instrumental track ‘The Frozen Pickle’, or
the slower blues tracks ‘I Am Not Your Good Man’ and
‘Minnesota Woman’ there is something for fans of blues
and funkier music here. The guitar playing of Johnny
Moeller and Nick Curran perfectly blend themselves
together, and the rhythm section of drummer Wes Starr,
Pianist Nick Conoly and bassist Ronnie James Webber
are all perfectly in the pocket, and although there is
nothing really new here, there is still plenty to like and
admire in a group that clearly knows how to have a good
time together.
Ben Macnair
GRUHAK
Make A Stand
Independent
This is a Croatian band
who present their fi rst
album as ‘The rebirth of
classic rock’. Infl uences
are drawn from the late
sixties/early seventies
rock era with the fl avour
of Led Zeppelin, The
Doors, The Who, C-DC,
Rory Gallagher and
The Allman Brothers
getting a special
mention. Opening track ‘Free’ is a rock ballad which starts
with acoustic guitars and builds in intensity to a soaring
conclusion with Boris on vocals and Ivan on lead guitar
giving it their all. Title track ‘Make A Stand’ is a heavy
riffi ng rocker with a touch of Focus and Thijs Van Leer
in the guitar work. ‘Into The Dark’ is a slow burning rock
ballad which builds to a climactic crescendo of multilayered
guitars and overwrought vocals. Incidentally
the production and engineering duties on the CD were
handled by the band and are both excellent. ‘Your Song’
is propelled by acoustic guitars and good vocal harmonies
and there is no doubting the passion and commitment
of Gruhak and their retro music. A good time riff stolen
from The Small Faces introduces the raucous party
workout ‘No No No’ - the only thing missing is Rod the
Mod’s dulcet tones. ‘End Of Days’ utilises a Zeppriff and
develops into a Free style workout with phased guitars
and the band in full fl ow. Gruhak have clearly listened to
plenty of their favoured bands and many snippets appear
in their songs through the vocal styling and guitar layering.
My favourite track here is ‘So much To Say’ which is
another densely layered song with a pleasing Southern
Rock feel to it and which is enhanced by the addition of
mandolin, organ and piano. Yes a defi nite feel of The
Allman Brothers about that one and it certainly has the
WOW factor! ‘Mother’s Son’ opens with power chords and
rasping lead vocals from Boris as it is driven along by the
intense, hard riffi ng, guitar. Closing track ‘Gruhak Boogie’
opens with a boogie riff stolen from Mud or Quo and the
band batter it to a speedy conclusion. Phew! If Classic
Rock is your thing then you’ll love this. Somebody should
get these guys over here.
Dave Drury
SAFEHOUSE
Absolutely Live
Independent
This live album was recorded at Whistlebinkies, my
favourite live venue in Edinburgh because of the
magnifi cent atmosphere generated by the legion of
enthusiastic fans who gather there most nights to listen
to and celebrate the blues. It speaks volumes that the
audiences for Safehouse gigs regularly include fellow
musicians such as local legend Neil Warden currently
with Stevey Hay’s Shades of Blue, and Jed Potts from the
Jake Cogan Band, two of the best guitarists I have heard
in a long time. The set opens with the classic Creedance
Clearwater Revival hit, ‘Born On The Bayou’ followed
by The Allman Brothers’ ‘Midnight Rider.’ However, this
is anything but a mere covers album because of the
unique, vibrant interpretations of these tracks and others
including ‘Dear Mr Fantasy’ and ‘I Can’t Keep FromCryin,
Some Time.’ Indeed, the quality of the vocals, the
individual instrumental solos and the sheer power and
dynamism of these excellent Scottish musicians enhance
the originals which represents a massive achievement
for any band. Bassist Andrew Stirling is the founder
member, with Chris Peebles on vocals, John Bruce,
guitar, Ali Petrie, keyboards, and drummer Sean Scott.
Otis Rush’s ‘Double Trouble’ and Toussaint’s ‘On Your
Way Down’ providing the perfect platform for Bruce’s
intricate guitar phrasing and piercing solos, Peebles’
impassioned vocals and Petrie’s dexterity and versatility
on keyboards. Similarly, the rhythm section excels on
the stunning version of Bo Diddley’s ‘Pretty Thing’ and
also ‘Buffs Bar Blues.’ The changes to the line up have
altered the direction of Safehouse and if this album is
anything to go by, it is for the better, with more original
material like ‘’When The Lights Go Down’ in the process
of development. “Absolutely Live” is a stellar performance
of innate talent and scintillating energy, a slash and burn
blues/rock extravaganza interspersed with tenderness and
pathos.
The Bishop
LARKIN POE
Thick As Thieves
Independent
The Lovell Sisters
of Jessica, Megan &
Rebecca who hailed from
Calhoun, Georgia were
fi rmly established in the
bluegrass camp, when the
eldest sibling left at the
start of 2010. The younger
sisters later re-emerged
as a duo and brought
out a series of four EPs,
taking the four seasons as their titles.
This, their fi fth EP consists of 7 tracks and comes with a
bonus live DVD, which serves as a superb introduction to
the band’s new more rocking and soulful approach, which
is added to strong songwriting. The performance entitled
“Live From Stongfjorden’, fi lmed at the Sunniford Geo
Center, Norway in October 2011 is wonderful; the band
play a great set in cramped conditions, with the drummer
under a stairwell, and the others huddled feet from the
bar. The intimate nature of the gig all adds to the effect.
Rebecca is a natural as a front person, and her voice is
tremendous, all guts and spirit. The playing is superb, with
Sister Megan starring on dobro and lap steel. The synergy
and evident warmth between the sisters is obvious and
the band, with Rick Lollar on electric guitar, is rock solid.
Blues Matters! 45

The set list includes versions of four of the tracks which
appear on the studio EP. The album sleeve and stagewear
give the impression of folk-come-lately, but the
sound is much more varied and powerful. ‘On The Fritz’
has a vibrancy and playful appeal, while their cover of ‘In
My Time Of Dying’ is excellent. The studio disc is naturally
more polished and Rebecca’s vocals and the harmonies
are therefore enhanced. The fi nal track ‘Russian Roulette’
is stunning. The potential for them to explore more
musical directions, especially Blues is certainly there.
Noggin
MATT EDWARDS
Follow The Plan
Matt Edwards Music
FollowThe Plan’ is
Oxfordshire born
Matt Edwards’ fi rst
solo release and the
completion of a lifelong
challenge: to see if
he could record an
album playing all of the
instruments himself,
on the evidence of this
release he surely has
accomplished this goal
and more besides. It
was recorded in six days at the Grange studios in Norfolk,
recording in analogue to tape, all tracks being played live
as it were a great achievement, and the end result is the
making of a very accomplished blues rock type recording.
It has an easy listening, lively fl owing feel to it. Heexhibits
a harmonic and gutsy singing voice throughout, plus he’s
very talented on the bass and drums, he indeed plays
all instruments on this release and has produced it too.
Aside from one guest appearance from his friend Mitch
Laddie who was very honoured to play on this release on
the up-tempo blues rocking duo ‘What Else You Gonna
Do?’ Nonetheless it’s to the guitar work that resonates and
style of same that stamps his authority on this release.
This evident on the more laid back feeling of ‘Hearing
Poems’. Other highlights include the opening title ‘A
Whole Heap Of Trouble’. Possibly for me the stand out
track is ‘Standing In A Storm’ which has lots of angst and
attitude in it. The album closes well too with the stripped
down acoustic blues of ‘Poor Man’s Lie’.
Colin Campbell
PETER GREEN SPLINTER GROUP
Blues Don’t Change
Eagle
The re-release of this 2001 album pays homage to
many of the artists who had a powerful infl uence on
Peter Green and other Splinter Group members in their
musically formative years. The spirit of the originals are
captured, with no fuss, but sadly not much more in terms
of excitement. Most of the tunes are taken at a leisurely
pace. On one hand the band deserves great credit for
rescuing Green from the musical abyss, and this album
has its charm in the affectionate and respectful nature
of the tribute paid to so many Blues giants. But on the
other hand Green’s own alleged reluctance to re-do
classics, such as ‘Honey Bee’ (Muddy Waters), ‘Little Red
Rooster’ (Willie Dixon), ‘Don’t Start Me Talking’ (Sonny
Boy Williamson), seems to come through, because
Blues Matters! 46
these versions lack in emotion. The choice of material is
marvelous, and the covers are worthy, like ‘Nobody Knows
You When You’re Down And Out’, ‘Honest I Do’, ‘Crawlin’
King Snake’ and the outstanding ‘Help Me Through
The Day’ the last of which has tantalising and haunting
echoes of Green at his best. The playing by all the band is
fl awless. The sad fact remains that for one so absolutely
bristling with talent and confi dence, (some say better
than predecessor Clapton in the Bluesbreakers), and
brilliance in Fleetwood Mac, this is a testament to a man
who simply could not recapture the magic of his Blues
revival dominance of the late1960s, when ironically his
songwriting, playing and singing were the envy of some of
those he now seeks to emulate.
Noggin
PORTER
Can’t Keep Still
Independent
Out of Essex, Porter have a sleazy and sophisticated
jazz,-blues sound on several tracks here, with smooth
vocalist/ guitarist/ bandleader Gary Porter no doubt
fl ashing big brilliant smiles at the audience as he
keeps the band tightly drilled through a very appealing
programme of jump ‘n’ jive ‘n’ ska. The three horn players
(trumpeter/ saxman Dave Melling also doubles – er,
triples – up on keyboards) know their stuff, sure enough,
and the bass and drums can push along or provide that
delicate pulse, as on the romantic slowie ‘Hanging On’.
The title track has a 60s vibe, with echoes of Sam Cooke
in the vocal and a reggae sound; ‘Happiest Day’ ditches
the reggae, replacing it with an early 60s Rhythm &
Blues arrangement and more beautiful singing, though
the blues-ballad ‘Drive’ is the big vocal performance of
the album. Think of an act that is part Ray Charles, part
Charles Brown, part James Hunter and part original (there
are no borrowings on these dozen tracks), and you get
some idea of just how this CD sounds. Take a listen to
Porter – you know you oughter…
Norman Darwen
MUDDY WATERS
Electric Mud/After
the Rain
BGO Records
Firstly great credit to
BGO for releasing
these two original
MCA albums
together on one CD,
neither was a great
commercial success
when originally
released in the late
1960’s but for other
reasons they were
landmark albums. The Electric Mud album recorded
in 1968 was a very bold attempt by Marshall Chess to
try and re-invent Muddy as a Psychedelic Rock artist
on the back of the developing music scene at the time,
he brought together a new line up, some of who had
played in the Rotary Collection and a ‘wild Hendrix’ styled
guitarist in Peter Cosey, who between them really went
for it, the blues critics at the time slammed the album and
much late Muddy himself was quoted as saying the album
was ‘dogshit’! From my perspective this is an album that
just has to be heard, the playing is sensational but Muddy
just does not sound comfortable throughout and the

versions of ‘I am a man’ and ‘I’m a Hoochie Coochie man’
are certainly some of the poorest renditions I have heard,
countering that ‘Herbert Harpers Free Press’ is a track
Hendrix himself would have been proud of. The After The
Rain album was the immediate follow up to Electric Mud
and while retaining the same line up there were additional
inputs from Otis Span and Paul Oscher, all helping Muddy
to crawl back to traditional blues music, the track listing
includes several Muddy classics and it is remarkable
how the musicians re-adapted to the blues after playing
psychedelia less than twelve months earlier, not a classic
album by any means but a worthwhile purchase.
Adrian Blacklee
PAUL LAMB & THE
KINGSNAKES
The Games People Play
Secret Records
Harmonica ace Paul
Lamb has been a fi xture
on the UK and European
Blues circuit for about
thirty years and this live
album was recorded
in various European
venues. Opening
track ‘I Got A Woman/
Folsom Prison Blues’
is a medley of the Ray
Charles and Johnny Cash songs which
starts off in acoustic mode and then builds in intensity
as the full band join in. The original song ‘Let Me In’ is
a rocking Blues featuring Ryan “Junior” Lamb on guitar
and it’s nice to hear a (relatively) young man who has
confi dence enough to play understated and melodic
lines without feeling the need to constantly overplay.
‘Come To The Conclusion’ is a catchy Slim Harpo style
boogie which should keep the dancers happy and the
toes tapping. Gershwin’s ‘Summertime’ is a tour-de-force
harmonica solo for Paul Lamb who gets to display his
dazzling technique. ‘Depressing Recession is a rocker
written by vocalist and rhythm guitarist Chad Strentz. A
cover of Big Walter Horton’s classic instrumental ‘Easy’ is
the perfect harmonica workout for Mr Lamb (senior). Ray
Charles slow Blues ‘Black Jack Games’ gives everyone a
chance to stretch out and show their chops in fi ne style.
An unusual choice here is a cover of Joe South’s 60’s pop
song ‘Games People Play’ which is given a jump Blues
treatment with a hint of reggae. Roosevelt Sykes’ ‘Ida
Mae’ is a classic old Delta Blues number which is handled
as a guitar/harmonica duet. Lee Dorsey’s ‘Ya Ya Blues’ is
a rollicking Louisiana swampland workout complete with
audience participation. The album closes with Leadbelly’s
‘Midnight Special’ which is given a stunning treatment
in gospel style. Paul Lamb’s credentials and stature are
undoubted and the current line-up is superb and they
have produced a very fi ne album.
Dave Drury
THE ALAN BOWN!
The Alan Bown!
Esoteric
The Alan Bown!, formerly the Alan Bown Set, carved
out a niche in the liberated mid- to-late 60s music scene
that was based upon relentless touring and innate
musicianship. Bown’s trumpet added a different fl avour.
Lyrically and sonically the album is typical of the times,
introverted and explorational. The group were every bit
as talented as other emerging prog-rock bands, such
as for example Genesis or Family who took more of the
plaudits, but like so many others The Alan Bown! had
the unwelcome tendency to limit their success through
a combination of bad luck and bad timing. Witness this
album, as a case in point; buoyed by a new label deal
with Deram, and a line up which included charismatic
vocalist Jess Roden they recorded this album and were
about to embark on a US tour when Roden up and quit.
The vocal parts were then re-recorded with the new but
still maturing talent Robert Palmer, previously of the
superb Mandrake. He stayed only for this album, before a
similar departure, this time to Vinegar Joe – a bad case of
leaving you! Rather like many other reminiscences there
is an ambivalence associated with listening to the albums
of this time, part warm nostalgia, part embarrassment.
The songs vary, occasionally wonderful, (‘All I Can Do’),
sometimes whimsical, (‘Kick Me Out’) and other times
weird like the mini rock opera ‘The Prisoner’. This rerelease
adds two bonus tracks, the excellent ‘Still As
Stone’ and ‘Wrong Idea’. The over-riding feeling is that
this was an under-rated band, that are now for ever locked
in a special era.
Noggin
THE A B C & D OF BOOGIE WOOGIE
Live In Paris
Eagle
That’s Axel Zwingenberger, Ben Waters, Charlie Watts
and Dave Green, by the way. Drummer Charlie you
all know of course, and many will be familiar with ace
pianists Axel and Ben, whilst Dave is a vastly experienced
jazz bass player who played with his neighbour – the
aforementioned Mr. Watts – back in the late 50s. There
is therefore plenty of expertise brought to bear on this
thoroughly entertaining set recorded at the Duc Des
Lombards Club in the French capital. There are no great
surprises in boogie-woogie these days, but the skill lies in
the interpretation and ability – so there are no problems
here. After a duet opener from Axel and Ben, the latter
sings Cousin Joe’s slow, humorous ‘Evolution Blues’ to
open his four song segment, then he hands over to Axel
for another four numbers. After this, all four men join
together to close out the show with a further fi ve tracks.
The set builds up a real head of steam, with a few blues
items interspersed (sung by Ben), and the result is a fi ne
old-fashioned album. Modern day piano blues is getting
harder to fi nd - this is some of the best around.
Norman Darwen
PAUL MARK & THE VAN
DORENS
Smartest Man In The Room
Radiation Records
Not the easiest of albums
to listen to. “Smartest Man
In The Room” is the latest
offering from Paul Mark, and
the stand out feature here
is the rasping voice that
does take a little time to get
used to. Paul is the singer
songwriter, instrumentalist
and owner of Radiation Records
and has been performing for over 25 years. Recorded in
Memphis and New Orleans, the album refl ects the rich
Blues Matters! 47

musical history of these two cities. Based fully in the
Blues Rock genre, the sound of the band is a coming
together of the fat guitar riff sounds from the beat era of
the fi fties through to the eighties. The title track is easily
the most memorable of the dozen self penned songs on
offer here, a strutting shuffl e that has feet tapping from
the outset. Staccato guitar a la SRV is served up in ‘Time
Will Tell’. The next track ‘When God Finds the Time’ is a
much heavier work, bordering almost on a voodoo style
rant. ‘Barrio Stroll’ is an instrumental rich with Latin fl avour
and thick luscious Santana drenched guitar. Jazz is
given a heads up in ‘Wrist Rocket’ with an almost Django
Reinhardt sounding guitar. Next up is a Dr John sounding
Blues piano boogie in ‘Can’t Remember Nothing’, even
the vocal phrasing recalls the great gumbo man. Most
interesting track of all is the closer, ‘The Creature Walks
Among Us’, a threatening blast of horror, emanating from
the sewers and a strange blend of sounds and voices.
Neither the best nor the worst album I’ve ever heard, but
thoroughly entertaining. Throughout however, I couldn’t
help thinking of Hokie Joint, not a bad thing in itself. And
by the way, watch out for the hidden 13 th track not listed
on the sleeve. Sneaky eh?
Merv Osborne
RICK ESTRIN & THE NIGHTCATS
One Wrong Turn
Alligator Records
What you have here
is a modern day
blues band led by
Rick Esterin, who
previously spent over
thirty years fronting
the Little Charlie & The
Nightcaps band, clearly
a contradiction in terms
but the band sound so
very fresh here. Rick is
a masterful Harmonica
player who works well with the talented Norwegian
guitarist Kid Andersen in creating at times a hard edge
to their electrifying blues sound, very reminiscent to the
Fabulous Thunderbirds, particularly on ‘Met her on the
Blues Cruise’. Rick covers all the vocals with confi dence,
his delivery is very much in a Rock’n’Roll style although
he generates plenty of humorous undertones , aided by
some great material; the title ‘Desperation Perspiration’
brings a small to your face even before hearing the track,
there are two contrasting instrumentals on the album that
veer away from the Blues; ‘Zonin’ a 1960’s jazz club feel
which is led by organist Lorenzo Farrell and ‘The Legend
of Taco Cobbler’ which could have been performed as a
fi lm score for a 1970’s Spanish Western, not Blues but
great fun. A really entertaining harp driven blues album
by a band determined to ensure you have a good time
listening.
Adrian Blacklee
RUSTY SHACKLE
Wash Away These Nights
Kissan Productions
The Anglo-Welsh quintet Rusty Shackle got it together in
2010, and their debut album cannot be easily categorized
- perhaps Celtic folk meets Squeeze, highly-charged
and with a contemporary twist is close. The album
Blues Matters! 48
was recorded at Cardiff’s Acapela Studios. Their local
following is passionate about Rusty Shackle’s rewarding
live shows. The band comprises main lyricist Liam Collins
with Nottingham born brothers Scott & James McKeon
(fi ddle & banjo and guitar respectively), together with a
rhythm section Baz Barwick and Owen Emmanuel. The
lyrics are wordy and observational, with highlights being
‘Works Of Art’, the poignant ‘Factory’ and historically
based ‘The Fight For The Queen’, with its nods to Drake,
Shakespeare and the Spanish Armada. This is all set to a
backcloth of fi ddles and banjos which all adds to the edgy
atmosphere. For a fi rst album this makes up what it might
lack in maturity and variety with energy and enthusiasm
in abundance. Sometimes, when the group provides
the shade with the light, as in ‘Tomorrow’, there is the
promise of more to come. Their strength and immediate
future surely lies in whipping up a storm within the live
setting, but in the studio environment the strained lead
vocals could be tempered with more harmonizing and
some slower tunes. The lengthy last song ‘Sunrise’ might
indicate the next direction. A hidden track, the traditional
‘John Henry’ appears after a pause following that track.
Noggin
VARIOUS ARTISTS
Dylan’s Talking Blues: The Roots of Bob’s Rhythmic
Rhyming
Righteous
You might think rap and hip-hop are ‘new’, but you’d be
wrong. Here’s their simplistic precedent. The talking blues
is a fi ne old art form which seems to be neglected these
days. The great thing about it is that you don’t need a
great singing voice – as long as you can talk clearly, have
a sense of rhythm, three chords and some nifty rhyming,
you’re up and running. In fact, one of the original talking
blues stylists whose pre-WW2 tracks are featured here,
Chris Bouchillon took up the form simply because he had
‘a terrible singing voice’. Apparently the roots of talking
blues lie in the black community in the early 20 th century,
when spoken, rhyming verses were used to slag off
whitey. I suppose this collection, by featuring Bob Dylan’s
name prominently, will spark the necessary interest of
the Dylanophiles, because Bob’s been adept at this form
in the past, inspired as he was by the master, Woody
Guthrie, who has 7 of the 23 tracks here. And that’s
something else talking blues had – acute and incisive
social commentary. If Woody was around now in the UK
you’d get a Banker Blues, a Bad Cat Lansley NHS Blues –
whatever bad was going on in society, this was the way to
broadcast it. There is a drawback, though – it’s a repetitive
form and almost every track seems to be in the key of A.
But that’s nit-picking – just compare Red Murrell’s version
of Ernest Tubb’s Talking Blues with the Anglicised updated
rendering by Lonnie Donegan, and you’ll realise how much
fun this can be. Get your pen and pad out, play A, D and E
chords and you won’t even need auto-tune on your voice.
Fascinating stuff.
Roy Bainton
ROBERT CRAY
‘Nothin’ But Love’
Provogue
‘Nothin’ But Love’ is Cray’s sixteenth studio album and
was produced by that man Kevin Shirley (what isn’t these
days!), who refers to it as “the dirt under the fi ngernails”. It
was recorded live over two weeks at the Revolver Studios
in L.A. and includes material written by all four band

members, Cray himself,
Jim Pugh (keyboards),
Richard Cousins (bass)
and drummer Tony
Braunagel. The album
consists of the soaring
break-up blues of opener
‘(Won’t Be) Coming
Home’, the jazz chops
of ‘I’ll Always Remember
You’ to the souldrenched
ode to repossession
‘Great Big Old House’, not forgetting the 50’s fl avoured
rocker ‘Side dish’. Suffi ce to say, that you get what you
expect from any album by Mr Cray, what can I say that
hasn’t been said fi fteen times already? Pure class oozes
from every note the band play, their pedigree is second to
none, but I am left with the feeling I’ve heard it all before.
That’s not to say it’s bad, there is an amazing fan-base
around the world who will jump at this. Cray is still laying
his cards on the table, testing his talent, fusing that
dazzling voice to some of his most powerful material
in his three decade career, offering his fans ‘Nothin’ But
Love’.
Clive Rawlings
MORGAN O’KANE
Pendulum
Independent
OK. This is downright fantastic. No question about it. But
it is mainly a bluegrass album, so if that doesn’t fl oat your
boat, well just move along, nothing to see here. You’re
also an eejit, as you miss out on one of the best bluegrass
albums I’ve heard in years. His is a raw and ragged take
on an old fashioned genre, that might just be the kick in
the arse it needs to take it away from the sweetness, light
and dullness of the Alison Krauss’s of this world, and back
into a wide-eyed and legless, relevant form of musical
expression. To this end he mixes up his take on bluegrass
with some blues licks, some country hoedowns and
some dirty rock’n’roll in his quest for bluegrass perfection.
He’s got some amazing musicians to come along on the
journey with him. Folk like the newest Carolina Chocolate
Blues Matters! 49

Drop, Leyla McCalla on cello, Ezekiel Healy on dobro
and some fantastic fi ddle work from Ferd Moyse. With
O’Kane setting his banjo on fi re on a set of original songs
as vibrant as ‘Hello Soul’, ‘Hold Your Fire’ and ‘Railroad
Blues’, this is without question, the bluegrass event of the
year.
Stuart A Hamilton
RON SAYER JR.
Better Side
Independent
The blues! Three chords
and the truth? Yes, it’s all
that. Simplistic art form?
Maybe. Perhaps you
don’t need to be able to
read music, either, to get
the best out of the blues.
First of all, putting this
CD on, I was wondering
– who is Ron Sayer?
This is damned good stuff –
fi ery, lyrical, it has all the heat of a furnace with the doors
open. The opening track, Bad Thing, pins you to the wall
and the powerful Your Pleasure, My Pain and Little White
Lies are just two examples of Ron’s rugged blues ability
both as composer and musician. Who is Ron Sayer?
Over to his web site, which tells us he has a BA (Hons) in
classical music, trained at Homerton College, Cambridge
University and won the coveted title of Guitarist Of The
Year a few years back. Ron began playing guitar at
seven, was gigging by the age of 10, took grade 8 in
both guitar and bass guitar, went on to be an examiner
for Rockschool, taught guitar for many years (and still
does) and is still giving lectures in blues improvisation at
various colleges including Cambridge University. Naturally,
you’d expect a man of this talent to rub shoulders with the
greats, so it’s no surprise that, among others, he’s played
with Buddy Guy, John Mayall, Imelda May, Nine Below
Zero, Stan Webb, Oli Brown and Buddy Whittington. But
Ron’s own band on this CD are a revelation – especially
Andy ‘Mojo’ Robinson’s keyboards and Charlotte Joyce’s
soulful backing vocals. So; between jamming in pubs to
punting on the Cam, there’s no academic gulf when it
comes to the blues. Dissertations and Degrees aside,
what blues needs is passion, creativity and emotion. Ron
Sayer Jr. has all three in spades. The BA (Hons) is a
bonus.
Roy Bainton
WILDCAT O’HALLORAN BAND
Cougar Bait Blues
Dove’s Nest
New York City born though for many years Massachusetts
based, Wildcat doesn’t take himself too seriously but lays
down fi ne, fun-fi lled blues that hit the spot. He picks his
musicians to match the track - there is some fi ne horn
work here occasionally. Overall, his sound is loud and
tough - he’s defi nitely an alumnus of the growling school of
blues vocalists - and his guitar playing impressive enough
for him to turn in an excellent rendition of Magic Sam’s ‘All
Your Fault’. Although he also covers Sam & Dave’s ‘Hold
On, I’m Coming’ as a nicely rocking roadhouse
blues, James Hunter’s ‘Better Luck Next Time’ (an
inspired choice) and Robert Johnson’s ‘Come On In My
Kitchen’ as an acoustic duet, he comes across even better
Blues Matters! 50
on his own original numbers - try the title track, ‘If You
Won’t Do What I Want’ (love the banter on this!), the
blues-rock riffi ng ‘Redneck Woman’ or in fact, just pick
any track at random. There are few bands who make you
smile (or even laugh), get your feet moving and still leave
you feeling like you’ve had a damn good blues experience
- Wildcat and his crew most defi nitely do.
Norman Darwen
SLIM BUTLER
Slim Butler’s Inner Blues
Slim Cuts
According to the sleeve notes, “Inner Blues” was recorded
in ‘the sunshine city of Rovaniemi’, which in case you
didn’t know, is in the Arctic Circle within Finnish Lapland.
Slim Butler is known to his friends as Jarmo Puhakka
and the recording comprises mainly of local musicians.
Yet much like was the case with Little G Weevil, several
months ago, upon listening I was not able to decipher
that the recording had not been made by Americans
somewhere in the Deep South. This is another great
indication of the quality of blues acts emerging from
continental Europe at the current time. This is Puhakka’s
debut release, and with the exception of the title track is
fully self-penned. It has all the hallmarks of a classic blues
record, from the strong and catchy songs which average
around 4 minutes each, the refi ned musicianship its sound
and feel recorded on old analogue recording equipment.
There’s also the touch of Otis Grand throughout the
recording, who mixed and co-produced the album. ‘(Call
Me) Mr Big Shot’ opens to a trademark Albert Collins
guitar lick which is repeated through the song, with guest
vocalist Andrew Black providing A Stevie Ray Vaughan
style vocal. Black alternates singing duties with Sugar
Ray Norcia, best known from his recordings with Ronnie
Earl. Norcia takes to the mic for ‘What Have You Done’
which is a blues ballad with a latter day Robert Cray vibe.
‘A Heart of Ice’ is embellished with some great lap steel
playing from Raimo Hakala. ‘Mexican Tears’ may be the
weakest track with its rather repetitive rhythm, yet ‘Hey
Bartender, Give Me Back My Fender’ is as memorable
as its title. It culminates with the melancholic ‘I Can’t
Imagine Why’ and an enjoyable take of Grand’s ‘Inner
Blues’ with simultaneous, contrasting acoustic and electric
guitars. I can’t say how often the sun does indeed shine in
Rovaniemi, but Slim Butler certainly does!
Duncan Beattie
RORY BLOCK
I Belong To The
Band: A Tribute To
Rev. Gary Davis
Stony Plain
This is the fourth
in a series of
affectionate
tributes to major
infl uences in Rory
Block’s musical
education, which
respectively have
acknowledged the contributions of
Robert Johnson, Mississippi Fred McDowell, Son House
and most recently the Reverend Gary Davis. Again Rory
Block has drawn upon her personal experience; as a
teenager she was introduced to Davis by the older and
streetwise Stefan Grossman. The memories of meeting
the Reverend on two memorable occasions both at

his home and in her apartment have clearly left a deep
impression upon her. The CD sleeve includes two lovely
portraits she did at the time. As part of this project she
admits to struggling to master his unique and complex
style of playing, but her faithful yet personal interpretation
of his songs is fi lled with all the warmth and inventiveness
that perhaps only a mature person could have brought to
his work. Despite his obvious inclination to the blues, the
songs are drawn inevitably to the direction of his higher
calling. This feeling is beautifully captured by Block’s
whooping and hollering, not to mention some inspired
backing vocals. The entirely acoustic set include tunes
like ‘Goin’ To Sit Down On The Banks Of The River’, ‘I
Belong To The Band’, and ‘Lord, I Feel Just Like Goin’
On’ and appropriately concludes with the moving ‘Death
Don’t Have No Mercy’, in which Rory Block excels both
vocally and instrumentally. While ever artistes like Block
and John Hammond are around the legacy of the early
Bluesmasters is surely in safe hands.
Noggin
STEVE HAY’S
SHADES OF BLUE
Independent
It is hard to believe
that this is the debut
album from a veteran
of the Scottish blues
scene, 35 years after
taking up playing
the guitar. A full time
musician following
his redundancy
from his community
centre job at the
tender age of 50, Stevey now has time
to
pursue his career with a new band, Shades of Blue. His
pedigree augurs well for future success as his CV includes
touring with Charlie Musselwhite, appearing with Robert
Cray and supporting Popa Chubby and Matt Schofi eld.
The late Tam White, also from Edinburgh, respected
Stevey’s talent and offered much encouragement. Indeed,
Shades Of Blue comprise drummer Dave Swanson
and bassist Paul Manson, both former members of Tam
White’s backing group, The Dexters. Similarly, guitarist
and composer Neil Warden, who masterminded this
project, recorded and performed extensively with Tam
whilst also working with other luminaries such as Maggie
Bell and the late Boz Burrell. Not surprisingly given
the blues DNA in the line up, this is a high quality CD
with some well-chosen covers and a sprinkling of Hay
originals. Stevey puts his own stamp on B B King’s ‘Sell
My Monkey’, with the assistance of the excellent John
Burgess on tenor saxophone. Similarly, The Fabulous
Thunderbirds’ ‘Why Get Up’ is given the Hay laidback
groove, as is Mark Knopfl er’s ‘Fade To Black’, with guest
pianist Brian Kellock giving a very good impersonation
of Otis Spann. However, it is the original material which
stands out, notably ‘Keep Out Of Love’,‘ Backyard Blues’
and the despairing ‘Losin’ with The Boozin’ showcasing
Hay at the peak of his vocal and guitar prowess, ably
supported by the innovative axeman and co-writer, Neil
Warden. Stevey has the determination, the ability and the
musicians around him to be a great success. He is an
inspiration to the hundreds of other blues men and women
out there who have plied their trade and paid their dues
over many years without the recognition they deserve.
Seasick Steve proved that age is no barrier when it comes
to making the big time and I hope that Stevey Hay and
the boys follow in his footsteps with their authentic and
unpretentious blues.
The Bishop
WILL JOHNS
Hooks and Lines
Big Bear Records
Judging by the title of the album, and the cover with Will
“Neptune” Johns rising from the ocean guitar in hand, Will
is a lover of the sea. Which is apt, because like the sea
this albums starts off with the explosive, frantic froth and
foam of “I believe” before slowing to more soulful depths
with “Angel”, where Will’s emotion-laden voice and some
top notch backing vocals are to the fore. The album then
works through a succession of songs all with their own
appeal until, just as gold is found on the ocean fl oor, at
the end of the tracklist is its own gold. “Smuggler’s Blues”
is perhaps the best fast number on the album, with some
excellent, bright guitar work and sweet sax. “Need your
love so bad” rounds off the album, and is reminiscent of
classic “The night time is the right time”, with some really
exquisite guitar notes. In general, this is a great Summer
album for listening to while driving with the car window
down. Particular praise must go to Lee Spreadbury, as a
good deal of his keyboards bring to mind those of the late,
great Jon Lord. There is exuberance here, there is soul
here, and there is “I don’t love you” which is a good song
for anyone who has dumped someone and feels better
for it. And there is a lot of pleasure to be had. There is
defi nitely life in this salty sea dog.
Darren Weale
PORTER
Can’t Keep Still
Independent
Out of Essex, Porter have
a sleazy and sophisticated
jazz,-blues sound on
several tracks here, with
smooth vocalist/ guitarist/
bandleader Gary Porter no
doubt fl ashing big brilliant
smiles at the audience
as he keeps the band
tightly drilled through a
very appealing programme of jump ‘n’ jive ‘n’ ska. The
three horn players (trumpeter/ saxman Dave Melling also
doubles – er, triples – up on keyboards) know their stuff,
sure enough, and the bass and drums can push along
or provide that delicate pulse, as on the romantic slowie
‘Hanging On’. The title track has a 60s vibe, with echoes
of Sam Cooke in the vocal and a reggae sound; ‘Happiest
Day’ ditches the reggae, replacing it with an early
60s Rhythm & Blues arrangement and more beautiful
singing, though the blues-ballad ‘Drive’ is the big vocal
performance of the album. Think of an act that is part Ray
Charles, part Charles Brown, part James Hunter and part
original (there are no borrowings on these dozen tracks),
and you get some idea of just how this CD sounds. Take a
listen to Porter – you know you oughter…
Norman Darwen
THE DUNWELLS
Blind Sighted
Playing In Traffic Records
Blues Matters! 51

The Dunwells are a
highly rated 5 member
group from Leeds, who
have been building
themselves a following
in Europe and started
making inroads in the
USA. Recognition of
this is shown in the
fact the album was recorded at Willie Nelson’s
Pedernales studio in Austin, Texas, by John Porter (BB
King, Elvis Costello, The Smiths). It’s an eclectic mix of
roots rock, folk and occasional forays into gospel and
blues. Four of the band members sing on the recording
and its most distinguishing feature is when they combine
to produce four part harmonies which come over most
prominently on the rootsy work song chant of ‘Follow The
Road’ and through the chorus of ‘Only Me’. The material
is all self-composed, well-crafted and does illustrate a
good future for the Dunwells. I found myself more drawn
to the more uptempo tracks such as ‘Hand That Feeds’
which pack more of a punch than some of the more
mellow folky songs which do at times come over as a
little lightweight. The emphasis is certainly on their vocal
talents, rather than their musicianship, however there are
some brief instrumental intervals in ‘Perfect Timing’ and
‘Oh Lord’ with occasional support from Porter himself and
others, including Jon Cleary on one song. In the main the
recording will have more interest in fans of Mumford &
Sons and Noah and the Whale than perhaps your typical
blues fan so you may also fi nd it attracts more attention
from others within your household.
Duncan Beattie
TEDESCHI TRUCKS BAND LIVE
Everybody’s Talkin’
Sony Music
Your feelings towards this double album will depend very
much on your tolerance for elongated tracks. The shortest
track on the double album is more than 5 minutes, the
longest more than 16. If you like live interplay, and solos
that show a player’s real ability, than this is the album for
you. The group, led by the hard working husband and
wife team of singer and guitarist Susan Tedeschi and
CLIMAX BLUES BAND
Shine On / Real To Reel / Flying The Flag / Lucky For Some / Sample and Hold
Repertoire
Back in 1969 the then Climax Chicago Blues Band issued an album called ‘The Holocaust’. It was somewhat of a hit in the
US but not at home in England where they were a little too much Blues and not enough Progressive Blues to fi t with the
theme of the time. The US took them to heart and their second album ‘Plays On’ made the Billboard top 200, also in1969.
By the time of these fi ve albums the name had changed to drop ‘Chicago’ from their name and the style had also moved
on and these albums contain almost nothing that could be considered Blues without a very long stretch. That doesn’t
mean that they aren’t any good – quite the contrary. They had, by the time of ‘Shine On’, moved into classic US mid-rock
territory sounding more like the Doobie Brothers than Johnny Winter and the only track that really has any balls about it
is ‘Champagne And Rock And Roll’. ‘Flying The Flag’ was released in 1980 and showed that all of the harder edge of the
band had been subsumed into a synth-laden soft-rock and it is noticeable that the biggest number on the album was the
love ballad ‘I Love You’. The same is really true of the other three releases through the mid-eighties period with little to
suggest that they were any closer to fi nding their Blues roots. The musicianship all through their career was superb and
Colin Cooper played some brilliant sax as well as handling lead vocals while Peter Haycock was an underrated guitarist.
They fi nally called it quits after ‘Sample And Hold’ before Cooper resurrected the name some years later. In reality, their
title is a misnomer although there are some fi ne soft rock numbers scattered all through these 5 albums and none of them
is a duffer – it just ain’t Blues.
Andy Snipper
Blues Matters! 52

slide guitar virtuoso
Derek Trucks
incorporates many
styles into their live
set, playing with a
large ensemble of
musicians. Keen
to play more than
the usual blues and
rock classics, the
album incorporates
Indian Raga music,
and a touching
nod of the head
to the Allman Brother’s band, who Derek Trucks has
also played with in a solo version of the classic guitar
instrumental ‘Little Martha’ .The set encompasses a
reworked, slightly funky version of Fred Neil’s ‘Everyone’s
Talking’, and John Sebastian’s ‘Darling Be Home Soon’ a
massively reworked version of Stevie Wonder’s ‘Uptight
(Everything’s Alright)’ which features solos from all of
the members, which includes two drummers, and blues
staples such as ‘Rolling and Tumbling’ and the spiritual
‘Wade In The Water’. The ensemble, which features a
strong rhythm section, a full time brass section, and the
type of soulful singing and guitar playing we have come
to expect from the leaders means that this a worthwhile
release of top quality music, played by musicians who are
willing to push the envelope.
Ben Macnair
TAB BENOIT
Legacy: The Best Of Tab Benoit
Telarc
Really this is a selection of titles from his thirteen years
on the Telarc label .This also comes on the back of his
most acclaimed release ‘Medicine’, the title track of which
has been chosen for this issue, a multi award winning
production this collection is a reminder to those of his
huge fan base how much he has improved and that the
Mississippi delta blues scene will continue to fascinate
and inspire new followers. He formed his fi rst band during
1987 and released his debut album, “Nice And Warm”,
in 1993. He has constantly touring for the past quarter
century. He is a composite and well respected electric
blues guitarist and singer, straight from the Delta. His
voice is gruff and mean ideal for his chosen style of music.
The high point of any of his albums is his powerful and
improvisational guitar play. He makes each note sound
distinct and manages to incorporate rhythm and lead
guitar into a style that is solely his own. Buddy Millers’
‘Shelter Me’ opens proceedings with Tab interpreting the
style to perfection, encompassing his adaptation of the
delta format. ‘Night Train’ is also a highlight a Big Easy
going foot tapper.
There is also an
adaptation of ‘I’d
Rather Go Blind’
with a slow and
seductive twist to it.
Other outstanding
tracks are the
driving ‘Muddy
Bottom Blues’ and
a live ten minute
version of ‘Bayou
Boogie’
Colin Campbell
Blues Matters! 53

EVENTS THAT HAVE HELPED SHOWCASE THE BLUES
ABERTILLEY ROCK & BLUES FESTIVAL, Abertillery - Friday
13 th – Saturday 14 th July 2012
Another year and the valleys welcome back the blues and the big
top under chilly skies but no rain... with more tents and camper vans
using the on-site camping facilities. This Welsh festival has built its
reputation by having the most amazingly friendly supportive and
helpful staff as is refl ected in the positive comments from festival
goers and the musicians themselves. The staff wants everyone
to have a great time and have a positive experience of the Gwent
valleys and then the centre piece of every festival the music itself
and this year’s line-up has been planned well so that the festival
has two top acts as a crescendo at the end of each festival day.
Unusually the festival was launched ten minutes early as popular
and talented Cardiff band J Alexander & The Blues Devils took to the
stage, without being introduced by Abertillery’s regular compares the
ever vivacious and favourite double act of Bob & Norm from GTFM
Monday Night Blues radio show. J Alexander and The Blues Devils
played a solid set of traditional and ever popular blues numbers,
taking a chance by singing Muddy Waters, ‘Forty Days And Forty
Nights’ with the long wet summer and St Swithin’s day just around
the corner... The tempo was pushed up by Cornwall’s Devil’s Creek,
a confi dent mix of covers and own numbers with their rockier take
on the blues so in the fi rst two acts the Rock & Blues element of the
festival had been met. What a great start to the evening and crowds
were enthusiastic about the bands and waiting in anticipation for the
next two bands as the evening fl ew by, next the McMahon brothers
from Aberystwyth stormed onto the stage raising the temperature
Colin Bllunstone
with atmospheric and stellar guitar playing that is the hall mark of
Virgil and The Accelerators. This is a young British band which has
taken its infl uences from Stevie Ray Vaughan and modifi ed the sound with infl uences from Joanne Shaw Taylor and The
Hoax creating their own take on the blues which continues to develop
as they relentlessly improve their musicianship and stage craft. The
comments from the audience were complimentary as jaws dropped
at the quality and precision of the guitar playing supported by brilliant
percussion and solid bass playing, the audience was captivated;
though there were lots of comments and confusion when Virgil spoke
with his faux American accent which adds nothing to the act. Finally,
“Vintage Trouble” what an ending to a brilliant opening night, this
band hits all the right chords and gets the crowds up, dancing and
Blues Matters! 54

feeling good about themselves. Vintage generated a real unique
‘party atmosphere a real contrast to the typical 2012 summer festival
weather yes, it was pouring down outside of the marquee! They
took the roof off the place and had the audience feeding out of their
collectively talented hands. Charismatic lead vocalist, Ty Taylor, built
an amazing rapport with the crowds with up tempo blues soul music
with great songs including ‘You Gotta Believe Me’ with enthusiastic
audience participation. By the end of the set the rain had stopped
and the festival goers left the fi rst evening on a high following such
great music and all eagerly awaiting the treats in store tomorrow.
Saturday was full of promise with a great mix of local, solo, young
and famous artists and bands so the anticipation was high. Opening
an afternoon session is always daunting and local band Panic
Station were certainly up to the task with their mix of covers and own
tracks showcasing blues musicianship they certainly kick started the
proceedings getting people into the marquee to hear the music and
soak up the atmosphere and the pleased the locals with self-penned
‘Rocking Down the A48’, the highway 49 of South Wales. For the
next solo artist no stage is either too big or daunting as he fi lls it with
his gigantic presence and personality this Marmite solo artist of the
modern blues circuit, Dave Arcari, love him or hate him this guy has
bucketful’s of talent and is in my opinion, with his high octane stage
presence, a Scottish Wizard of the resonator. His set was full of
verve and energy and showcased his talent on the slide guitar with a
Steve Roux
selection of his tracks including ‘MacPherson’s Lament’ he is magic
and as he leaps around the stage his energetic performance leaves
the audience gasping for breath. ‘Steve Roux and The Brass Knuckle Blues Band’ changed the tempo yet again with their
brass instrument section and opening with an instrumental ‘You’re Gonna Need Me’ got the crowds swinging and swaying,
the horn/sax section adding an extra dimension to the proceedings. The sound is very full rounded off with Steve’s slick
guitar licks and soulful voice. This was a band where the whole was greater than the sum of the individual parts and great
afternoon festival set, pleasing the crowds and raising the spirits. Next up strutting the stage was Dani Wilde Band, with
Dani showcasing her guitar skills throughout the
set, ably accompanied by her brother Will with
superb blues harp playing and Stuart Dixon on
lead/rhythm guitar. As a band they produced a
set of controlled professional musicianship of the
highest order, with Dani’s vocals providing the
icing of a rich cake of musicianship. The title track
of their latest CD ‘Juice me Up’ – demonstrated
the great interchange between Stuart and Dani,
during what overall was a great set delivered with
real authority by Dani, leading the band from the
front. They are defi nitely growing from strength
to strength they certainly gave, aptly as their
previous CD, ‘Shine’ to the festival.
Jon Amor Blues Group the band members the
Doherty brothers Chris (Bass) and Dave (Rhythm
Guitar) and Si Small (Drums) complimenting
each other creating their own distinctive sound
were the penultimate act. The band took the
opportunity to showcase of two new tracks that
may be included on their next CD due to be recorded very soon, ‘Wayfarer’ and ‘Good Thing Back’ As ever this band
delivered a polished British blues set of the highest order and the members of the audience who had not heard Jon Amor
before were blown away… they certainly gained a few fans at Abertillery. Once again a great set at a fast pace with Jon
letting the music do the talking and keeping the talking between songs to the minimum. All too soon it was the last act
and eagerly awaited by everyone as there was a defi nite surge to the front to hear The Zombies. They took us back to the
‘60’s and early 70’s with a selection of their classics spanning fi fty years. Rod Argent delighted the fans with an excellent
display of keyboard work, and the appreciative crowds really enjoyed the set. They haven’t lost their voices after over fi fty
years, and were formed before the Rolling Stones. This was a great nostalgic set, though Rod Argent’s interludes were
informative but for many were irritating and self-indulgent, breaking the fl ow of the set. Overall this was a headlining act
that took many of the audiences down a road of nostalgic memories and the fans enjoyed the set immensely. Overall
the running order of the festival worked really well with the atmosphere growing and moving on an upward spiral to a
crescendo on each day. Yet again a fantastic festival with everyone saying roll on Abertillery 2013.
Liz Aiken
Dani Wilde & Stuart Dixon
photos on these pages by Liz Aiken Blues Matters! 55

BLUESFEST INTERNATIONAL, WINDSOR, CANADA
It was the eighteenth season of Bluesfest International,
and I have to say there is not a bluesfest of this size
that does not get the adrenalin up. As you step onto the
grounds and look up at the large cement stage, tingles
of excitement cannot help but creep up your spine.
The line-up this year was stellar! Stars such as Edgar
Winter, closing the fi rst night; Saturday offering Big
Brother & the Holding Company, followed by Bobby
Rush’s Big Band, and Alto Reed’s Motor City Allstars
with special guest Mark Farner (Grand Funk Railroad),
to be topped off with Sunday presentations with
Mo’Blues (Argentina), Popa Chubby, Canada’s Jimmy
Bowskill, and the dynamic closing with a long set from
the Brooks Family Blues Dynasty (Lonnie, Ronnie, and
Wayne Baker Brooks). That is not to say that the other
performers did not shine brightly, because they most
defi nitely did.
The added attraction every day was watching and listening to Randy Scott, a hot guitarist from Los Angles, via Detroit.
Mr. Scott had won a Guitar World contest in 2010. MAVTV (a cable television outlet from Los Angles), was fi lming a series
called, “Chasing the Dream”, which will be aired next year on cable and satellite. I even had the pleasure of sitting in
during a rehearsal one night.
The Howling Diablos jump-started the festival, coming from across the Detroit River, and bringing wide smiles from festival
promoters, Ted Boomerand John B Liedtke. The Diablos lead vocalist, Tino Cross produced two of R.L. Burnside albums
for Fat Possum Records and their song ‘Wine Spo Dee O Dee’ was featured on Sun Records tribute CD that lead to the
PBS series, “American Masters” featuring the band.
Sugar Ray & the Bluestones, with Grammy nominated and multi Blues Award winner Ray Norcia, had something to prove
and they certainly did. Monster Mike Welch, on guitar blistered his way through the set. Ray Norcia, harp and vocals, has
a powerful presence, showing what excellent tone and timber can do on ‘Funky D’ and ‘Junkyard’. Piano man Anthony
Geraci, Mudcat Ward (bass), and Neil Gouvin (drums), had the audience yelling for more.
A little after ten o’clock Stacy Mitchhart, who is a must-see anytime you are in Nashville, kept the temperature rising. In
honor of playing in the Detroit/Windsor area he included “Cadillac Assembly Line” in the set. The drummer with him, Jeff
Pegus, displayed great feel for every tune. “St James Infi rmary” was a standout. Every tune hit the mark and prepared
the crowdfor the legendary Edgar Winter who took the stage to fi nish the evening. Edgar’s long jam on tenor sax, scatting
included, on ‘Tobacco Road’ got everyone to their feet. The place was electric as Edgar stood with one hand on his hip,
strutted back and forth across the stage, at one point hanging a keyboard around his neck, while throwing out guitar riffs
like pebbles on a beach, all the while giving us ‘Frankenstein’, ‘Promised Land’, and ‘Free Ride’. We were left wanting
more.
Reverend Raven & the Chain Smokin Altarboys opened Saturday’s offerings. This Chicago native, who collaborated
with Madison Slim for ten years in Milwaukee, played his Chi-town blues just the way we like it. He also was part of Ken
Koekstat’s Long & McQuade Guitar Clinic the next day, giving some insightful comments and memories along with Johnny
V (1991 Juno Award Winner), Fede Teiler, (Mo’Blues), and Randy Scott. The Reverend demonstrated how his philosophy
of, “chords with no root notes give color”.
Randy took the stage after Reverend Raven excelling with his “Mean Hearted Woman”.
Sophia Ramos took us on a trip back in time when she sang, no let me rephrase that, blistered tunes with Big Brother and
the Holding Company. Surviving member Peter Aubin (bass), displays the touch we remember and every aspect of this
band Ben Nieves (guitar), Sam Andrew (guitar), Jim Wall (drums), and the incredible Sophia, glow with otherworldly magic
on ‘Sometimes’, ‘Mean Old Woman’, ‘Me & Bobby McGee’, ‘I Need A Man To Love’, ‘Turtle’, ‘Piece of My Heart’ and ‘Ball
& Chain’.
Papa Chubby
A favorite, wherever he goes, Mr. Bobby Rush and his Big Band,
stepped it up a notch. Mr. Rush has two hundred and forty-nine
albums to his credit, either his alone, collaborations, or produced.
For someone who will be turning seventy-nine this October he has
not slowed down for a split second of the 56-year career in music.
His antics on stage are celebrated and his dancing brings joy to all.
Of course the set began with his lovely ‘Booty Ladies’ showing us
how they react to the groove of the band, Miss Paula Moffett, being
the center of attention. Classics like ‘Garbage Man Blues’, ‘Move
That Thing’, and the Willie Dixon tune written for Bobby ‘Hoochie
Coochie Man’ excelled. Part of the way through the set Bobby
wanted to play an impromptu trick on his band (and the audience).
He had Miss Paula raise the collar of his jacket, and hand him
sunglasses affi xed with fake long sideburns. It was all that band
mates Dexter Allen, and Stevie Jay, could do to keep playing while
laughing as Bobby broke into his Elvis impersonation with cheers
Blues Matters! 56
Brooks Family

from the now 15,000 attendees.
The magic continued as Alto Reed’s Motor
City Allstars with Mark Farner (Grand Funk
Railroad lead) came on. Kathleen Murray’s
vocals on ‘Standing On Shaky Ground’ had
the crowd jumping, even with rain clouds
emptying on the festivities. ‘Homesick Blues’,
‘I’m Going to Love You’, ‘Someday’, and a
heartfelt ‘If I Can Change The World’ with
Alto’s saxophone phrasing that is second to
none. As part of the Bob Seger’s Silver Bullet
Band, Alto is best known for his introduction
to ‘Turn The Page’ and his solo on ‘Old Time
Rock And Roll’. Victoria Reed, Alto’s daughter,
entered the stage and charmed with ‘Come
On Into My Kitchen’. Randy Scott came out
and traded licks with Alto on ‘Tore Down’.
At this point, Mark Farner appeared ripping
into the Stones ‘Start Me Up’, followed by
Sebastian & Fede
‘Do The Locomotion’, with the crowd singing
along. ‘Getting Closer To My Home’, with the
audience singing the chorus, ‘Dr. Feel Good’,
more of ’Old Time Rock And Roll’, Alto’s solo turn on ‘Santa Fe’, Bob Seger’s ‘On The Road Again’, ‘Give Me Some Lovin’,
and a wonderful climax by Mr. Farner on ‘Some Kind of Wonderful’. What a fabulous night of excellent performances!
Sunday began with a bang when the high-energy of Reverend Robert Sexton’s Allstar Blues Review. The Reverend
Robert, clad in white suit, fedora, and shoes to match sashayed, strutted, and psyched us with ‘Rag Top Baby’, ‘Cutting
Heads’, ‘How Long’, ‘Mississippi Winn’, and ‘Boogie Woogie Blues’, to name a few, all timed perfectly by drummer,
Cymone TC. There was very fi ne harp work from Matt Zacharias.
Argentina blues/rock band Mo’Blues burst into the stage and tore up any preconceived ideas that blues is not revered
south of the equator. Federico Teiler (guitar & vocals), Sebastian Casis (bass & vocals), Gabriel De Pedro(piano & vocals),
and Ruben Tissembaum (drums) literally wowed everyone. This band was formed in 2000 after they had been playing
around Argentina with other projects. Sebastian had planned with Ruben (drums) in three other bands 1986 and 1998 and
with Fede Teiler (guitar) in 1999 just before joining Mo’Blues. The dynamics of this group is musically superb and great fun
to watch. At one point Sebastian and Fede perform what they call “the two-headedoctopus”, when they play side-by-side
with hands crossed on the other’s instrument. The song is ‘No Aguano Man (Can’t stand It No More)’. While Ruben played
a searing drum solo the other members of the band left the stage only to return wearing red t-shirts with the Canadian
maple leaf thus bringing wild cheers from the audience. This band has played in venues in New York City as well as other
dates, to good reviews. Their blues is searing and personally, I am looking forward to seeing them again.
New York native Popa Chubby, who was the house band at the legendary Manny’s Car Wash in NYC, and won a W.C.
Handy Award for his 9/11 song ‘Somebody Let The Devil Out’, started his set with ‘I Got A Woman’. As a three-piece
he impressed with playing melodic runs and tasteful chording. Siting on his stool, he drifted into ‘Somewhere Over the
Rainbow’, ‘Angel On My Shoulder’, an emotional ‘Somewhere Down The Road’, as the sun was setting in a fi ery blaze,
closing with asoaring, show-stopping, Leonard Cohen’s “Hallelujah”.
Jimmy Bowskill, the youngest Juno nominated artist in Canadian History (age 14), captivated the crowd with his power
trio. His playing is reminiscent of Rush’s Alex Lifeson. His fi ngers scorched the guitar strings throughout his hard-driving
performance. This auburn-haired baby-faced young man demands you respect that he is a guitar phenomenon. His closing
‘Seasons Change’ left us breathless.
Chicago’s First Family of the Blues, the Brooks Family Blues Dynasty, lived up to its reputation with Lonnie (father), and
sons (Ronnie and Wayne Baker Brooks). Wild cheers erupted as the two brothers began to play some good ole’ blues.
Wayne introduced a new tune of his ‘I Can Read Your Mind’, a fast blues that satisfi es. On the recording, Sugar Blue
handles the harp solo. Jumping into ‘You Make Me Bleed, Baby’, ‘Leaving You’, and ‘Born In
Chicago’, prepared everyone for the entrance of Lonnie, who poured out ‘Blues All Around
Me’, ‘Tell You Why’, among others. It was lovin da blues to the max! Every member of the
band shone with a tightness, respect for their craft, and deep enjoyment in what they do.
Moving back and forth across the large stage, the three men controlled the tunes while always
making it look spontaneous and oh so easy. The last tune of the night, ‘Sweet Home Chicago’
brought everyone to their feet singing along at the top of their lungs.
It was a marvelous music festival.All those who worked hard should take a deep bow for
putting it together. From promoters, publicity, back-line crew, stage managers, food crew, and
all the hundreds of volunteers as well as the sponsors of this major yearly event, we wish to
praise you. If you have not attended this festival it might be an excellent idea to mark it on
your calendar for next July, as Windsor Bluesfest is the place to come and really enjoy good
music. “The Blues And Nothing But The Blues”
Suzanne Swanson
All photos on this page by Arnie Goodman
Blues Matters! 57
Edgar Winter

Cody Dickinson
EDINBURGH JAZZ & BLUES FESTIVAL, Various Locations 20-28
July 2012
The anticipation amongst blues fans for the Edinburgh Jazz and Blues
Festival line-up is sometimes like that feeling on Christmas Eve,
hoping for some pleasant surprises, yet braced for disappointment
with the knowledge that most of the gifts are in the jazz genre. The
outcome on this occasion was pretty good. Where in previous years,
there was a blues weekend, the blues concerts are now dispersed
throughout the festival program. A few eyes were raised when three
blues events were scheduled for the opening night. With regulars
Blues N Trouble with Maggie Bell; and Barbara Morrison on
elsewhere, one may have thought that enthusiasts only who would
purchase tickets to see the North Mississippi Allstars on their fi rst
proper UK tour in over a decade. Yet the festival is the one time of the
year when Buddy Guy sported t-shirts consistently appear in their
masses; and the band met a packed crowd in the Voodoo Rooms.
Luther Dickinson on main vocals and guitars, his brother Cody on
drums and a stand in bass player played a thrilling set of Hill Country
Blues and Southern Rock. They opened with ‘Shimmy’, distinguished
with Cody’s military style drum beat. ‘Mississippi Boll Weevil’ saw
Luther play his two string cigar box guitar. In contact to usual
drummer’s showpieces Cody gave us a fast paced washboard
performance with delay effects and wah wah pedal emitting unique
sounds. ‘Going Down South’ was expected, however the Dickinsons
were keen to mix it up, with Cody appearing occasionally on second guitar to provide an Allmans style sound and, less
effectively, lead vocals on one track. Then came a glorious trio of tracks from their Grammy winning debut “Shake Hands
With Shorty” – ‘Po Black Maddie’ segued to ‘Skinny Woman’ before ‘Shake Em On Down’. A brilliant version of ‘Rollin N
Tumblin’ on tin can guitar brought huge cheers while. ‘Mean Ole Wind Died Down’ showcased Luther’s fi ne slide playing.
As a fi nale a haunting Junior Kimbrough song ‘All Night Long’ prefaced the unscheduled, funky ‘Jumper On The Line’. A
long awaited event for me, I enjoyed it thoroughly. Saturday saw the familiar Mardi Gras event take place in the
Grassmarket, with acts on three stages. Making his fi rst appearance at the event was country blues guitarist Sleepy Eyes
Nelson. His laid back style had people watching in their hundreds and he soon ran out of CDs. Dana Dixon then led an
impassioned performance in an upbeat set, culminating in ‘Going Down’. The evening saw a combined performance by
two of the regularly returning performers to the festivals in Jon Cleary and Dr John. Cleary, on his third appearance in four
years, demonstrated why he has become a festival favourite with a combination of well-known and self-penned tracks
which encompassed everything from boogie-woogie to the Latin/Caribbean inspired habanero. Regardless of his omission
from a recent awards nomination, there is little doubt Cleary is one of Britain’s top piano players. He returned as part of the
Lower 911 backing band to Dr John. The Night Tripper himself sauntered onto the stage toting his voodoo walking cane.
Attired in a fl amboyant red suit, the man known as Mac Rebennack to his friends, sat centre stage beside his skull
mounted piano centre stage. They opened with ‘Revolution’ one of the lead
tracks from his highly rated new album “Locked Down”. His band was
Luther Dickinson
excellent, with Jon Cleary providing support without taking aside from Dr
John’s own playing. The rhythm section grooved though the evening with
interjects from the brass section and guitar. There were some minor
glitches and Cleary’s keyboard had to be rescued at one stage with
masking tape, but the Lower 911 were not knocked out of stride. Newer
songs such as ‘Big Shot’ appeared as familiar as his self-penned
standards ‘Right Place Wrong Time’ and ‘I Walk On Gilded Splinters.’ His
New Orleans funk was lapped by the crowd, with the occasional excursion
into blues such as on ‘Junko Partner’. Once the performance ended, it was
easy to fi nd several blues acts performing in local bars as nearby
publicans took advantage of the passing trade. Many of the remaining
blues shows were housed in the temporary sited Teatro Spiegeltent within
a city public garden. Sadly I was not able to see the performances of
Stevey Hay’s Shades of Blue, nor the Jenson Interceptors, two excellent
bands recently formed Scottish blues bands, on this occasion. One of the
most intriguing shows was that of Lazy Lester, who had personally
requested the appearance of former Blues N Trouble guitarist John Bruce
to appear in his backing band. Both Bruce and drummer Sean Scott has
appeared with Lester on his WC Handy winning album 26 years ago. With
only one rehearsal, the band, completed by Paul Manson on bass and Ali
Petrie on keyboards, had a loose feel. After an opening instrumental,
Lester appeared on the stage and took what seemed like an age to choose
his harmonica for the evening, before addressing the crowd. Yet he settled
within the fi rst song, the boogie, ‘Blues Stop Knocking’ which showed his
Blues Matters! 58
photos of Luther and Cody by Liz Aiken

harp playing was still crisp, before a funky
version of ‘That’s All Right’. Lester was
soon in his element, making jokes with the
band and the audience, relishing the sold
out crowd. While his broad style is
Louisiana swamp blues, he does add
variation, following a Jimmy Reed song, he
then picked up his own guitar for a country
styled instrumental. Feeding instructions
such as “this is somewhere in the
neighbourhood of G”, the musicians did
function as a competent outfi t, enjoyable to
watch. ‘Sugar Coated Love’ was one such
return to the “Rides Again” album. Before
challenging us to listen to him play a
bluegrass song, the 79 year old explained,
“I play for me, but I dedicate it to you.” And
long may he do so! There was a return to
the same premises on the Friday night to
see Todd Sharpville’s Blues Cruise Review featuring Nick Moss and Debbie Davies. With Mark Mondesir on drums, Scott
Wiber on bass and Dan Burnett on keys, Sharpville launched into a fast paced ‘Can’t Stand The Crook’. ‘Everything’s
Gonna Be Alright’ saw the band swing before Sharpville stepped off the stage to perform melodic licks though ‘Need Your
Love So Bad.’ Great as the performance was, we were keen to see those special guests, and duly the moment arrived
when Nick Moss took to the stage – a sizable presence, with a sizable guitar tone. A run through Freddie King’s ‘Boogie
Man’ demonstrated he could play some tasty licks, and provide space between them before ‘Louise’ from his album
“Privilege”, which saw some memorable adlibbing at its close. drummer Mondseir was watching Moss’ every move, as he
provided some Buddy Guy style solos while Wiber was visibly relishing the occasion, with Sharpville content to step back
and play rhythm on an extended slow blues from Moss’ “First Offence” album. Moss appealed to have his guitar sound
turned down, before leading on slide guitar for a funky version of ‘Death Letter Blues’. After an intermission, Sharpville
returned stage centre and during this third song, ‘Lousy Husband’, Debbie Davies was welcomed to the stage. It’s an entry
she will remember, as she was unable
to get her guitar amp to function, until
an exchange of solos with Sharpville at
the close of the song. She then took
centre stage to lead the band through
‘Done Sold Everything’, a shuffl e from
her new album “After The Fall”, Her
signature tune ‘I’m A Blues Woman’
followed and her stinging guitar lines
were a reminder of her late mentor,
Albert Collins. A sublime slowburner
was to follow and Davies had on
balance shown more of her musical
stamp than Moss had done earlier. He
duly returned for the closing jam
wrapping up the evening in a very
satisfactory manner. The performance
had continued for almost three
absorbing hours, yet it might have
benefi tted slightly from less guitar
interchange and a few more songs
from each of the guests. The remaining
acts were mainly in the jazz fi eld and
the festival ended with a Jools Holland
show two nights later. Diverse and well
organised, the performance standards
were high as was the attendances at
each of the above events. However as
a regular at live blues events within
around the city, it would be desirable to
see more of the festival attendees
supporting more shows taking place at
other times of the year.
Duncan Beattie
Lazy Lester
Nick Moss
Blues Matters! 59

WOODSTOCK RHYTHM & BLUES FESTIVAL,
Belfast 9 – 13 August 2012
Decades after his hit parade days with Thin Lizzy
Eric Bell’s performance at this year’s Woodstock
festival was a reminder that he remains a
seriously exciting, soulful and risk-taking blues
man .‘Hoochie Coochie Man’ was sung with
genuine menace and featured a wonderfully
acerbic slide solo, followed by a startlingly
unpredictable non-slide solo that ventured into
avant-blues territory, making even that somewhat
overplayed song sound refreshingly original.
The same trick was repeated with ‘Rock Me
Baby’ while his version of Them’s version of John
Lee Hooker’s version of Big Joe Williams’ version
(continue according to taste) of ‘Baby Please
Don’t Go’ was electrifying.Bell was accompanied
by a splendid pick-up rhythm section comprising
bassist John Quearney and ex-Skid Row drummer Noel Bridgeman. Quearney and Bridgeman reappeared with their own
band Left, Right And Centre, who also included guitarist Ed Deane and keyboard player Trevor Knight, a band who gave
a satisfying sense of having power in reserve, as on a marvellously restrained ‘Susie Q’.Cream’s ‘Outside Woman Blues’
and Willie Dixon’s ‘The Seventh Son’ also impressed.
Chris Farlowe totally blew the audience away with a super-funky version of ‘Standing On Shaky Ground’, ‘Stormy Monday
Blues’, his most famous songs ‘Handbags And Gladrags’ and ‘Out Of Time’, and others,
all sung with massive authority and with sensitive and apposite accompaniment from the
Norman Beaker Band. The dynamic and extroverted Mama Kaz was in full-on, leathertrousered
and leather-tonsilled rock chick mode on the likes of ‘Rock Me Baby’ and ‘Hoochie
Coochie Woman’, backed by three expert veterans, Peter Spratt (guitar), Ali McKenzie
(bass) and Johnny Crawford (drums).The magnifi cently tight Mercy Lounge were fronted
fl amboyantly by ex-Nine Below Zero and Yardbirds star Billy Boy Miskimmin, a striking,
often spectacular, harmonica player and a strong singer. The set mainly comprised wellcrafted
originals including ‘Love Song Don’t Sing It Wrong’ and ‘She’s Gonna Put Me In
The Ground’ although gentler souls may have winced slightly at some of Miskimmin’s
misogynistic lyrics.
The band, characteristically, hit a perfect groove on their cover of The Stones’ ‘Miss You’.
The Hard Chargers, a three piece, played with a youthful intensity of punk proportions
on country blues classics like ‘I Can’t Be Satisfi ed’ and powerful originals like ‘Suicidal Chris Farlowe
Hosepipe Blues’ and ‘Bumpin’ And Grindin’’, a ‘Rollin’ And Tumblin’’ derivative, with frontman
Chris Todd playing resonator guitar. With Todd switching to electric guitar the band stormed
through other originals like ‘I’m A Hard Charger’ and ‘Spanner In Your Works’, the latter a classic power trio workout.
Taste, now led by John Wilson from the band’s classic Rory Gallagher-fronted line-up, played with thunderous power on
‘Morning Sun’, which included a long drum solo of jaw-dropping virtuosity, variety and imagination, and on other originals
like ‘The One’, as well as on standards like ‘Feel So Good’.Guitarist Sam Davidson, stepping into Rory’s shoes, played
with appropriate fl ash but also contributed a pleasingly delicate solo to ‘Daytona Dreaming’.‘Same Old Story’, from Taste’s
1970 album On The Boards, was played with brutal conviction while Davidson’s solo on ‘Messin’ With The Kid’ was
venomous.
To the delight of all, Wilson, recovering from serious illness, was awarded a Lifetime Achievement Award by the festival.A
second such award was presented to Eric Bell, an equally deserving recipient.The accomplished Spoonful Of Blues
played fi ery versions of ‘Hey Joe’ (via Hendrix), ‘Messin’ With The Kid’ (via Rory Gallagher) and ‘Cross Road Blues’ (via
Cream).The musically ambitious and versatile Ronnie Greer Almost Big Band were stunning on interpretations of Herbie
Hancock’s ‘Cantaloupe Island’, blues standards like ‘Stranger Blues’ and ‘Roll ‘Em Pete’, and songs by Bob Dylan, Will
Jennings and others. Tom Waits’ ‘Clap Hands’ was sung with spooky panache by keyboard player Kyron Burke, while the
anguished reading of ‘I’d Rather Go Blind’ by guest Grainne Duffy was hair-raising. The audience – in a Belfast bar, late on
Taste a Saturday night! – were hushed and transfi xed.
With her own band Duffy, an increasingly forceful presence on stage, rocked
with lethal force on ‘Drivin’ Me Crazy’ and other impressive originals.One of
the great heroes of Northern Irish rock and blues for his work since the 60s
with bands like the Mad Lads, Them, Spike and Sk’boo, Kenny McDowell
is now performing solo, specialising in country-ish material. His ability to
communicate the lyrics of great songs like Tim O’Brien’s ingenious, Western
Swing-fl avoured ‘Melancholy Moon’, Zachary Richards’bleak ‘Sunset In
Louisiana’, Dave Mason’s romantic ‘Every Woman’ and Gary Nicholson’s
bloke-ish fantasy ‘The Upside Of Loneliness’ is peerless.
Trevor Hodgett
Blues Matters! 60
Eric Bell

Geoff Marston painting suitcases
SUMMER TYNE AMERICANA FESTIVAL – Gateshead Sage 20-22 July 2012
No mention of the ‘B’ word in this event – but as the masthead states ‘Blues without the Blinkers’ –and it is a broad church!
The 7th year here for what has become not only a draw for music-heads but also a great family weekend to enjoy the
fun. The atmosphere is very friendly; nearly everything is on site and the iconic backdrop of the Tyne and its bridges
breathtaking. Especially so seeing the organisers had put a good word in with the weather fairies!
The three day festival works on so many levels, all based from the one site. Outside during the day is a free programme
provided and staged by the excellent Jumpin’ Hot Club. Here at tables, if you’re early or on the stepped grassy bank you
can see a variety of quality international acts free of charge.
Inside the Sage building there are ticketed gigs during the afternoon and evening using the two main halls. Spread
throughout the beautiful building there are daily workshops in various skills. (I stood in awe of B.M. reviewer Geoff Marston
as he turned a battered brown suitcase into a work of art featuring Tom Waits portrait!)
There are impromptu solo sets by many of the artists in the practice hall and also river cruises featuring some of the other
acts. There is plenty of ‘Southern’ cooking to be had, but the less said about that the better!
So to the music;
Friday night in Hall Two – Vintage Trouble. Ty Taylor (or was it James Brown?) led the band in a sharp set of soul and
blues. The band move and play well, although Rick Danielson’s drums were mixed a mite too high. The smaller hall was
packed with the converted plus an onstage dancing contingent so the band had only to launch into another Otis/Wilson/
Cooke style number to have the place jumping. There was plenty of Stones riffi ng, on numbers such as Get It, gospel
pleading on Run Out Of You and slow soulful guitar soloing from Nalle Colt on the superb Gracefully.
Saturday morning, and armed with a Sainsbury’s Pasta Pot, sandwiches and Factor 20 I sat on the grass bank to enjoy
some sunshine and song. Local lads Rob Heron and the Tea Pad Orchestra played some enjoyable rag-time/jazz and
hokum blues. This young and nattily- dressed band delivered material from their forthcoming album and started things off
on an up-beat. They were followed by some blue-grass, courtesy of Vancouver s’ Viper Central and alt-country from City
Sinners from Glasgow, before Errol Linton and a slimmed down band blew some ‘Blews’ for us.
Inside, in the practice hall (or Northern Rock Foundation Hall to give its full
title) Luther Dickinson played three rather shaky acoustic numbers at tea time
which left us a little apprehensive of the gig to come. But when he took the
stage with brother Cody (again in hall two) much later that night he was ‘on
fi re’! The North Mississippi Allstar Duo played a selection of numbers straight
from the Southern hymn book of the Allmans. Shake, Rollin’ and Tumblin’
among them were driven along by Cody Dickinson’s rhythmic drumming and
the blistering fret-work of Luther. A deserving hand to their pick-up bass player
Carwyn Ellis. Cody moved out from the drum stool for the extended woogieboard
workout (a wired-up washboard) which he played through a wah-wah
and drenched in feedback. The hall went wild at the sound and calls for more
continued even after the house lights went up.
Sunday lunchtime with the weather still holding saw an unscheduled
appearance by Lera Lynn – some beautifully crafted alt-country songs. Next
on stage were local lads Big Red and the Grinners with their Cajun/rockabilly/
country take on numbers such as Walk This Way and Word Up. The band
were an instant hit with the crowd for their stage banter and fresh look at
musical styles as well as for Big Red’s wellys!
Tree Top Flyers next, and the clue is in the name – they embodied the spirit
of Buffalo Springfi eld in their Stills-Young guitar work coupled with CSN
harmonies. They can also do heavy and with their fi rst full CD out soon are
worth checking out. Larkin Poe includes the lovely Lovell sisters who play
Errol Linton
Blues Matters! 62

MAMA ROSIN
numbers and more gentle songs where her
voice reminds me of Imelda Mae.
The revived Slim Chance closed the afternoon
outdoor sessions as the wind gathered
strength and started to play games with the
audio. The sound techs did a great job to keep
it from blowing away but by then the crowd
were on their feet to old favourites such as
How Come, and the whole thing ran over time
in a party atmosphere that Ronnie lane would
have approved.
In Hall One a little later Phantom Limb opened
the last night with stand out songs from their
latest C.D. Title track The Pines, Missy and
Gravy Train and closing number I’ll Have
LARKIN POE
some mean slide, pedal steel
and mandolin with a mixture
of beefy Southern rock and
down home roots music.
Grainne Duffy and her band
were a treat, and had the
ladies up dancing in front of
the stage as the road guys
attempted to stop parts of it
blowing away! An Irish band,
with the roots of their music
the late ’60 early ’70 blues
bands. Great no-nonsense
songs – both original and
covers. Grainne has great
emotion in her voice on
standards such as I’d Rather
Go Blind, while band and
come across as a very tight
outfi t, in backing her. She
sounds equally at home
with Janis-like throat tearing
Grainne Duffy
Mercy which showed off Yolanda’s full vocal range. Yolanda Quartley is
one of the best British vocalists currently around, and her soulful voice
interprets their self-penned numbers perfectly. This is in contrast to her
mousey-quiet ‘between-numbers’ voice and general lack of connection
with the audience. That said the band play with style and the sound is
superb.
Dr. John brought the festival to an end and brought the house down!
From the fi rst voodoo notes the Night Tripper led the Lower 911 through
some down dirty delta music, both old and new. Such a Night/ Right
Place, Wrong Time and Ice Age showed he had lost nothing of his
talent with advancing years. The 911 provided excellent backing and
were each given time to perform solo breaks during songs, as was
Jon Cleary who gave keyboard support. Trombonist Sarah Morrow
was outstanding in her solo work and in her duet with Max on Makin’
Whoopee. All in all better leave it to the music to sum the weekend up
‘Let The Good Times Roll’ – Just what the Doctor ordered.
(I did not get to see a number of other acts who performed over the
weekend including John Hiatt, Wanda Jackson and Mama Rossin.)
Mel Wallace
Blues Matters! 63

Blues on the Farm
Abertillery
Will Johns
Blues on the Farm
Dave Acari
Abertillery
Franny Eubank
Blues on the Farm
Blues on the Farm
Blues on the Farm
Blues Matters! 64

You know who you
are!
Colne
If you see the
Blues Matters!
Roadshow
at any festival.
Pop over
&
have a chat.
Tom Attah
Blues on the Farm
Blues Matters! 65

ANDY FAIRWEATHER
LOW
by Mike Lightfoot &
Nick Garner
ML: I’ve been listening to your latest live album lively, and I’ve really enjoyed it. It’s an album of old number. Is
this the sort of music you used to listen to as a youngster?
Yeah, and the good thing about it is that we get asked so many times at gigs, is this song on the album that we were
selling, either Sweet Soulful Music or the Best Of and the answer was no. These are just numbers that I always wanted to
play and now’s the time to play them. So I mentioned it to Dave (Bronze) and said we should just make an album of these
numbers. There are plenty of albums out there with songs I’ve recorded before whether they are the Amen Corner songs
or some of my solo albums but there was nothing out there with our versions of Baby What You Want Me To Do or Got
Love If You Want It and some of the instrumentals, Peter Gunn or Lightning Boogie. It’s just an exercise in let’s do this and
when someone asks at a gig whether there is a CD with say Peter Gunn on it, then yes there is you can get it on this CD.
ML: I’ve noticed that with a lot of live albums that are coming out nowadays, the audience is well down in the mix.
The band recording is usually very very good but there is very little of the audience.
AFW:
Well, I can only hand that over to Dave Bronze who mixed the album. It’s down to his expertise that he’s managed to
make the tracks sound good and a great job blending in the audience. Some of it was recorded in big arenas, some in
smaller clubs and some in larger clubs and I think he’s done a great job.
ML: What type of venues do you prefer playing.Large arenas or the intimacy of the small club.
Small clubs every time.Big arenas if you were lucky enough to play them and we were lucky enough to play them in the
company of other people who were more successful. But the truth is the best gig is the club gig or the theatre gig. Once
you start getting above 500 people into larger venues the dynamics from the band is less controllable. It becomes who’s
in charge of PA and then it’s about how much money you can make. That is why people play the bigger venues not for the
sound but because you can get more people in them. If you ask me about the sound of some of the bands I’ve seen in
large venues, it’s not that good.
NG: We know you from playing Club Riga, every
year, as always a fantastic little venue. I notice you
are playing a lot more in the Essex area, is that
because of Dave Bronze.
No, it’s because John Taylor, who’s my manager, who’s
put this tour together was just trying to spread out and
get the word out to more people. It’s like festivals, if
I’m not playing a festival each year, it’s because they
don’t want me to play the festival. To me, it’s as simple
as that, actually that might not be true for this year, but
it certainly was for last year. I put myself up for most
festivals, whether it’s Guildfest or the Big Weekend in
Cardiff or whether it was Cropredy. Wherever they are
I put my name up and never got them, so there you go.
That’s fi ne, its people’s decisions and I’m fi ne with that.
NG: Who were your influences when you were
growing up.
Early days, the Rolling Stones, most of the beat
generation like the Kinks, Yardbirds, and the Animals,
extremely infl uential. Then Sam and Dave, Booker T
and Otis Redding. That kind of stuff swamped me and
the truth is it still does in the way they construct the
songs and how to attempt to sing them.
NG: Well, I think you sing them well and of course
Gin House was your first recording.
Yeah, in 1967, I caught that from Zoot Money’s and the
Rollo Band. Bands like Zoot Money, Georgie Fame,
and the Amboy Dukes all played the club scene and
there were plenty of clubs back then. I saw Zoot Money
in Newport and that’s where I heard it and we included
Blues Matters! 66
all photos supplied by the artist

Blues Matters! 67

ANDY FAIRWEATHER LOW
it in the set of the band I was playing in, and
was part of the set when Amen Corner started.
The rest of the set was covers of Soul Music
like Knock on Wood and You Don’t Know What
I Know.
ML: You’ve got a new album on the way out.
Yes, it’s being mixed now as we speak by Dave
Bronze who’s in Vienna as we speak. We are
due to meet up to discuss it and listen to the
mixes and if we make any changes we will.
I saw Paul Carrack and he’s agreed to play
keyboards on a couple of tracks and I’m really
looking forward to that.
ML: It’s your third solo album in 32 years!!
In truth, let’s put it this way, Sweet Soul Music,
the Best Of which is a compilation but we did re-record them, the live album is what it is, but this is the second really and
they are all original songs, so we are talking about 32 years or something. It’s not much of an output really (laughter)
ML: I suppose because you’ve been playing with Roger Waters, Eric Clapton and Bill Wyman, you probably
haven’t found time.
Well yes, it was pretty much all consuming, in fact I’m still working with Bill Wyman and I would have been working with
him at the end of the year had I not been going out on my own tour. The Roger Waters thing fi nished in 2007, Eric fi nished
in 2004 and it is very consuming. If one wasn’t working, the other was and it was fabulous, but if I was going to become the
guitar player I wanted to be play I had to something on my own rather than play with all these fantastic people.
ML: When you play with Roger Waters, it goes without saying you play a lot of Pink Floyd material and when you
are out on your own it’s blues, soul, country, how do you find the contrast
Well obviously it’s a big contrast, size of venues, size of audience and different styles of music but it’s like a duck to water.
It’s wherever you are, wherever you are standing and whatever you are doing, that’s what matters. Not who you were, or
who you might be but who you are and that’s what takes over. Certainly when we toured Germany last year, we played a
few clubs; it took 13 hours to get there before the fi rst gig. That will get you acclimatised.
ML: What, in the van?
Yes, it’s a splitter van, with the gear in the back and us in the front and that’s very much what we do when we tour the UK.
In my time with Eric and Roger, I may have picked up a bit of luggage but not a guitar. There was always someone to do it
for you, but believe me we are right in the zone now.
ML: I’m house DJ at the New Crawdaddy Blues Club in Billericay so I understand all about loading and unloading
of gear.
We have a great guy from Leigh-on-Sea, Steve
Russell and in truth his help is invaluable from
driving to helping with the gear, but it’s very
much more hands on and that’s the way it has
to be. You can’t pretend and say well that’s
how we used to do it. It takes care of itself and
it is what it is.
NG: Are you enjoying this more?
Oh yes, yes. I have to, to keep on doing
it. Don’t get me wrong the other gigs were
fabulous , the travel, the hotels and the money
were fabulous but the amount of work I actually
did to being a guitarist was rather like cruising
because I was the guy who played a bit of this
and a bit of that. I played very little electric
guitar with Roger and with Eric, I played the
parts and Eric the solos. I was always reticent
about taking a solo at an Eric Clapton gig
because the people don’t want to see me,
they want to see Eric. But if you are going to
play, do it in a different style than Eric because
nobody plays Eric like Eric.
NG: I did see you supporting Eric at the
Royal Albert Hall and I did like your bit of
carpet...
Blues Matters! 68

ANDY FAIRWEATHER LOW
There you go see, I think the carpet says it all (laughter)
NG: We’ve spoken about Dave Bronze. You two go back a long way. Can you tell us how you got together?
Started about 20 years ago, through Gary Brooker. We started at the village hall in Dunsforth and it went from there and
the gigs became from frequent. We’ve both played with the Hamsters, and Dave also played with Eric. Dave’s now mixing
the album and we’re co-producing it and it’s grown from there. He’s all encompassing, knows about tour managing, but he
really knows about sound. I know what I like and what I don’t like, but Dave understands the mechanics and he’s also up
to speed on the computer side of things which has been a big help with the album. He’s currently playing with Tom Jones,
but my band are over-qualifi ed and underpaid for playing with me and that’s the truth.
NG: I think it’s the enjoyment of it all though, having met the fabulous drummer and saxophonist.
This particular band with Nick Pentelow on sax is the most comfortable and certainly Paul Beavis (drums) and Nick are
just fabulous musicians. This new album is almost like my fi rst for A&M called Spider Jiving and on that album I had the
Memphis Horns. I’ve not got anything like that going on, but certainly there are good horn section parts and solos from
Nick.
NG: The rhythm section of Paul and Dave is just brilliant. On the lively album, you don’t need anything else, it’s
just so tight.
It’s the fact that the instruments sound so fantastic that you don’t need to worry about the sound and whatever style I think
I might like to go in. They can both play in that style and be in front of me on it. There is nowhere musically that I can’t go
with Dave and Paul. It’s just phenomenal. And that’s covered on the new album. I’m hoping to have it out on the road for
October, September will be a bit of a push, but defi nitely October.
NG: Is this going to be available through the shops or through proper.
Proper, through the internet and at gigs. We are discussing having it made available through retail outlets and Amazon.
ML: It’s getting crazy with so few retail outlets.
Yes, I see my place as, it’s getting hard to be played on the radio and I’ll make more impact playing in front of people at
gigs and that’s how I hope to make a living and the rest but it’s a bit of a game. If you have a bit of money, you can get
involved with it, but we are restricted a bit with outlay and cash but these things need to be discussed.
ML: That seems to be the norm these days for musicians of your ilk. Merchandise and CD’s are nearly always
available for sale at gigs and the artist has more control over it.
Well I have an arrangement with proper and that’s ok. They press them and I sell them at gigs and I like the arrangement.
NG: Where do you see yourself going? Do you think you will
stay at this level or move up a bit?
I’d like to move up but much what I want will be dictated by what
happens and at the moment I’m happy to keep doing that. I
just hope to keep the band together, so we can keep doing this
because with other commitments there has to be a good reason
for staying together. I hope to create that good reason, because
other things from outside take over and no one can turn down
good paying work and that includes me.
NG: I like your guitar sound, your guitar sound is you...
Well I’m still working on it Nick. Practise practise practise. There
are too many gadgets available to kids nowadays that make
them sound like Jimi Hendrix in the living room and believe me,
if you had Jimi Hendrix in your living room, you wouldn’t be in
it (much laughter). The early guitarists all had tone and tone is
very important to me. I couldn’t be happier with my amp made by
Dennis Cornell. My guitar is a Knight, Arena model and it is made
by Gordon and Robert Wells.
ML: Did you do much writing when you were with Eric.
No, it was all consuming. I spent my time practising and learning
my parts and it was the best gig I ever had. I was there for 13
years, I wasn’t there as an equal, I was doing the bits, so Eric
could do the solos but I realised that I had to do my on parts.
NG: Do you still see the guys from Amen Corner.
Yes, Neil and bass player live very near to me, Blue lives in
Germany and Spain, our Sax player promotes the gigs I do in
Cardiff and Dennis lives in America but we do have a get together
when he comes over.
ML: Thanks very much for giving us your time Andy, it’s been
a really enjoyable chat and good luck for the new album and
tour.
Blues Matters! 69

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T H E N E W I S S U E
Nov/Dec 2012 issue
Available 04.10.12
Blues Matters May ad_Maverick_NovDec 2012.indd 1 31/8/12 13:12:58
HANS THEESSINK & TERRY EVANS featuring: Ry Cooder
Delta Time – A Transatlantic Blues Summit!
HANS THEESSINK p HANS is probably Europe‘s blues export no 1. After more
than 7.500 concerts, 40 years “on the road” and more than 20 albums, an instruction
video, a songbook and a DVD to his name, HANS THEESSINK has become a
roots and blues institution. With his sonorous baritone voice and unmistakable guitar
work Hans is in great demand – delighting audiences around the world with his rich
and emotional sounds. The US blues press called him “An international blues treasure”
and “One of the world’s pre-eminent pickers”. The legendary Bo Diddley called
him “One helluva guitar player”.
TERRY EVANS p TERRY hails from Vicksburg, Mississippi. At a very early age he
was exposed to gospel music in the local church and knew that singing was his call.
In a career that spans over 50 years, Terry has done several albums under his own
name and has a long working relationship as a backing vocalist with Ry Cooder.
Terry‘s voice is pure “Mississippi Magic” – the real deal and one of the most soulful
voices in the business. His singing can be heard on countless productions e.g. with
John Lee Hooker, Pops Staples, Eric Clapton and John Fogerty.
“DELTA TIME“, THE NEW ALBUM
Recorded in Los Angeles – like the prize-winning predecessor
album VISIONS, DELTA TIME is a naked and intimate,
bare to the bone, recording, that leaves a lot of space for
Hans‘ and Terry’s expressive voices and instruments.
FEATURING: RY COODER
HANS THEESSINK & TERRY EVANS – THE DUO p Hans Theessink and Terry
Evans may be from separate sides of the Atlantic Ocean but they work together
beautifully and make sense as a natural combination. These two vastly experienced
and respected musicians are committed performers who are a perfect foil to each
other. Theessink’s lazy baritone and Evans’ extraordinarily soulful gospel tones are
tailor made to blend together with spine-tingling results. Timeless blues-, gospel- and
soul related music, comes alive in the capable hands of these two masters. With just
two guitars, and two remarkable voices they bring forth honest and straightforward
power in a stripped-down musical situation – an unhurried vibe that’s contagious and
fl ows with the easy rhythm of buddies with mutual respect having a blast singing and
playing together.
Hans & Terry’s fi rst duo album “VISIONS” (2008) was very successful: 15.000 copies
sold on vinyl and CD. Visions won several international prizes and was nominated
for the Blues Music Awards in Memphis, TN in 2009.
From first note to last this is pure blues magic. Living Blues (USA)
“A match made in blues heaven”. Blues in Britain (UK)
The great Ry Cooder contributes with some phenomenal
trademark guitar sounds while Terry’s singing colleagues
Willie Greene Jr. and Arnold McCuller add some gospel-blues
drenched vocals to die for.
Two deep blues voices: Hans Theessink, one of Europe’s most respected
keepers of the genre, and Terry Evans, whose music carries the heritage of his
Mississippi ancestors, connect here like soulmates united by music. The pairing
of Theessink’s deep, emotive baritone with Evans’ gospel-colored tenor makes this
record one of the year’s best acoustic outings. Blues Revue (USA)
TRACK LISTING
ITEM SUMMARY
01 DELTA TIME 3:25
Artist: Hans Theessink & Terry Evans
02 BLUES STAY AWAY FROM ME 4:35
Title: Delta Time
03 IT HURTS ME TOO 3:29
Label: Blue Groove
04 HOW COME PEOPLE ACT LIKE THAT 2:56
05 THE BIRDS AND THE BEES 2:44
Format: Compact Disc (13 tracks - 59 min.) | vinyl (11 tracks - 45 min.)
06 BUILD MYSELF A HOME 2:49
File under: Blues
07 DOWN IN MISSISSIPPI 8:55
Box lot quantity: 70
08 SHELTER FROM THE STORM 5:45
Release Date: September 18, 2012
09 I NEED MONEY 3:03
Catalogue Number: CD: BG 2220 | vinyl: BG 2210
10 HEAVEN’S AIRPLANE 2:07
11 POURING WATER ON A DROWNING MAN 4:41
EAN Number: CD: 9004484022207 | vinyl: 9004484022108
12 HONEST I DO 3:46
13 MISSISSIPPI 10:11
MUSICIANS
Produced by Hans Theessink & Terry Evans
Hans Theessink: vocals, guitars, mandolin, banjo, harmonica, footstomper
Terry Evans: vocals, guitar
Management: milica, milica@theessink.com
Ry Cooder: guitars on 2,4,8
Radio, marketing & promotion:
Terry Evans, Arnold McCuller, Willie Greene Jr.: backing vocals on 1,6,8,10,13
DISTRIBUTION
A: Sony
UK: Proper Music Distribution
D, CH: in-akustik I: IRD
Benelux: M & W North America: City Hall Records
DK: Pladekisten Australia: Only Blues
S: Soundcarrier
MORE INFO, AUDIO CLIPS, PHOTOS AVAILABLE AT: www.theessink.com
DOWNLOADS on all platforms

TOP 20
1. Various: Vaudeville Blues (JSP 4CD)
2. Lil Ed & The Blues Imperials: Jump Start (Alligator
CD)
3. Albert King: I’ll Play The Blues For You (Stax CD)
4. Various: Hollywood Blues (JSP 2CD)
5. Hedy West: Vol 1 / Vol 2 (Vanguard CD)
6. Ken & Bob: Escape To Jazz Island (Grass Skirt CD)
7. Johnny Ace: Ace’s Wild (Fantastic Voyage 2CD)
8. Various: The Bristol Sessions (4CD)
9. Magic Sam: Raw Blues (Floating World CD)
10. Various: We Juke Up In here (Broke & Hungry/
Cathead CD & DVD)
11. The Nighthawks: Damn Good Time! (Severn CD)
12. Various: Screaming And Crying (Fantastic
Voyage 3CD)
13. Michael Burks: Show Of Strength (Alligator CD)
14. Muddy Waters & Rolling Stones: Live At The
Checkerboard Lounge (Eagle DVD & CD)
15. Benny Spellman: Fortune Teller – Singles
Collection 1960-1967 (Shout CD)
16. Taj Mahal: The Hidden Treasures Of Taj Mahal
1969-1973 (Sony 2CD)
17. Dudley Moore Trio: Down Under – Unabridged
(Martine Avenue 2CD)
18. Chris Smither: Hundred Dollar Valentine
(Continental Song City CD)
19. Various: Jamaica – Rhythm & Blues 1956-1961
(Fremeaux 2CD)
20. Peter Green Splinter Group: Blues Don’t Change
(Eagle CD)
Red Lick Records, PO Box 55, Cardiff CF11 1JT
Email: sales@redlick.com
www.redlick.com
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BILL FAY
British pop’s first outsider troubadour breaks
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THE STRAWBERRY ALARM CLOCK
Part two of our in-depth story: from Psych-Out
and pop stardom to breakdown and rebirth
An appreciation of the greatest harmony pop band of all time
BILL FAY • STRAWBERRY ALARM CLOCK • GARY FARR
KEN STRINGFELLOW • LEE HAZELWOOD • SWEDISH RETRO ROCK
THE FAMILY THAT PLAYS TOGETHER
ISSUE 29 • £4.95
GARY FARR
The forgotten golden boy of the ’60s and ’70s
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proper Blues
Royal Southern Brotherhood
S/T - Ruf Records
UK Tour November
6 Milton Keynes The Stables
7 London Jazz Café
8 Southampton The Brook
9 Wolverhampton The Robin
10 Kendal The Brewery Arts Centre
11 Manchester Band On The Wall
Joanne Shaw Taylor
Almost Always Never - Ruf Records
UK Tour October
9 Wolverhampton Robin 2
10 Derby Assembly Rooms
11 Bristol The Tunnels
12 Tavistock The Warf
13 Falmouth Princess
Pavilion
14 Poole Mr Kyps
16 London Leicester Sq
Theatre
19 Brighton The Haunt
The Andy Drudy Disorder
The Blues Civilisation - Splash Point Records
The Andy Drudy Disorder takes he time-honoured traditions
of guitar-based blues, mangling and twisting the form into
a modern context. It demands repeated listens and a fresh
bottle of bourbon!
Rick Estrin & The Nightcats
One Wrong Turn - Alligator
20 Norwich Arts Centre
21 Sale Waterside
22 Milton Keynes
The Stables
23 York The Duchess
24 Newcastle The Cluny
26 Glasgow ABC
27 Stockton Arc
28 Nottingham
Rescue Rooms
Award-winning harp player, songwriter and vocalist Estrin and
his band The Nightcats make a wholly unique blend of cutting
edge blues and roots rock that sparkles with sly, savvy songs
and world-class musicianship
For more information, news, competitions

Michael Burks - Show Of Strength
Alligator
Absolutely bursting with the white-hot intensity that made
Burks one of the greatest bluesmen of his generation. His
sudden death in May of this year robbed the blues world of
one of its brightest stars.
Dani Wilde/Victoria Smith/Samantha Fish
Girls With Guitars Live - Ruf
Three of the hottest female musicians on the contemporary
blues scene, Kansas City native Samantha Fish and Dani
Wilde marking her third Blues Caravan go-round and young,
in-demand , debutante bass player Victoria Smith.
Mud Morganfield - Son Of The Seventh Son
Severn
The first national release by the eldest son of Muddy Waters
who proves to be a chip off the old block with a powerful 12
song set of in the classic Chicago blues style.
The Nighthawks - Damn Good Time
Severn
Lead singer-harmonica player extraordinaire Mark Wenner
joined forces Jimmy Thackery and formed The Nighthawks
in 1972 adding the best rhythm section the area had to offer:
Jan Zukowski on bass and Pete Ragusa on drums.
Johnnie Bassett - I Can Make That Happen
Sly Dog Records
The veteran bluesman & Detroit blues legend is joined by
musicians from two popular Detroit bands, The Brothers
Groove & The Motor City Horns for this soulful, funky outing.
Heritage Blues Orchestra - And Still I Rise
Raisin Music
Drawing its sound from field hollers, work songs, spirituals,
soaring gospel voices and hard-driving rhythms of the the
delta,the Heritage Blues Orchestra digs into innovative musical
territory making a unique and exhilarating contribution the blues.
and much more visit www.propergandaonline.co.uk
and much more visit www.propergandaonline.co.uk

JOANNE SHAW
by Pete Sargeant
TAYLOR
Special Unreleased Bonus Tract
Back in February 2009, around the time of her first album release, Joanne Shaw Taylor was put in the chair by
Pete Sargeant for one of his arcane Q&A’s.
Name an instrument that you’d like to own and one you’re proud to own?
Probably a vintage Tele Thinline, my favourite guitar. I own a 1966 Fender Esquire that’s my main guitar right now but a
vintage Thinline or a nice custom would be great.
Name a departed artist that you miss?
Sean Costello.
Choose a film where the soundtrack really works, for you?
‘Batman’ – Prince. I remember watching it shortly after it came out. Jack Nicholson (The Joker) terrifi ed me. The scene
where he walks into the art gallery with the boombox playing. Incredibly cool.
Give us a song that makes you smile (artist/song/source album)?
Prince – ‘Baby I’m A Star’ – from ‘Purple Rain’.
Nominate a male and a female (from any walk of life) that you consider dress with style?
Blues Matters! 76

JOANNE SHAW TAYLOR
Lenny Kravitz – I think he is pretty much
the epitome of the cool rockstar.
Lucinda Williams – there’s not many
women that can pull off the cowboy hat.
Select a song where the bassline
really appeals to you?
‘I Want To take You Higher’ – Sly & the
Family Stone.
Name an album you can listen to in
its entirety?
Freddie King – “Pack It Up”.
Name a TV programme you can’t
stand watching (and why)?
Any reality show because most of them
are extremely unrealistic.
Suggest a recording that evokes
sadness?
‘Hurt’ – Johnny Cash (Original was done
by Nine Inch Nails).
Give us a favourite Bob Dylan song?
‘Don’t Think Twice, It’s All Right’.
Who is a singer that has influenced you?
You know I don’t have many singing infl uences. Just because I never thought to listen to singers, it was always something
people did between guitar solos. There are people I would love to be able to sing like, i.e. Rosie Gaines, Tina Turner...but
singing has always been a second instrument to me and I still feel like a guitar player that sings. It was never something I
focused on too much I just wanted to be able to front my own band. If I could sound like anyone it would probably be Tom
Waits, but I guess that’s a bit unrealistic.
Name an ‘own composition’ that you’re really happy with?
‘Just Another Word’ – I wrote it on the plane to Memphis the day before we went to record. Turned out to be pretty good
considering. That and ‘Heavy Heart’ are probably the most honest songs I’ve written, at this point.
Quote a song lyric (by anyone) that you think holds true?
‘I’d rather laugh with the sinners than cry with the saints – sinners are much more fun’ – Billy Joel.
What guitar strings do you use and why?
GHS 11-58 – Stevie’s infl uence (heavy strings tuned down half a step) but it helps my voice as well. I have quite a low
voice for a female.
What’s your favourite album on the RUF label and why?
Luther Allison “Blue Streak” - reminds me of a nice period in my life when I was about 13 and just discovering all these
great blues artists. This was one of the fi rst blues albums I heard and my fi rst introduction to Luther. I got to meet his
manager/widow Rocky recently. When we fi nished recording in Memphis she came out and met us (me and Thomas Ruf)
and we drove down to Mississippi for a few days. Amazing trip, amazing woman. Other than that The Imperial Crowns...
they are the coolest band in the world (apart from The Detroit Cobras).
The best and the worst thing about being on tour?
The worst thing for me is the hanging around at venues, in between soundcheck and showtime there’s usually a 4-hour
gap where you’re just sitting around. Best thing is just being able to spend every night onstage, being surrounded by other
musicians all day. Talking music, trying out new ideas etc.
Which player do you feel you will never be able to match?
Most of them. Somebody like Joe Bonamassa, I’m certainly not a virtuoso player and technically I don’t really know much
about the guitar. I would say my biggest strength as a player is the personality in my playing and the attack. I’m very ‘fl y by
the seat of your pants’…
Which track on ‘White Sugar’ would you like the uninitiated to take a listen to and why?
Probably ‘Going Home’. I’m very happy with how that turned out. Again it was last-minute addition. I was still working on
the lyrics up until the day we started recording. I think it has everything I want to get across about myself to a listener,
rocking song, plenty of guitar, voice but it’s also a very honest blues song.
Name a record that finishes or fades too early, for you?
The Paladins – ‘Million Mile High Club’.
Johnny Depp or Johnny Winter?
Winter, of course!
Blues Matters! 77

JOANNE SHAW TAYLOR
JOANNE SHAW TAYLOR
Discusses her latest album “Almost Always Never” with fellow Telecaster afi cionado Pete Sargeant.
On her last record cover, Miss Taylor was looking away, to our left. This time she’s looking straight at us,
but it’s not evident from her expression exactly what she’s thinking….time then, for your scribe to run
some post-listen thoughts to the alluring gunslinger and vocalist.
I’ve done my homework, Jo and listened through to the album a few times so I have some notes thereon...
shall we do that first and pick up some other stuff in a minute?
Sure Pete – go for it.
Where are you right now?
I’m at my parents’ house – they have a barn conversion in Leamington Spa (lower part of England’s Midlands,
international readers).
Ha! I came out to Leamington Spa a while ago, to see Delai Assembly Rooms?
Oh yeah – I have played there a couple of times, it’s a really cool venue actually.
With an Italian opposite!
Yes and just next door they’re opening up a
Fifties style diner.
But usually you’re based now in Detroit
aren’t you?
Well yeah the band is based in Detroit but
my home sin
A quick detour – I saw a band called
Vintage Trouble last week and they are
West Coast but they sound like a Detroit
outfit.
They do!!! I did see them on a TV
appearance.
They have to have grown up on Detroit
music?
Yeah! The lead singer has Temptations style
about him, for sure.
It’s like one of the Temptations fronting
The Small Faces.
Would have been perfect for Berry Gordy to
sign – yeah, they’re great.
But you also dig some friends of ours
from there- The Detroit Cobras/
I do,
Now this new album of yours that was sent to me – just going through the tracks, now ‘Soul Station’ it’s
got this insistent, edgy feel to it and your voice is shown off pretty well on this cut. There’s a tinge of
Nikka Costa maybe here, but I don’t know whether you know her…
Yeah I do, I love her actually, and I’m a huge fan, touch of Prince there.
Well back in the day I was on the fringe of what Prince was doing, strangest guy I ever met, we had a cat
& mouse thing going on my writing…still not sure if I was cat or mouse….but this is a great opener and I
love the counterpoint from the keyboard…what overdrive or fuzz were you using?
I think we ended up using two…the producer (Mike McCarthy) and the studio had all kinds of gear and FX and
guitar pedals so a lot of what I had brought went straight out of the window and we ended up experimenting a
lot of the time. I think coming out of New York, it’s was death by audio stuff …probably a fuzz one and an octave
klang. We hooked the two up together through a Marshall stack.
I thought it was a Ratt?
We had to take into account what we wanted the solos to do, some were funkier than others and JJ the drummer
had a hard sound for those, so we just chose what seemed to work, for each song.
New York guys tend to use Electro Harmonix stuff. I have some first-issue effects they put out?
Yeah they do - it was about getting something different really, away from the usual Tube Screamer sound.
And it takes you a step or two away from the classic SRV tones, doesn’t it?
Blues Matters! 78

JOANNE SHAW TAYLOR
Quite, I think I had got into a kind of rut – if I’m being honest because I was comfortable (we’ve all been there) and
it was easier to not change my ways.
They do say – never write songs when you’re in love.
It was one of those things, with that track – I didn’t want to do what I normally do.
I did pick up that, Jo – now ‘Beautifully Broken’, it’s got the skipping Hendrixy chords and you sound
heartbroken, I have to say. And I do wonder whether you have been mistreated that badly by these
horrible creatures called men, or is it poetic
license?
I’m actually blissfully happy and have been
for a while… so I don’t know where this angst
comes from… the track I wrote was really
uptempo, probably sounded more Hendrixy.
The other thing is – you’re not here pushing
your voice at all, it’s more a narrative?
Exactly Pete – and that was Mike’s idea, to
slow it down and then it took on this Rolling
Stonesish vibe.
And the reedy Hammond as well?
It’s kinda like something I haven’t done before.
Can you see yourself using keys on live
dates?
Yes. We’re going to start using keyboards in
shows.
I’m already booked in to see the London
show.
Well you’ll see us with the keyboard player all
being well.
I didn’t know, I just thought I’d ask you ‘You
Should Stay’ – it’s got a great determination
to it, unusual chords. Seemed to me be a
touch Dylanish?
Really? I am a big Dylan fan. It’s a kind of
gamble, that song. I just wrote it for fun. I have
stuff I don’t ever intend to do myself.
More of this later, Jo…it struck me as Dylan / John Prine-ish...’Piece Of The Sky’ has a Southern Rock
leaning….but having listened to the album this far, it does occur – you don’t really want to be categorised
, do you ?
No. Now no-one’s ever picked up on that before. No I don’t, if anything just wants to be categorized as Joanne
Shaw Taylor. And whatever I choose to do, under that umbrella. (I explain my notion that I don’t like being in bands
that are country, blues, rock, whatever in the act name) No it’s not any fun to be squeezed into a box…like you, I
just like music… sometimes blues, sometimes rock but Blues Matters has always been very kind to me, given me
attention though I’m no purist blues player.
‘Army Of One’ has that folk-rock sound, but it almost sounds like it’s going to be a protest song…
(Chuckles) Oh no I try to stay away from politics in my music.
Why do you take that line?
Just because – and this is a personal choice thing – it irks me when certain musicians decide to use the attention
as a platform... to preach to me about something, so I take religion and politics out of my music.
End Bono now??
If only we could. I kind of think music –and it goes back to what you said about not being categorised – is there so
people can listen to any genre of music, to get what they want out of it.
And if you buy a Dylan album you’re listening to blues, country, folk, rock, protest…
Yes…I don’t think it’s a musician’s job to preach.
At this point the album goes into ‘Jealousy’, an organ-soaked ballad. Shoot me down if you like, but this is
a key track is it not?
Blues Matters! 79

That’s a surprise as we weren’t sure whether
or not we were going to use it. I don’t do many
covers. But it ended up sounding really good.
I would have put a John Lennon delay on
this…
Well we ended up just using the live track, we
all sat in one room for that. We tried to keep it
simple, there.
My own thought is: jealousy is the worst
trait you can have. It’s acidic, it’s illogical.
It causes worry and stress. There’s a video on
YouTube for that song just of someone shooting
someone else such an eerie vibe (At this point
I suggest a song that Joanne might consider
doing a version of. As she could sing it much
better than the
Now ‘Almost Always Never’ it’s very
understated, I will ask you outright – did you
write this for Bonnie Raitt?
(Laughs) No, I actually wrote ‘Diamond &
Dirt’ for Bonnie Raitt. I had it in my head as a
big rock ballad, my producer told me to think
otherwise, to make it more simple.
It’s one of the most affecting moments on
this record.
Thank you, it’s favourite with me, to be honest.
Tied & Bound’ it’s got this great ascending chord intro, I’m a sucker for this stuff cos it’s what play, a very
barbed fuzz sound on this one?
It’s a Les Paul with no effects whatsoever. The bass player was in Watchtower and lent me this Marshall gear.
There’s a line in there I love: ‘Where persist and prevail collide’?
That just came to me.
It’s like a Glenn Hughes phrase…
(We discuss Black Country Communion, Joanne did some opening spots on their tour. Glenn is a diamond bloke to
meet, Jo and I would agree).
It’s got the best arrangement in the record, terrific guitar break?
Yes I really liked it.
This album, it’s by turns laidback and relentless?
When I was putting it together I did think it would be more uptempo than it has turned out.
‘Hand In Love’ is the closest you’re getting here to jaunty.. Mavis Staples could do this number?
Yeah like to try a Motown style song now and then.
Your voice can do that very well and it must be tempting to do more in that vein... but something stops
you?
Hmm, it’s not great from a guitar player aspect… sometimes I think I’m just a singer and sometimes a guitar player.
BB King doesn’t do too badly, but not at the same time
I guess I mean more in my song choices.
‘Standing To Fall’ – is that an opener?
But it goes into progrock for a while… not sure I could open with that!
‘Maybe Tomorrow’ – it’s a tread of a beat to that, isn’t it?
Now that was another one where the demo version was really up-tempo, then we just kind of changed it has a Dr
John / Voodoo vibe now.
It’s what I’d play to a stranger – from this record - to put you over?
Oh c
The album ends with ‘Lose Myself’, with that gentle tremeloed sound. Why did you want end the record on
that mood?
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JOANNE SHAW TAYLOR
We’d decided that ‘Jealousy’ was going to have to go into the middle of the album, the way it turned out…it’s a love
/ end of a relationship theme so I thought I would fi nish on that refl ective sound.
Why do you look different in all your pictures?
I don’t know… I photograph really weirdly…I just don’t look like myself in photographs on ‘White Sugar’ I’m
smiling….on ‘Diamonds’ I’m not.
No on ‘Diamonds’ you look as though you’re just working a song out and some b***ard’s knocked on the
door, disturbing you!
I was trying to look mardy!
Gotta ask you quickly about the Jubilee thing?
(Joanne was asked by Annie Lennox to pay guitar on ‘There Must Be An Angel’ in the London show for the
Queen’s Jubilee 60 th whatever- in London) I’ve known Annie for a long while from working with Dave Stewart and
she rang me up to enlist me. It was a huge day off really….the day itself as you can imagine was chaos. There was
a dress rehearsal for us about a week before at Buckingham Palace, and it was all shut down for us.
I thought roots music was terribly under-represented…..I know it’s a mass-audience thing but…
(I would have replaced Cheryl Cole with Oli Brown for a start!)
Yeah well I think you have to thank Gary Barlow for that. I didn’t see much of it to be frank. (but she did hang
around to see Stevie Wonder – this lass has her priorities correct)…my Mum was very pleased.
Pete Sargeant
The new “Almost Always Never” album is released by RUF September 17 th and JOANNE SHAW TAYLOR
commences UK and European dates in October.
Details from the Ticket Hotline 0944 478 0898 – www.thegigcartel.com
Blues Matters! 81

Simon McBride
pick
Music Strings
www.rotosound.com

BARBARA CARR
Is back with the best album of her career!
"There is lots of great music to be heard on
this exemplary release from a classy soulful
singer and superb band. What more can
you ask for?" - Blues & Rhythm
blues matters - peppercake 128x90.pdf 29.08.2012 17:49:14
C
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Tenby
Blues
Confirmed artists include:
9 th – 11 th November
Festival 20 12
Oli Brown•Catfish Keith
Todd Sharpville
with special guest
Marcus Bonfanti
Rob Tognoni (Australia)
Kent Duchane (USA)
Tim Aves and Wolfpack
Little Toby Walker (USA)
Grianne Duffy Band (Ireland)
Beggi Smari (Iceland)
Arthur Ebeling (Holland)
Jamie Francis Band
Henry’s Funeral Shoe
many more Welsh and International names to come!
Tickets & information at tenbyblues.co.uk

with
The Bishop
For fans of the legendary blues/rock musician, it is like waiting for a London bus; there is no sign of one for
ages and then three come along at once! Last month brought the excellent compilation album “The Best Of Alvin
Lee”, news of his eagerly awaited and critically acclaimed “Still On The Road To Freedom” CD, and notification
that Gibson had nominated Lee the greatest musician ever to have played an ES-335 guitar, deservedly ahead of
Clapton, Berry and BB King. Oh yes and there was confirmation that Alvin will be appearing next Easter at the
prestigious L ’Olympia in Paris with that other blues legend, Johnny Winter. It doesn’t get much better than that.
Blues Matters caught up with Alvin to hear about what he is up to at present.
BM: What inspired you to write ‘Still On The Road To Freedom’ and tell us about the logistics of getting the
musicians together and recording it?
AL: I write all the time, my inspiration comes from within my mind. George Harrison once said that I have a very avantgarde
mind to which I answered “Yes, avant garde a clue!” Writing, recording and playing with other musicians is both a
labour of love and a hobby. Maybe even an obsession. It certainly beats playing bowls or darts.
Can you talk us through the new Freedom album track by track to give a context for each song?
Normally I prefer to let the music speak for itself, but I’ll give it a try. The title track ‘Still On The Road to Freedom’ is based
on the rhythm of the original On The Road to Freedom song and the freedom I’m referring to is explained in my liner
notes. You may notice a night bird singing in the intro, this guy was chirping outside my studio at 3am in the morning so I
recorded him and put him on the intro. He fi tted perfectly and no fi xing or editing was necessary. ‘Song Of The Red Rock
Mountain’, wrote itself while I was testing a microphone. ‘Back In 69’, was a previously written poem I fi tted to a Bo Diddley
rhythm. For ‘Listen To Your Radio Station’ I experimented with electronic drum loops and matched them to an Ian Wallace
drum pattern that he had played on one of my recordings from 1971. It’s kind of a mixture of Blues and Hip Hop. I think I
will call it Blues Hop or Hip Blues. ‘Love Like A Man 2’ was inspired by the Smiley Lewis rhythm in I Hear You Knocking.
It’s R&B with a ‘chug a lug’ groove and it is one of my favorite rhythms. Blues wise there’s ‘Save My Stuff’, I played the
harmonica thru an old guitar amp to get that authentic dirty blues sound. ‘Blues Got Me So Bad’ has an interesting intro
plus a turn around that goes both up and down at the same time and crosses in the middle, it is very hard to do smoothly
and I have been trying to fi t it into a song for years.
Your very honest liner notes refer to the possibility of an early demise had your lifestyle in the 60s and 70s
continued? Can you elaborate on any particular moments or incidents when this might have happened?
I remember waking up once with roadies throwing water on my face. It wasn’t a joke as nothing else could wake me up. I
decided there and then that some changes had to be made to my lifestyle before it became a death style.
Is song writing still easy for you and what is the process you employ?
I start with a rhythm or a groove and the rest seems to come as if by magic. That is the biggest buzz of all. “Where did that
come from?”
Will there be another album soon given the songs already in the pipeline from working on ‘Freedom’?
Defi nitely maybe.
How pleased were you about the Gibson nomination for best ever ES-335 guitarist?
I can’t imagine why they put me above Chuck Berry and BB King, but I have no complaints.
Have you ever felt that you should have received more awards during your career, and indeed, does it bother
you?
I have seen people who make a career out of receiving awards. It is defi nitely not for me. You won’t get me in the Rock &
Roll Hall of Shame standing next to the BGs. What’s that got to do with Rock & Roll?
You have toured with Edgar Winter before so you must be especially thrilled about the prospect of the
forthcoming gig with his brother Johnny?
I’ve done a bunch of gigs with JW on the same bill over the years, but we’ve never played together. Probably won’t this
time either. I was at the L’Olympia a couple of years ago with Tony Joe White and the packed house generated a great
atmosphere. There could be a lot of lead guitarists coming along to the gig next Easter!
Can we expect a DVD of the concert because a DVD of you with Richard and Pete is a must at some stage, in the
fans eyes at least?
I really don’t like recording live shows on video, it inhibits me and makes me play safe and that takes the real buzz out of
playing on the edge to a live audience. We played a festival in Holland recently and although we hadn’t played together for
8 months it was one of the best gigs we’ve ever done. It was so tight because we were all listening to each other and not
playing on auto like what happens when you’re on a big tour. We didn’t even have time for a sound check.
Do you have any other performances lined up? The UK and USA would be popular destinations?
Not at present. I like to play open-air festivals, I will play anywhere that will have me but with the USA and Canada, it costs
a lot to get my band there and there is a big hassle with work permits and immigration. It’s not viable for one or two gigs
and the days of two months of touring are over for me. I love to play but not so often it gets mechanical. For me it has to
Blues Matters! 86

be fun. There was a time when for me being on
tour with a Rock & Roll band playing practically the
same thing every night got boring, and believe me
if that gets boring you have a big problem because
where do you go from there? That’s where the road
to freedom comes in.
Who would you most like to perform with (past
and present) if you could include them in your
dream line up?
Jerry Lee Lewis, D J Fontana, Bill Black and Brigitte
Bardot. I still wake up on my birthday and play Jerry
Lee’s ’Whole Lotta Shakin’ that’s my kind of rock
and roll. D J Fontana was Elvis Presley’s drummer
for many years and I played with him on the
“Tennessee” album. When I returned to England
and played the tapes of the recording, his tempo
was in perfect time with the computer; he would lift
the tempo in the solos but come back to the exact
same tempo for the next verse. D J is totally unique
in that he only plays what is necessary; he lays
down the groove and never strays from the beat.
Your website (www.alvinlee.com) shows your
talent as an artist. How is this creative side
of you developing and would you ever paint
pictures for commercial purposes a la Ronnie
Wood?
I am nowhere near good enough. I only paint for
fun. I pretend I’m Salvador Dali. What is interesting
though is the range of reactions I get from people
who look at the pictures on the web and tell me what
they see in them. Often, their interpretations are
totally different from what I imagined or intended.
Who do you rate on the blues scene at present?
Geoff Aitchison is doing some amazing things
on acoustic guitar. The best version of ‘Very
Superstitious’ was done live on Paul Ravens Blues
boat.
What is your ultimate musical goal?
To keep surprising myself and write the world’s
greatest riff.
What are your personal goals?
My main ambition, verging on obsession is to keep
my head down and remain low key. However I want
as many people out there to hear my new album so
here I am again.
What are you playing on your iPod at the
moment?
I don’t have an iPod, I prefer to listen to radio, that
way you get to hear music of different styles you
have not heard before. Favourites are Ravens
Blues, and for music from around the world, Gilly’s
World, both on Talk Radio Europe,
What is your opinion of music journalists? I
know that you rate Chris Welch for example?
All music journalists are an unnecessary evil. No,
just kidding.
Thanks for taking the time to talk, have you any
messages for Blues Matters readers?
Save your stuff for the one you love.
Blues Matters! 88

Blues Matters! 89

Are you the best unsigned Blues act in the UK?
Tourism New Brunswick are looking for the best unsigned Blues act in the UK, to
play at the Harvest Jazz and Blues Festival in Fredericton, New Brunswick, Canada in
September 2013. Regional heats will be held at:
True Blue Club, Newton le Willows, 11th January
New Crawdaddy Club, Billericay, 24th January
The Brunswick, Brighton, 25th January.
Redcar Blues Club, Redcar, 8th February.
Blues and Beyond Club, Cupar, 23rd February
If you’re a unsigned soloist, duo or
band, have your own original
music and want to apply for a
place at your local heat then visit
www.tourismnewbrunswick.co.uk
The winning act from the final in
London, will be flown to Canada
on an all expenses paid trip, plus
win a prize of £1000.
Applications are open 01 October - 30 November 2012
Organised by Tourism New Brunswick

3
The Ultimate Guitar Weekend
10 - 11 NOVEMBER
OLYMPIA CONFERENCE CENTRE
TICKETS £15 IN ADVANCE £20 ON THE DOOR
01926 339808 WWW.LONDONELECTRICGUITARSHOW.COM
Some of the biggest names in the guitar world
MAIN STAGE
Richie Kotzen
Poison, Mr. Big
MAIN STAGE & MASTERCLASS
Jennifer Batten
Michael Jackson
MAIN STAGE
Ben Poole
British Blues Supremo
MASTERCLASS
Søren Andersen
Glenn Hughes, Joe Bonamassa
IN ASSOCIATION WITH YAMAHA
More artists to be announced
MAIN STAGE
Ben Tovey & Will Homer
Rise To Remain
AN EXCITING DAY OUT FOR GUITARISTS & MUSIC FANS..
TRY & BUY GEAR WITH EXCLUSIVE DISCOUNTS.
LEARN & BE INSPIRED AT THE MAIN STAGE.
PERFORMANCES & MASTERCLASSES..
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Exhibitors correct at time of print
LONDON MUSIC SHOWS IN ASSOCIATION WITH BLAZE PUBLISHING

Introducing...
Kross Border
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A bright new label
for British Blues...
YOU cAn cAtch
ABSOlUtiOn
On the JAKS StAge At
BUtlinS ROcK’n’BlUeS 2013
The White Knuckle
Blues Band, feat. Steve Roux
This former Virgin records/pointblank recording artist returns with a stunning
new album and is taking the festival scene by storm.
‘Anyone wanting Blues in their face will like this. Just twiddle with the volume knob’
Gareth Hayes - Blues Matters! magazine - June 2012
Absolution
‘Absolution are... a group that could go places. With a great rhythm sound and scintillating
guitar behind fine vocals, this trio are a complete and very tight rock/blues package.’
Maverick magazine - January 2012
‘Blues flawlessness...these guys are incredible musicians (with)
an incredible album that requires many listens!’
9/10 - www.bluesrockreview.com (USA) - January 2012
Both Released 15th October, via Proper Distribution

Neil O’Brien Entertainment presents
eleanor mcevoy
THE GIRL IN A BLACK CAR
Tour 2012
Don’t Blame It On The Tune
is the new single out late September
(from the forthcoming album ‘Brian’)
SEPTEMBER
Fri 14 Maltby The Rock
Sat 15 Gatehouse of Fleet
The Mill on The Fleet
Sun 16 Glasgow Woodend Tennis
& Bowling Club
Tue 18 Edinburgh The Caves
Wed 19 Glasgow The Glad Cafe
Thur 20 Gourock Café Continental
Fri 21 Airdrie Airdrie Town Hall
Sat 22 Rothesay Craigmore
Bowling Club
Tue 25 Leigh on Sea The Hoy
Wed 26 Matlock Bath The Fishpond
Thur 27 London Surya
Fri 28 Bristol Colston Hall 2
OCTOBER
Mon 1 Leeds Milo
Wed 3 Manchester The Castle Hotel
Thur 4 Kendal Bootleggers
Fri 5 Stranraer Ryan Center Theatre
NOVEMBER
Fri 9 Lisburn Island Arts Centre
Sat 10 Wexford Wexford Arts Centre
www.eleanormcevoy.com

Butlins sKEGnEss fri 25 - Mon 28 Jan 2013
Friday:
8.30 - 10.00
tHE mEntulls
one of the new younger acts on our
exciting scene will be performing
songs from their latest amazing
album. The band are booked to
support Dr. feelgood, focus and
Wishbone ash as part of their
autumn Tour. a band not to be
missed!
10.30 - 12.00
aBsOlutiOn
This three piece Blues/rock outfit
have a wealth of experience across
Blues/Jazz/rock influences and have
a tremendous new CD is out soon.
12.30 - 2.00
rOy mEttE Band
after his astounding acoustic set last
year for you we have invited roy to
bring the boys in and play for you
this year and he is sure eager to
please. Be prepared folks!
saturday aFtErnOOn:
12:45 - 4pm
rOadHOusE Jam
sEssiOns
These ever-popular have become
synonymous with this super
weekend and always in great
demand, including short sets by
roadhouse themselves to start and
close. always popular – and with
many festivals under their belts,
always crowd pleasers. The JaMs
get packed out every year!
tHE BluEs mattErs staGE
saturday niGHt:
8.30 - 10.00
tOny mcPHEE &
tHE GrOundHOGs
The very start of their 50th
anniversary year events. This is the
first gig of their anniversary year so
pay homage to a legend
10.30 - 12.00
liam tarPEy
one of the exciting young breed in
UK Blues players with his
debut album
12.30 - 2.00
rytHmn ZOO
Exciting up and coming band
growing popularity at festivals
around the country, featuring sax
sunday aFtErnOOn
acOustic:
12.00 - 1.00
andy tWyman
a one man band, a rarity today,
so stand back and enjoy!
1.15 - 2.15
lucy Zirins
Lucy is one of the countrys’ most
accomplished solo acoustic
Blues performers.
2.30 - 3.30
JO Harman
This young lady is certainly getting
noticed where-ever she plays, here
performing her brand of acoustic
Blues with accompaniment by
acoustic guitar and keyboards.
What a fabulous afternoon
this is set to be!*
sunday niGHt:
8.30 - 10.00
rOadHOusE
Staple of so many events and
ever popular here!
10.30 - 12.00
rOBin BiBi Band
To expand on last years’ excellent
acoustic set we bring robin back
with his band to blow you away once
again, but differently!
12.30 - 2.00
KEitH tHOmPsOn
Band
This UK act are very popular in
Europe, so this is a rare chance to
see them on home turf. The Live
album ‘Snapshot of reality’ is a
damn good taster for this act!
*To EnD 4pm or 4.30pm onLY the artists performing will
join in a few numbers (noT open to public to take part)

Blues Matters! 98
Talks with Clive Rawlings
At the start of his UK tour, Robert Cray invited Blues Matters’ Clive Rawlings to hear about his forthcoming album
“Nothing But Love” and his thoughts on life in the world of the blues. Clive met up with the blues legend at his
London hotel the morning after his Shepherd’s Bush appearance as part of the London Blues Fest.
A very successful concert last night – I enjoyed it, how did you feel the vibe there last night, Robert?
The vibe was great; it was great to see such a large audience for us. We haven’t been here for a while so it was nice.
This is all part of the London/Manchester blues festival which is running this month; I thought you were going to
Manchester but you’re not. But, let’s go on to the new album – it’s called “Nothing But Love” and it’s released at
the end of August and can you believe it’s your 21 st album?
Well, it is if you count all the extra albums that have been released, the ‘Best of’ and the live records but I think it’s like,
number 14, 15 or 16 in terms of studio records.
Yes, and this time you’ve gone for Kevin Shirley on production – it seems to be nearly everyone in the blues world
and the rock world is going for him – how did that come about?
Well, we’re now with Provogue Records and Kevin’s been working a lot with them so when I had discussions with the
label, we talked about the idea of working with Kevin Shirley, the record company in fact brought it up, and I said I’m not
going to close my mind to it so I’ll have some meetings with Kevin and I did and we hit it off pretty well.
And you recorded it quite quickly didn’t you?
Oh yeah, which is the best way to do recordings.
I interviewed Sandi Thom recently – she went and did her album with Kevin Shirley in two or three weeks and you
as well. Did you find it easier to just go in and lay it down in a couple of weeks?
It’s better to go in and knock it out, rather than spend too much time and dwell over it and spend too much time trying to
make something perfect that never will be, no matter how much time you spend on it.
I’ve obviously heard the album and I noticed again last night, dare I say, a lot of reggae or off-beat influences on a
couple of songs. Is this a new direction for you or an influence of the whole band on song writing?
Well, there’s just that – I guess we’ve always had this kind of exploratory kind of sense in the music that we do. Over the
years, even in the blues music, stuff by Elmore James for example, there’s a song called ‘No Love In My Heart’ and BB
King has one too that has that Latin beat and then it breaks into a shuffl e, it’s that kind of groove. So Blues has always
explored that as well and there are a few songs that we do that have a Caribbean feel to them and that have Latin beats.
So yeah, we’re into all that stuff.
I suppose that’s also a result of the band corroborating on the song-writing which the promotion makes a point of
highlighting. Is this a new venture, or have you always had an input?
We’ve always all had an input and I’ve always encouraged it because I think that it brings, for the album as a whole, a lot
of different feels.
The touring band has remained fairly constant over the years, hasn’t it? The drummer is a ‘newer’ addition, Tony
Braunagel, yes?
Yes, Tony came in four or fi ve years ago.
But, without being disrespectful, you’re not a showman as such, a brilliant guitarist but you don’t go in for the
theatrics, as such, purely ‘up and at ‘em,’ and I think that is to be applauded.
Thank you.
It’s good to be able to sit and take it in rather than watch the pyrotechnics that you see so much nowadays.
You know you’re going to a Robert Cray concert and you’re going to get entertainment and for me, that was
outstanding. So you’ve got the tour now, on the back of the new album – where are you off to next?
I think we’ve got six or seven more shows, across the UK.
So, let’s go back to the beginning – how did you get into the blues in the first place? You were born in Georgia,
yes?
Born in Georgia yes, but my dad was in the army so I only lived there for about 11 months, so Georgia doesn’t really have
any particular bearing on my life. But I heard music at home – my dad was a big Ray Charles fan, on Sundays he would
listen to gospel music so we would listen to Dixie Hummingbird, Archie Brownlee and all that. And we had Sarah Vaughan,
Ray Charles, Sonny Stiff – my mum was into the singers. People like Sam Cooke, Bobby Bland, so all the good music was
at home.
Talking about those great artists, have you ever had a brass section, or ever had the yearning to perform with a
brass section perhaps? Something slightly more on the jazzy side of the blues?

Blues Matters! 99

Not a big section, but we did work
with the Memphis Horns for a long
time but they were just two, but no,
when I guess when I listen to my
Bobby Bland records and hear all
that stuff, like anyone else that’s
a fan, I’ll walk around the house
singing to those great Gill Scott
arrangements and all that stuff. But
unless I wanted to do a thematic
type of production or a show I don’t
think that we would do anything with
like a fi ve or six piece horn section
although maybe, sounds nice...!
(chuckles)
You’ve had so many
collaborations over your career, is
there anyone that you haven’t worked with that you would still like to get up on stage with?
Well there are a lot of people out there...
Do they not come knocking on your door?
No, it would be up to me to go pursue that – I’m more concerned with what’s going on with this particular unit right now and
while collaborations are great it can be hard to pull focus on a record that has so many names on it – it’s not something
that I’m looking for right now. However, if there was something that I wrote and I could see a different name on it then that
might be a possibility.
So, what was the first blues record you bought? Or the first record that switched you on to the blues?
I’m not sure what was the fi rst blues record I bought...
Or the first record that you learnt? Because you started out on the piano, right?
Yes, I started playing piano, that was when I was really young, and then I started playing guitar and I was listening to
Beatles records back then.
So were you a Beatles or a Stones man back in the day?
I was a Beatles man...
Going back to the new album, your 21 st , it makes you something of a veteran. So what do you think are the best
and worst things to have happened in the industry since you started?
Well, the best thing that has happened is that when people were selling albums, as in a group of ten or so songs on a
record, we were there when that was going on – because nowadays people will go on the internet and buy a single and
that takes apart the concept that has been in place for so long that people put an album together and they really work on
the sequencing and trying to make it a whole. And now it’s just picked apart because everyone has access to everything
and they put together their own mix. I’m also really thankful we were around when we were able to get onto MTV and get
out to a big audience both here, at home and elsewhere. As a band like ours, that plays music that isn’t always on the
pop airwaves – that gives us a foothold with a fanbase and the opportunity to tour which is always what we’ve been about
anyway.
Talking of touring, you’ve maintained a love of touring – how do you keep this enthusiasm going and do you get
to any blues concerts yourself? Off-duty, if you like?
The enthusiasm comes from the joy of playing, I just love playing and every night that we’re on the bandstand together, we
just want to do something a little bit different. We don’t use a set list, which keeps everybody, including myself on their toes
– we just turn around and call a song and a lot of times, the pressure is on to see if we can remember something if I turn
around and call something that we haven’t touched for days and I think that draws the fans in as well...
Well, as you said last night, when you announced a song from the new album, a lot of the crowd wouldn’t have
heard it so if you had got it wrong they wouldn’t have known anyway! There was a particular song last night that
really seemed to touch the crowd, with the lyrics “I’m Still a Man”, what you can tell me about that, dare I ask
where the inspiration came from?
Well, that song is called ‘I’m Done Crying’ and the inspiration came from the situation at home in America and probably
here too, the lyrics talk about not having a name, losing your job, losing your house but not losing your dignity and still
being a man... With so much going on in the economy, mortgage foreclosures and all of that, I guess it’s observational – I
still have my job but I’m speaking for those that don’t.
Well, lyrics like that blow me away and create goose-bump music in a way. You’re the youngest living inductee
into the Blues Music Hall of Fame, how did you feel on being given such an honour?
Well, the thing is, you think about all those who have come before, who I respect and who need to be in there. It’s a great
honour, to me it’s nice that the people that voted for me look at what we did and deem that worthy. I don’t know what to
think – it’s cool!
Blues Matters! 100
Photos by Vincenzo Giammanco

Looking at some of the youngsters coming through, both British and American, have any of them caught your eye
and thought they might go places?
Keb Mo said to me “Hey Robert, I wanna show you something” and he took out his iPhone and showed me a YouTube clip
of Gary Clark Junior, this was a couple of years ago. And Gary Clark was on stage with this band that had several horns
and a bunch of musicians that were a lot older than he was and he was fronting this band like he was a veteran of 60
years old.
And how old is he?
He’s only in his twenties I believe. We’re both sitting there and he kept shaking his head and saying “Who in the hell is
this?” and it was awesome to see.
We will check him out
Well, he’s from Austin, Texas and he’s got some new stuff out and he was at the last Crossroads. But what he’s also doing
is he’s brought another element into the music now, he’s bringing a younger element in with the hip-hop thing too and it’s
cool.
I remember years ago, the first album I bought by Chris Thomas King, was a sort of hip-hop/blues record. ‘Da’
Blues’ I think it was called.
Well, we did a tour of the UK and he was calling it ‘Blues in the 21 st Century’!
Well, what goes around comes around I guess. Where I live in Brighton, on the South of Coast of England – we
have The Institute Of Modern Music and that brings out a lot of bands and I feel that that’s a great grounding for
the kids. Is that the same in the States with Blues music in schools?
There is some, in some locales, there is. I think in northern Mississippi, and in Memphis Tennessee, there’s some blues in
schools.
And do you get involved in that at all?
It’s a bit too far away from where I live, sadly.
Sure. Right - picture yourself, as an 18-year old just starting out, what advice would you give yourself?
Well, I think that it’s really good for musicians to get together with other musicians to make music – there’s nothing more
fun than that. And fun is the fi rst and most important thing, it’s gotta be fun, it should not be about getting on the television
and seeing who’s going to get signed to a record deal, that just takes the whole groove out of it. It should all be about fun
and enjoyment. When you see these programmes on television, everybody just wants success and that is not what it’s all
about..
Well, today’s newspapers are tomorrow’s fish and chip wrappings… because these guys don’t have a long shelflife
and yet there are genuine hard-grafting blues guys that are struggling along. I’ve met them, at both ends of
the spectrum and it’s hard.
Blues Matters! 101

I think if you can get kids playing together and having fun then that’s what it’s all about. And play what you like, with the
same people, or experiment with different things and let it be about that and you know, if you pursue the idea of working
then it only sounds better when it sounds like it’s fun. People will see that when you’re having fun that you enjoy what
you’re doing and I think that’s the most important thing.
Agreed. You played ‘Smoking Gun’ last night, from your back catalogue, are there any other songs from your
catalogue that still sound as fresh, live, as they did when you first performed them? That was an early track...
Well, that was from ‘Strong Persuader’, in 1986
Do you update them and choose the ones that sound fresh or is it down to the crowd requesting ‘Smoking Gun’?
Well, I don’t think we’d be allowed out of the door if we didn’t play ‘Smoking Gun’!
No, right! And any others, ‘Phone Booth’, for example? Or ‘Don’t Be Afraid Of The Dark’?
Well, we didn’t play ‘Phone Booth’ last night but we do play it. We don’t play ‘Don’t Be Afraid Of The Dark’, that’s not on our
master list, but we do play some of the older ones.
Is it judged by audience reaction?
No, it’s just dependant on how we feel, on the bandstand. On occasion, someone might call out something and then we
might do that.
Quite a few were calling for ‘Smoking Gun’ last night...
Yes, and then one lady was calling for ‘Chicken In The Kitchen’ but when she said it, it wasn’t the right time but then when
we came out for the encore, the fi rst one we played was ‘Chicken In The Kitchen’.
What’s playing on the tour bus at the moment?
Well, what have we been listening to? I still listen to my old favourites, Howling Wolf and stuff like that. But there hasn’t
been that much music, mostly we’re watching stuff on politics and DVDs, but we have been passing round the Buddy Guy
book, the one by him and David Ritz. That’s a great read, I just fi nished that.
We touched on the recession earlier – why should fans of yours go out and buy your album, “Nothing But Love”
in these straightened times? You’ll probably say, because it’s me and they’re my fans but... What’s going to grab
them about it?
Well, I think there are some good songs on it and in this time of recession, there are some songs that touch on that and I
think that part of the way that blues music reaches its fans is that it touches on things its fans can relate to and there are
those songs on this record. We talked about ‘I’m Done Crying’ which is the song about losing your job, losing your house
and there’s another song on the record called ‘Great Big Old House’ which is about losing your house...
You opened the show last night with the first song on the new album, ‘Won’t Be Coming Home’...
Yes, that’s a blues tune - that was written by Richard our bass player and a good friend of his Hendrix Ackel. They have
two songs on the record and the second of their two songs is called ‘A Memo’. That song is President Obama speaking to
you, and it goes “I’m gonna warn ya; It ain’t over yet; got ya out the hot water; but you’re still all wet; and if you don’t pay
attention, you get what you deserve” And that song is where we got the title for the album from and it’s the president telling
you, ‘we’re in this boat, we’re not out of the hot water, we’ve still got a long way to go but we got nothing but love for ya’
Did you get the gig at the White House? I don’t remember?
No, I think there was some politics involved – not through The White House, but elsewhere.
I know Warren Haynes went...
Yes, Warren Haynes went and Shemekia Copeland was there and a lot of people. It was funny because we had been
touring with Shemekia Copeland and she was leaving from Florida to go to the White House and we were leaving from
Florida to go somewhere near to the White House, we had the day off that the gig was happening but we didn’t get the call.
And was that a shame?
Well yes, but we did get the opportunity to meet the President because we did a fundraiser, I think it was last summer and
we got into the greeting line and we met the President so that was cool.
Brilliant. Now, nearly finished but my trademark question, that I ask all my interviewees – don’t look worried! It
sounds stupid but, what’s your favourite biscuit?
Wow, my favourite biscuit, what do I like? Well, we have these biscuits that we eat at home and they’re by a company
called Paul Newman. He’s got a bunch of different foods out like popcorn and cookies and these ones in particular our son
likes too; they’re chocolate with a cream fi lling. They say they’re low fat but you can’t just eat one!
Is there any likelihood that your son will follow in dad’s footsteps?
He loves music, he’s got a good feel for music, he’s got a little drum kit and he’s got a guitar, obviously. But he’s just
listening right now, it’s up to him. Right now he’s into trucks and trains.
Well, thank you so much for your time. It’s been an honour and a pleasure.
Thank you.
Robert Cray’s new studio album “Nothin But Love” is released by Provogue Records. Further info: www.
robertcray.com, www.mascotlabelgroup.com
Blues Matters! 102

‘Rhythm & Blues to me meant rip-off &
bullshit!’ – BO DIDDLEY
SOME FOLKS MADE A LOT OF
MONEY OUT OF ROCK’N’ROLL…
BUT NOT THE FOLKS WHO INVENTED IT!
A
Book Exclusive!
A contributor to Blues Matters from the very beginning, Roy
Bainton is the author of the highly successful Talk To Me
Baby: The Story of The Blues Band. His new book, Good
Time Charleys, Tough Tales from R&B uncovers the seamier
side of the history of the music we all love –
rhythm & blues. This is a story of
rip-offs, unpaid royalties, the Mafia,
the Ku-Klux Klan and racialism,
going all the way back to slavery
and the very early roots of jazz and
blues. It includes a blues glossary,
a compendium of blues quotes and
lots more. Why did Arthur ‘Big Boy’
Crudup – who wrote million-sellers
for Elvis, die in poverty? How did the
great Ruth Brown, Atlantic Records’
greatest female artist, end up driving
a bus, or Roy ‘Good Rockin’ Tonight’
Brown wind up selling encyclopaedias?
Good Time Charleys is exclusive to BM readers at
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SPECIAL BM OFFER: buy both books £18 post paid
Order today from jenny@bluesmatters.com
01656 745628 10 am – 4pm

BILLY “THE HITMAN” ALLARDYCE
The elder statesman of the Scottish blues scene lost his
battle against cancer on 21 August 2012. He was the
longtime drummer with Papa Mojo, a Blues Hall of Fame
inductee, organiser of The Dundee Blues Bonanza, chair
of The Scottish Blues Alliance and administrator of The
Blindmans’ Blues Forum.
Allardyce was born in Aberdeen in a dance hall during
World War 2. As an infant he listened to his father’s
78’s of Lonnie Johnson, Bessie Smith and Fats Waller
and Blues became a lifelong passion. By 12 he was the
drummer of a skiffl e group, which won a competition
as Scottish skiffl e group. His blues collection was
supplemented by a local sailor who brought back
records from the USA. He supported Tubby Hayes
locally aged 13, before at 16 wider touring playing mainly
jazz clubs and folk clubs. One memorable night in the
north of England, his band was asked to support “some
American guy”; who turned out to Howlin’ Wolf.
In 1965 he starting working with Stefan Kocemba and
the two would form a lifelong musical partnership.
With Just Us they toured for three years in Europe,
and became the fi rst rock band to tour Morocco; in a
tour which lasted several months. While there, they
recorded an album of original material, before setting
fi re to the master tapes after an altercation with studio
bosses. The band evolved into Gully Foyle, auditioning
a 16 year old Jim Diamond who became their singer.
Based in London, Gully Foyle recorded frequently for
the BBC, including the John Peel show. Yet in 1973
the band folded and Allardyce and Kocemba moved
back to Scotland. They played as an acoustic duo,
Blues Revue, which eventually evolved into Chicago
styled Barrelhouse Blues Band. Scotland’s hardest
working blues band of the time, which played up to 25 nights a month. After 18 years, the nucleus of the band, Dave
Blair, Kocemba and Allardyce with sound engineer formed Papa Mojo
as a 3 piece Delta and Country Blues Band. Papa Mojo’s last show was
at the Dundee Blues Bonanza on 1st July 2012, an event he had helped
organize since its inception.
Allardyce established the Blindman’s Blues Forum in 2004 which
became the largest Internet Blues Forum. Its membership includes many
blues artists, producers, writers and photographers from around the
world. In 2007 he was inducted into the Blues Hall of Fame as Scottish
ambassador. He was an expert on pre-war blues, chairman of the
Scottish Blues Alliance and a regular reader of Blues Matters; known to
the editorial team. Billy was also a thoroughly decent man, always keen
to offered encouragement, assistance and impart knowledge to blues
musicians and younger blues fans, including me, He will be sadly missed.
Duncan Beattie
For anyone who was at JAKS bar at Skegness Rock & Blues Weekend in
January this year the name will be one they remember. Maggie sang her
heart out in her usual manner and won the hearts of many listeners. Neither
she, nor the audience knew at that time that she was suffering from
lung, and brain cancer, diagnosed giving only 3 to 4 months to live. After
the diagnosis, she didn’t give in to the condition even though she was told
it was terminal. She focused her efforts on making some good out of the
situation, and set out on a campaign to raise money for the Charlie Bear
Scanner appeal in Newcastle. Which incidentally started out in 1978 and
as part of the fundraising effort, a song ‘Come On In’ was written by local
composer/musician, Mike Bersin, and Maggie was asked to record it!
Sales of the single helped to achieve that £1,000,000 target.
Blues Matters! 104
Picture of Maggie taken at Colne 2012

Photos by Christine Moore
Maggie
at her benefi t gig & Colne
Maggie recently organised a fundraiser on 23rd August, with not only her own band but
many more artists from the North East including Ray Minhinnett of Frankie Miller’s Full
House, Lorraine Crosby vocalist on Meat Loaf’s ‘I Would Do Anything For Love’ as well as
many friends in the music business and young artists she has mentored and encouraged
over the years. As well as this well attended fundraiser all the sales of Maggie’s CD “Don’t
Mess With Me” (all songs written by Maggie) are being donated to the charity. You can buy
them online from her website and from Blues Matters! All proceeds to go to Charlie Bear
charity.
Her last gig after this fundraiser was the British Stage at “The Great British Blues Festival”
on 27th August, when even though she had to sing in a much lower key that usual and was suffering. She was determined
to get through this gig as it had been one of her ambitions to perform at this premier festival in the UK. She didn’t
disappoint and even talked of her illness and explained the reason she was donating all sales of the CD on sale to the
appeal.
Unfortunately Maggie passed away on 2nd September. R.I.P. Maggie you touched many people’s hearts with your songs
and your amazing strength in your fi nal days. Blues Matters! will remember you and your contribution to our stage at JAKS
bar in Skegness 2012. Hats off to Maggie she was a trouper to the very end!
JOHNNY DICKINSON - Update on his progress and “Dylan Day”
The event was extremely well attended by both artists and fans, friends and family of Johnny the all day event raised
£6,000 which is a massive total for a one day event and shows the esteem that all who know Johnny hold him in.
The day started at lunchtime in Cluny 2 (Newcastle) with acoustic performances from too many names to mention,
but I am going to as they deserve it for giving their time freely. The Ghostdancers, Jack Burness and Finn McCardle,
George Welch & Christine Jeans, George Browski & Phil Middleton, Paul Lamb Chad Strentz & Brian Lynam (with a harp
masterclass thrown in for good measure) Katriona Gilmore & Jamie Roberts, Tom McConville & Friends and last but not
least for the afternoon session Jinski.
Recovering only slightly from the afternoon session many stayed for the
evening session in The Cluny and were joined by many more fi lling the
room to near capacity. Starting the proceedings were The Hillbillies (one of
Johnny’s bands) & the Poorboys with Johnny Whitehill & Paul Lamb, Tonto’s
Horse, Rod Clemments, No Time for Jive (best dressed outfi t of the day!)
Stan, Martin Stephenson with Shipcote & Finn McCardle, Snake Oil ending
with Archie Brown and the Young Bucks with the Hillbillies.
To say everyone had a great day is an understatement, many friends artists
and family enjoyed the whole event and gave very generously, along with
the raffl e the whole day raised money and awareness for the rare complaint
Johnny is suffering from Gulliain-Barre syndrome - www.gbs.orrg.uk
The latest news is Johnny is working through a twelve week rehabilitation
programme which should see him walking unaided by its completion, at the
moment he is walking with two sticks (like a skier) rather than a wheelchair.
He is able to get home at weekends fom hospital. His occupational therapists
and medical team are delighted with his progress to date. Plainly, there is still
some hard work ahead for Johnny but with the support of his medical team
and his family and friends his determination will be rewarded. His hospital
release date is early October.
Blues Matters! 105

In about 8 unlikely steps; taking time to leave the main
Blues Highway to follow a less well trod, but sometimes
more interesting route.
by Richard Thomas
Bob The Bear - Chaotic, but no slob
Bob Hite
The latest instalment of this ongoing homage to some of
the less-publicised characters that have illuminated Blues
is a retort to what I consider to be an unkind jibe about one
of the genre’s most interesting (and instantly recognisable)
personalities. In April 2010 within the pages of Canadian
daily The Globe and Mail, journalist and author Stephen Cole
reviews The Doors documentary “When You’re Strange”. In a
piece entitled “A mish mash, but the music’s great”, he quite
reasonably suggests that in common with much of the other
coverage of that band, there is a tendency to feature Jim
Morrison to the exclusion of almost everything and everyone
else. Inferring that good looks play a major part, Cole suggests
that it may have all been different and the attention would have
been less intense had “The Lizard King” looked like Bob Hite – the “slob” singer of “another worthy Los Angeles blues
band” Canned Heat (2010).
Hey there, just wait a moment will you? True, by any reasonable measurements, the “engagingly extroverted “Bob
Hite (Davis Winters 2007, p4) was “an awfully big man” (Marcus 2008). Pete Fornatale’s suggestion that he weighed
in excess of three hundred pounds (2009, p130) is representative of most estimates. Having said that, at the time
of his death in 1981 Hite was also reported to have been “5-foot-9-inch” and “370-pounds” (The New York Times
1981; The Associated Press 1981). Pierre Perrone even calls him “gargantuan” (1997). So, overweight, or to use the
modern word – obese – certainly. But “slob”? That’s much more contentious.
The Collins English dictionary suggests that a slob is “untidy and lazy”. Certainly, there is widespread evidence
suggesting that Hite lived a chaotic and indulgent life, described by Canned Heat drummer Fito de la Parra as “a loose
kind of a guy” who just wanted to “have a good time, partying and playing music” (Mervis 2012). De la Parra asserted
that despite being the obvious leader in Canned Heat, Hite lacked the experience of how to run band and how to
manage ghoulish issues like “members dying”, “replacements” and “things like that” (ibid 2012).
Untidy maybe, but despite his size and that enormously long beard, Hite was still capable of cutting a dash; I cite an
onscreen interview by Jimmy Savile between acts during an edition of Top of The Pops. In 47 bizarre seconds, the
BBC presenter pulled Hite’s beard and comments on his weight (“actually I’m going down – 20 stones instead of 21”).
Hite goes along with all the nonsense, feigning delight at Savile’s mock complements about his handsome looks and
his natty brown suede jacket. The big man, increasingly bemused, is even persuaded to remove his smart brown
shoes for the benefi t of the viewers. Still, I will concede untidy; seemingly most of the time it was jeans, t-shirts and
that magnifi cent belly.
Lazy though, I will not brook. Hite is widely credited as a prolifi c collector of blues records and a scholar of the genre
(Davis Winters 2007, p73 ; Mervis 2012) who amassed over 60,000 blues records which were eventually bequeathed
to United Artists (Talevski 2006, p271). Davis Winters describes Hite’s penchant for collecting as “fanatical” (2007, p80).
Surely such a hobby, nay passion, would be beyond the motivation of a “slob” who lazes around eating carbohydrates and
taking drugs? In an interview just a few months before he died, Hite suggested that as a kid, his family upped sticks and
moved from California to Denver his records accounted for three quarters of the weight of everything that moved. “I was
shining shoes at age fi ve so I could get enough money to buy records for my collection” said Hite, and “when all the other
guys were out working on their cars, taking chicks out on dates, to the prom; I was out hunting for phonograph records”
(Mattox 2008). Not very slobbish at all.
Moreover, in his excellent book about John Lee Hooker, Charles Shaar Murray asserts that in the collaboration
“Hooker n’ Heat”, in order to give the Mississippi bluesman “the kind of sympathetic setting which would allow him to
present his music as pure, uncut and untampered-with”, Hite and the rest of the band “worked their collective assess
off” (2000). Lazy? I’m not having any of it.
His deep love of Blues was not clouded with any of the “moral, personal or sociological” issues that many accompany
a white man playing what was traditionally black music (Davis Winters 2007, p80). As Hite pointed out, he had lost
plenty of women too, had had plenty of furniture repossessed and experienced plenty of tough time of his own – these
were experiences that were multicultural (ibid, p80). With the equally ill-fated Alan “Blind Owl” Wilson, he provided the
motivational spine of Canned Heat – “a jug band” that grew and morphed towards “international success” (Sullivan
2007).
They made an odd couple. Hite was huge and extroverted, and Wilson was by contrast slight, short-sighted and
much less demonstrative – a Blues version of Penn and Teller; Laurel and Hardy eat your heart out. John Savage
suggests that the pair combined to make two different and distinctive Canned Heats; Hite led the way with “gruff,
Blues Matters! 106

Alan -
Blind Owl
Wilson
often excruciatingly long blues workouts” and Wilson offered “a high voice and a
way with melody that turned old blues tropes into international hits” (Savage 2009)
French singer-songwriter Claire Denamur recalls being blown away as an 8-yearold
by hearing Canned Heat on the radio in her parents’ truck on Route 66. Noticing
the contrast between the two lead voices of Hite and Wilson, she calls it a “violent
discovery” making her “open-minded about music and how voices are used” (Heinrich
2012). They made their mark, that’s for sure.
Canned Heat fi rst registered on Blues radar in a big way at the Monterey Pop Festival
in 1967, and by the time they appeared so memorably at Woodstock in 1969 their
standout numbers ‘On The Road Again’ and ‘Going Up The Country’ were universally
known. Indeed, the latter become part of the iconic soundtrack of the whole event,
even appearing over the titles of the fi lm. Matthew Greenwald suggests that the track
fi tted the “pre-Manson bucolic hippie summer” like “a glove”, with Wilson’s falsetto
the “ icing on the cake”, culminating in something “not unlike what Brian Wilson would
have possibly come up with, had the Beach Boys been a blues band” (2012).
For me though, that Woodstock appearance just underlines the mammoth presence
and superstardom of Hite. With folks hanging off lighting towers to get a view, he
orchestrated that performance, grinning, gurning and whipping the crowd into delirium, albeit that was a short journey
for most of them to make. He showcases the beard, the personality and the music, his mesmeric head movements
transmitting to his plimsolled feet and threatening the precariously thin-looking stage which looks like it’s ready to give
way at any moment. Pete Fornatale refl ects ironically that following Hite’s antics, with the similarly rotund Leslie West
and the rest of Mountain on next, “an even greater test of that fresh plywood was waiting in the wings” (2009, p133)
Bob Hite was a hard man to miss, and as Marcus refl ects, “was not called Bear for nothing” - a “veritable mountain
of a man with a mane of shaggy black hair and a black beard” who could have been authentically biblical if he hadn’t
been “so wonderfully profane” (2008). Given that as Winters suggests, his tendency to “extremes” (2007, p73) in his
lifestyle apt to create a hazard to himself and everyone around him (ibid p73) and the alcoholic and drugs-fuelled
bouts of depression (Perrone 1997) that blighted his last years, perhaps it’s something of a shock he actually made it
to 38 years old at all. The party, according to Davis Winters, “never ended in his house” (2007, p141).
This is not just a fat man’s rant or one chubby chap defending another. I claim special affi nity in the Bear for reasons
other than our generous waistlines. He is one of the vocalists that fi red my enthusiasm for R&B. As I write this during
London 2012 when all shapes, colours and ages are part of the marvellous bricolage, despite leaving us 31 years ago
he remains a reminder that above all others, Blues music is inclusive, varied and non-judgemental. Bob Hite – big,
wild, boisterous and tragic maybe, but I’m not having “slob”.
References
Cole, S. 2010. A mishmash, but the music’s great. The Globe and Mail. April 15, 2010. p3
Davis Winters, R. 2007. Blind Owl Blues: the Mysterious Life and Death of Blues Legend Alan Wilson. Publisher :
Blind Owl Blues.
Fornatale, P. 2009. Back to the Garden: The Story of Woodstock and How It Changed a Generation. Publisher:
Touchstone.
Greenwald, M. 2012. Going up the Country. (Online). Available at : http://www.allmusic.com/song/going-up-thecountry-mt0001787568
(Accessed 9th August 2012).
Heinrich, J. 2012. Classic American folk and blues, via France; Singer-songwriter Claire Denamur doesn’t fi t the
mould, and she’s just fi ne with that. The Gazette (Montreal). June 12, 2012
Marcus, R. 2008. Music Review: Various Performers. Rarities From The Bob Hite Vaults. Blogcritics.org Music.
January 30, 2008
Mattox, T. 2008. The Bear. (Online). Available at : http://travelingboy.com/tim/travel-tim-march08.html ( Accessed 9th
August 2012).
Mervis, S. 2012. On the road again after 40-plus years Canned Heat perseveres with three members of Woodstock
Line up. Pittsburgh Post-Gazette. 19 July 2012.
Perrone, P. 1997. Obituaries: Henry Vestine. The Independent. November 8, 1997
Talevski, N.2006. Knocking on Heaven’s Door: Rock Obituaries. Publisher : Omnibus
Press.
Savage, J. 2009. Jon Savage on song: Canned Heat’s Woodstock
anthem. (Online). Available at: http://www.guardian.co.uk/music/
musicblog/2009/aug/19/canned-heat-woodstock-anthem ( Accessed
9th August 2012).
Shaar Murray, C. 2000. Boogie Man: The Adventures of John Lee
Hooker in the American Twentieth Century. Publisher: Penguin
Books.
Sullivan, S. 2007. Canned Heat warms up Blues by the Bay Eureka
Times Standard. July 12, 2007.
The Associated Press. 1981. ‘Canned Heat’ Founder Dies At Age 38.
April 7, 1981.
The New York Times. 1981. Robert Hite. April 7, 1981, p10.
Canned Heat with Bob Hite
& Alan Wilson
Blues Matters! 107

Mayer, Everett, and Laddie
Perhaps the most spectacular instrument
in blues and rock music is the guitar.
You can burn them (please don’t), play
them behind your back, play them with a
bottleneck slide, have wood ones, steel
ones, small ones, big ones, ones with
one string, four strings or just about any
number of strings, do glorious power
slides with them, and probably eat off
the cleaner ones. If you really have to,
and the names of the guitar and those
that play them are legendary: Jeff Beck,
Stratocaster, Robert Johnson, BB King,
Les Paul, National, Jimi Hendrix…
Now, Jimi Hendrix, there’s a name to
conjure with. A man who probably did or
contemplated most of the excesses just
mentioned. A man who put his stamp on
music in a way few others dream of.
To do justice to the technical history of the guitar and the technology it plugs into would take a lot of issues of Blues
Matters. So, instead we decided to choose some of the more interesting people and topics around the instrument.
We proudly lead off with Roger Mayer, a British guitar effects guru who has had an enormous impact on many musicians,
including Hendrix, Jeff Beck and Jimmy Page. We also have contributions from guitarists Mitch Laddie and Geoff Everett.
Roger Mayer
Since he started out in the 1960’s, Roger Mayer has been and still is one of the most influential “backroom boys”
of the guitar, and music more generally. He is responsible for some of the most innovative engineering behind
some of the best known performers in music. Before touching on Roger’s past, we couldn’t resist asking what
breaking news he could share with us.
What new things are you working on now? What should ardent lovers of the Octavia and other foot pedals look
forward to?
The areas that I believe will benefi t from more development include Spatial Audio that gives an immersive audio
experience. The ability to use your foot as a performance control element, using ergonomics to give a transparent
connection to the brain. We already manufacture the Low Line Vision Series of pedals which are acknowledged to be the
most comfortable and easy to use.
Which young musicians excite you and why?
I think it would be unfair of me to single out any up coming musician as I have not heard many of them owing to the simple
fact that their music has not yet become popular and widely distributed. The advent of social media and video channels
leave us with a huge amount of material that has not been fi ltered in any way making the choice even more diffi cult than
in the past. People still rely on word of mouth recommendation and this of course has its limitations. However, one of the
many people I have enjoyed helping is Billy Walton of The Billy Walton Band, for whom I built a guitar. Billy plays free form,
with the songs as a framework, and he improvises with his solos. You can’t remember improvisation by defi nition. You also
can’t remember magic. People such as Billy playing live will concentrate on the spirit of their playing and how it refl ects
their soul, and not just trying to recreate an exact replica note for note of their studio recordings and sound. I personally
am excited by musicians who want to extend the horizons of music and use the past to propel themselves to the future.
I am not a fan at all of copyists of any genre as in my opinion they do bring anything fresh to the party. I however do
like musicians who take the vision and spirit of the music they love from the past and make it their own giving it a new
modern twist. The quality of a recording must stand up to those of the past in all aspects if it is to be accepted in the same
light. There is no room for excuses to release anything that does not meet these criteria as how many badly produced
recordings can the public be expected to purchase?
Is there major new ground to be broken in guitar effects and what do you think it might be?
I am a fi rm believer in real time control of a performance and this area of promoting and enhancing the experience of the
listener whether it is for a recording or live performance. A musician truly has a gift when the listener is transported by the
Blues Matters! 108

music to another space or when you are lucky to see a great live performance to feel part of it by just being there. Painting
a moving audio soundscape throughout a song to leave a lasting impression is my idea of a successful recording. Too
many recordings are boring with no depth of soundscape and have not taken advantage of many audio tools available.
A man with a fabulous past, Roger Mayer moved in interesting circles in the 1960’s. He met Jimmy Page and Jeff Beck,
who were in local bands, and other professional musicians. While at school he’d started to make treble boosters and
experimented with guitar tones, and then at University studied both mechanical and electrical engineering before working
at the Admiralty Research Laboratories in London. He worked on vibrational acoustic analysis, which had practical
applications including submarine detection, using hydrophones to pick up and interpret sounds. Ironically, Roger was
encouraged to take hobbies that helped him at work, and music fi tted the bill. However, it is quite a hobby if you can say,
as Roger can, that in 1964 he designed and made the fi rst fuzz box recorded in England – which was on a Number One
record, PJ Proby’s ‘Hold Me’.
Roger fi rst met Jimi Hendrix at the Bag of Nails nightclub (along with The Rolling Stones and The Who and Paul
McCartney) and then showed him an early model of his Octavia pedal in the odd and, literally, underground setting of the
then Chislehurst Caves venue in London. That pedal was developed further and the pedal was used on ‘Purple Haze’. On
moving to the US, Roger commercially made studio consoles, equalizers and limiters and was involved in the set up of
Record Plant and Electric Ladyland. He spent a lot of time with Hendrix discussing the emotion that Hendrix was seeking
to convey in his sound, and experimenting with amps, processing and other technical wizardry. Roger argues that there is
no Holy Grail or Pick of Destiny to guitar effects, nothing that a musician can pick up and rock out perfectly in all situations
and settings – there are always variables of scale, atmosphere, and many more besides. One thing that certainly stands
out are Roger’s foot pedals. First built in the early 1960’s, they were commercially launched around1980 with the Octavia
model. Nor are they famous among guitarists, but their early rocket shape – inspired by US motor car designs – stood out
from the crowd. And this was followed up in short order by the Axis Fuzz, a Metal Fuzz, and the Mongoose pedal and as
of now, 43 models of pedal.
So what lessons can Roger offer to future generations of blues guitarists?
Anyone taking on music that is not native to them has to be very careful. If you haven’t been and lived with the musicians
from where the Blues emerged in the US, you can’t really claim play it authentically. Music does not sound the same
anyway when listened to away from it’s home environment, any more than Reggae will not sound the best if heard away
from the hot sun and sea of the Caribbean. You can create a semblance of the sound, but that many times doesn’t add
anything new and worth listening to. If you took some of the acts now – and I include some of the biggest and most wellestablished
names in the Blues who I’ve seen live and know personally - and had a blind listening test, you’d be hard
pressed to tell them apart. When they play live they reproduce their songs without much content that is free form and
without really interacting with the audience. They’d have been laughed off stage by the old Chicago juke joint audiences,
because in fi ve minutes they would realise that they were seeing a crafted performance, and not an artist playing to share
his soul and feelings with them. It is important to do your own thing, and do something different on stage according to
how you feel and how the place and people are, just as Steve Marriott did with The Small Faces, and as you see when
Dylan plays live, and as Rahsaan Roland Kirk and other jazz performers do. And there is a risk of being boxed in by the
label “blues” as many people interpret it narrowly. Jimi, who liked to play blues, deliberately moved away from it to avoid
that being restricted by a small box. Finally, the musicians who are doing their own thing and might not be picking up the
audience numbers yet must persist and stick at it. I was approached by Stevie Ray Vaughan’s people to help him. At that
time he couldn’t crossover to a wider audience and had trouble to command a sizeable audience outside of Texas – and
with hard work and great songs he became famous “.
Mitch Laddie
The process I apply when using guitar effects is similar to that of an artist painting his perfect picture. It starts with a blank
canvas - one or two vintage valve amplifi ers, clean, clear and loud to get the best out of them. Next comes my palette - my
pedal board. Both are solid and comfortable foundations to begin painting my picture. The tools follow this. My guitar, its
pick-ups and my cables are my pencil and brushes. Using poor quality tools are always going to limit the quality of any
work and both cables and pick-ups have an immense impact on your sound. Now that I have laid out my foundations and
my tools are in place, next comes having an idea of what I want to create and sketching it out. Then comes the paint - the
effects themselves. I think of effects as a way of colouring my sound, adding texture, depth and shade, however as a
painter would; it’s determining what colours blend next to one another.
Effects sound different depending on where they are in a chain and again quality plays a huge part. Much like painting, I
don’t want colours, or in this case sounds, to clash or obstruct one another as it would hinder my work. This is something
to work on when “sketching” out my ideas to create a starting point. Taking time to experiment and patience will greatly
benefi t me in creating my “perfect picture.” Next is reaction. How the sound reacts to my fi ngers and ears will tell me
whether I’ve achieved what I set out to create much like an artist uses their eyes and imagination. The fi nal steps for me is
remembering or “framing” my chain of effects so that I can exhibit my “picture” to an audience in a live situation and much
like a painting; allow each individual that experiences it to evoke their own emotional response from it.
Geoff Everett
My relationship with guitars goes back further than I care to remember, let alone confess. In those early days, unless you
could afford a Watkins Copicat tape echo (my brother could and did), then guitar effects were pretty much unavailable,
although my Vox AC4 combo had a tremolo (really a vibrato) unit built in. I invented for my acoustic – by accident, as I
Blues Matters! 109

refused ever to put the guitar down even whilst laying in bed - my own effect. I called it “walking up the hallway in my
house while playing.” This gave a ‘phasey’ sort of sound years before its time, though the Leslie rotating speaker was
based on that very phenomenon. Later, Jeff Beck arrived on the airwaves with a “fuzz box” and the adolescent boffi ns at
school started manufacturing weird and alarmingly dangerous circuitry in Old Holborn tobacco tins to emulate this. No one
was killed as far as I remember.
I keep effects to a minimum these days; I am horrifi ed by the “Pod” type of multi effect devices which are favoured by
many. A few untutored phrases through these things can sound amazing but deliver hackneyed, limited and soon irritating
“widdley” performances. A little bit of overdrive suits me and I leave the rest to the amplifi er.
The passing years have seen me with a Colorsound sustain pedal, various distortions and echo units such as the Copicat
and Binson Echoret and one of the fi rst phasers to hit the market – a Dharma Sound. They have long gone. My old Boss
BE5 is still plugged in at gigs. My new album made much use of a Boss Turbosound pedal (with the Turbo turned off!).
A foot tremolo unit was invented by me and patented by my Dad when I was 14 and years later, after a good review and
ads in Music Mart Magazine, I was selling the things. It cost more to produce than I ever recouped!
On visiting Charlie Watkins (the famous Copicat originator) years ago at his factory on a different matter, he asked me to
try out a solid state version of his famous unit. At that time, it had just been crammed into a temporary tin box and not yet
even turned on. I tried to be positive about this prototype but thought he should have stuck to the old version. If it ever saw
production, I don’t know. I hope not.
I have shunned such effects over the years as the Ebow hand held string vibrator; silly “dive bomb” effects and the
unusable-by-serious-gigging-guitarists weird space- age noise boxes that don’t sound like anything it particular, in favour
of “The Guitar And Amp sound”. A subtle echo effect or the simulating of an amp having its guts bashed out while on a low
volume setting is fi ne in my opinion. A guitar effect in my view should enhance the sound of an electric instrument and not
mask it, nor should it try to replace the dynamics and skill of the guitarist.”
Links:- Roger Mayer: http://www.roger-mayer.co.uk Geoff Everett: http://www.thegeoffeverettband.co.uk
Mitch Laddie: http://www.mitchladdie.com/HOME.html The Billy Walton Band: http://www.billywaltonband.com
Rahsaan Roland Kirk: http://www.alfanet.hu/kirk/index2.html
by
Darren Weale
Hugh Laurie and Mud Morganfield in historic get together
On 21st August Mud Morganfi eld, eldest son of Muddy Waters,
joined Hugh Laurie at his gig in Chicago’s Park West Theatre in
Chicago, adding to the history of Chicago greats teaming up with
great Blues artists from across the Atlantic. In Mud’s words:“The
show was great. Hugh was great to me and my family. His music
was a little different than what I do, but we had a ball. Me and
Hugh sang “Walking thru the park” together. I sang “Health”. The
people loved it. At the end, everyone was gone in the theatre, but
about 50 people were standing outside. When me and my family
left, the people started to clap for me as we got in the car….”
Mud, who has been around Bluesmen from birth and
is the son of one of the biggest legends in music, was
clearly impressed by Hugh. Mud said, “I think Hugh is a
genius. Very cool cat. And a great showman.”
Hugh Laurie commented afterwards, “Mud Morganfi eld
carries himself like a prince of the blood. He wore the third
best suit in the world and sang the paint off the walls. It
was a great night.”
Blues Matters! 110
Our photo shows (left to right) Mud’s Aunt Pearl, his
mother Mildred, Hugh, and Mud.

Unsigned acts on their
own Blues mission
BUFFALO SUMMER
Buffalo Summer are Jonny Williams – Guitar, Andrew Hunt – Vocals, Gareth Hunt – Drums,
Darren King – Bass. From Neath/Swansea in South Wales. Rocking and a-rolling since the summer of 2010.
The band was formed by family and friends who go way back. The proverbial seed was planted when Jonny and Andrew
bonded over a mutual love of The Black Crowes. Many summertime hours were spent in Jonny’s mountainside garden
overlooking Swansea Bay, guitars in hands, jamming blues standards and originals. The boys quickly realised they were
onto something which saw them installing Gareth and Darren on the drums and bass respectively. The boys play bluesy
rock and roll in the way it is meant to be; with swagger, groove and pure raw energy. The sound is something familiar, but
fresh like a summertime breeze on the ocean. Wholesome, organic and earthy. Think the funk of Mark IV Deep Purple, the
bombast of Led Zeppelin and a sprinkling of the soulfulness of Free.
From the band’s inception, the boys hit the blues clubs, and the spit and sawdust rock clubs of the valleys to pay their
dues, and to bankroll the self titled debut album. It was recorded at Mwnci Studios in the deep woodlands of West Wales.
Ten songs were completed in fi ve days to capture that raw, old school live vibe. Produced by the band along with local
sound guru, Robert “Coach” Jones at the helm, the album was then mixed by Tom Manning and mastered by Donal
Whelan (Hafod Mastering.)
The album was recently described by Classic Rock Magazine as “Blood and Thunder Blues” and is available to purchase
directly from the band from www.buffalosummer.net
Buffalo Summer live can only mean intoxicating onstage chemistry, cuban heels, fl ares, sweat from the ceiling, and a
whole lotta rock & roll.
You can see the boyos live supporting Status Quo at Singleton Park in Swansea on August 25 th and also opening for Robin
Trower at Pontardawe Arts Centre early next year. (Full gig listings can be found at the band’s website.)
In addition, the track “Down To The River” will be appearing in the fi lm/documentary “Last Shop Standing” which is
released on the 10 th of September 2012 and tells the story of how local independent record shops are surviving in today’s
modern musical climate.
To hear Down To The River and other Buffalo Summer songs, please visit http://soundcloud.com/buffalo-summer-offi cial
Blues Matters! 111

PORTER
Growing up in Essex in the seventies I spent my early
years listening to my parents’ record collection, which
included the likes of Sam Cook and Otis Redding. As
a teenager I became heavily infl uenced by the local
music scene following bands like Dr. Feelgood and
Eddie & the Hot Rods. Deciding that music was the
path for me I began playing piano accordion at school
and later added guitar to my repertoire beginning what
was to become a lifetime of playing in bands.
I formed the band Crisis Days in 1997, after one
gig we bumped into Debbie Bonham (sister of Led
Zeppelin’s John Bonham) who agreed to produce our
album ‘Common Denominator’. The albums success
led to shows throughout the UK and Europe, not bad
for a kid from Essex. It was while working on an EP
with producer Dave Vella in Malta that I fi rst gained an appreciation for blues, jazz and ska.
After writing new material and playing with Ron Rogers of T’Pau fame, I returned to the UK assembling a new line-up of
musicians and recorded two studio albums with Al Vospa (Beverly Knight, Paul Young, Chris De Burgh) & Simon Davis.
The transition from rock to a more blues based band was surprisingly easy as previous tracks such as “Steamtrain Blues”
(featuring Nick Fell on harmonica) were already deeply infused with blues roots.
Our live performances have featured appearances from some of our musical heroes including the great Lew Lewis (Dr.
Feelgood, Eddie and the Hot Rods, The Stranglers, The Clash) Growing older I have realised that when you’re in your
younger music should be about using your energy as a writing/art form. As life goes on your experiences shape you as a
person, which is a big part of writing blues/jazz music.
I’m now working on a series of albums in which I intend to add a twist to the blues genre. In the fi rst, ‘Can’t Keep Still’,
ska and soul meet the blues in tracks such as ‘Drive’ and ‘Out Of My Hands’. This album has been met with great report
from Radio 2, BBC Cambridge and BBC Essex and the media has attention has led to a slot at this year’s Great British
Rhythm & Blues Festival. The second album, which is currently being written, will be more traditional blues, the twist on
this album being the introduction of a fl ute. This may sound wrong but take a listen to some Alexis Korner material.
You can catch the Porter band at the Great British Rhythm and Blues Festival on August 26th. The new album ‘Can’t
Keep Still’ is now available in shops and online. www.garyportermusic.com
THE BLIND DEAD McJONES BAND
Earlier this year, The Blind Dead McJones Band announced they had received a text message from their great front man
Blind Dead McJones. The text read,
“ey up lads, am in Mexico, fancied a burrito :). I want you to make an album but i don’t want to play on this album as my
fi ngers hurt Come see me in Mexico when you get stuck, i expect you tomorrow ;) jus kiddin, im sure it’ll be great. Lots of
love, Blind Dead McJones xx”.
To most bands this might seem very odd, a front man instructing his band to record an album without him. For The Blind
Dead McJones Band, this is simply another day at the offi ce because the absence of Blind Dead McJones has become
as predictable as the ticking of the clock on the wall. In true Bluesman fashion, Blind Dead McJones is notoriously
unreliable and has repeatedly left his band stranded at Showtime. This has lead to the band developing as they have.
In the early days, “The Boys” would generally stick to the 12 bar classics but over the years they have revelled in the
opportunity to experiment with their music, taking the great blues lessons learned from McJones and infusing them with
their youthful rock energy and quirky sense of humour.
The album “Last Resort Mexico” is the result of the above mentioned text message. This is their fi rst full length album
and consists of 11 original songs. It was recorded at Factory Street Studios and produced by Alex Eden (Crosscut Saw),
“The Boys” and Alex have all claimed a “REAL COOL TIME” was had during the recording process. Advanced copies
were sold following their performance on The British
Stage at The Great British Rhythm and Blues Festival this
year, ahead of the offi cial release on the 23 rd September.
Tour dates are being put together to follow the release, so
look out for The Blind Dead Mc Jones Band performing at
a venue near you.
In other news, a bluesumentary has been made about the
great Blind Dead McJones simply titled “Who is Blind
Dead McJones?” The hour long fi lm features interviews
with those who have been closest to McJones as well as
rare archive footage of the legend himself. The trailer can
be seen on Youtube and DVD’s can be ordered online.
For more info check out
www.blinddeadmcjonesband.com
Blues Matters! 112

DAMASCUS
Back in the early 90’s, seven to twelve piece
(depending on how many brass players
turned up) soul band ‘Puckerlips Now’ were
looking for a new guitarist. Singer, Derek
Williamson, had already been with the band
for a couple of years, indulging his passion
for 60’s blues and soul music, covering songs
from the likes of Otis Redding, Wilson Pickett,
BB King, Bobby Blue Bland and Marvin Gaye.
Auditions were held in the beer and cigarette
stained Winlaton Mill working men’s club
where they rehearsed. Out of the many
guitarists that auditioned there was only one
choice for the band (turning up with a Les Paul, Fender amp and not a pedal in sight), step forward Mr. Chris Gooch.
Derek and Chris being the two youngest members of the band, and sharing a lot of similar musical infl uences, immediately
struck a connection and enhanced the band’s sound and performances. Something was missing……songwriting! Chris
and Derek had started to write together, but ‘Puckerlips Now’ only wanted to play soul covers.
The decision was made to break away and form a new band; ‘Wanted’ that would allow the songwriting to fl ourish. It was
in forming ‘Wanted’ that Chris and Derek met ex-studio session bass player from Salford, Bill “Fingers” Smith. Four original
songs were immediately added to a far more varied set. A bit more blues and some rock covers entered the repertoire,
but it was the originals that were the stand outs. One of those songs, Three Shots Too Many is still a staple in the current
Damascus shows. After a couple of years, there grew a reluctance to learn new ‘original’ songs from the rest of the band,
and disillusioned by this, Chris left the band.
Derek stayed with Wanted and they continued to perform as a popular North East Band, and Chris worked on a series of
other musical projects over the next seven years.
A chance meeting brought Chris and Derek back together, and it was apparent that Derek was also missing the
songwriting and starting to become bored with playing covers only. From this meeting they felt that they “had seen the
light” (hence the name DAMASCUS) with where they wanted to go musically – and songwriting had to be at the centre of
whatever direction they were to take from now on.
A very creative and productive period of songwriting followed over the next nine months, and they debuted a full set of
new original material, as support to Eugene “Hideaway” Bridges at a packed Blaydon Blues Club. It turned out to be a
great debut gig, and from that night, DAMASCUS was born. Derek and Chris quickly tempted long time bass playing
collaborator, Bill “Fingers” Smith to join them. Finger’s musical
knowledge and ear for arrangements enhanced the original
songs and they begun to take on a new fuller sound. The selfpenned
material was woven into a set that would also include
songs by the likes of Free, Van Morrison, Robert Cray and
Creedence Clearwater Revival.
The original songs tackle issues such as Hurricane Katrina in
‘Born I The Wrong Place’, the death of Sam Cooke in ‘Three
Shots Too Many’, and the age-old love story in ‘Evangeline’.
The varied infl uences that inspired each member of the band
make it diffi cult to pigeon hole the sound that you get from
DAMASCUS. There a hints of soul, blues, country, funk,
Americana and rock in the original material and the covers,
which are often deconstructed and re booted in the band’s own
inimitable style. Common inspirations amongst the members of
DAMASCUS include Little Feat (with Lowell George), Jackson
Browne, The Band and Free.
Around two years ago, the phenomenal drummer, Malcolm
Dick joined the band, who for the previous ten years was also
touring with Richie Blackmore in the USA and Europe. Malcolm
was the fi nal cog that underpins what is a very exciting
dynamic live band.
The last two years have seen DAMASCUS share stages
with The Band of Heathens, Billy Joe Shaver, Marlena Shaw,
Shooter Jennings, and Eugene “Hideaway” Bridges, and their
long awaited album is scheduled to be fi nished for the end of
2012.
Damascus performs as two piece acoustic and/or the full four
piece electric band.
New songs are being written as we speak, and long may it
continue!
Blues Matters! 113

“The great power of the blues is that the blues will address any issue no
matter how tough it may be. That’s the thing about the blues, it’s a victory’’
By Steve Yourglivch
I fi rst encountered John Campbell whilst browsing through the blues section of my
local Andy’s Records. Suddenly that face, the intensity, was staring back at me.
It was the cover of One Believer, and I knew I had to hear this. Thank goodness
I did.
This was 1992, little did I know then that a year later John would have released
“Howlin’ Mercy”, his masterpiece, only to sadly pass away on the verge of
international recognition whilst preparing a third album in as many years. The
music John Campbell produced is among the darkest, deepest and most intense
blues ever recorded, yet at the same time exciting, raw and uplifting.
John Campbell was born in Shreveport, Louisiana on Jan 20 th 1952. He was given
his fi rst guitar at the age of fi ve and was hungry to learn as much as possible. His
family moved around a lot in his early years and John was always seeking out
musicians to learn from. By 13 he was playing professionally, opening for top acts
like Clarence ‘Gatemouth’ Brown, Son Seals and Albert Collins.
In late 1968 a traumatic event occurred. John was the passenger in a horrendous
car accident. It is a miracle that he survived at all. John suffered several broken
ribs, a collapsed lung and lost an eye. He required over 5000 stitches to
reconstruct his face. He was still only 16. In the many long months of recuperation
John found strength in listening to the blues he loved and pushing himself through
the pain barrier to practice what he was hearing. John later referred to this time,
‘You have to be prepared to go the point of death. When I started playing the
blues I was literally at the point of death, and it was physically very hard for me.
When I reached for a note and to do a thing, physically it hurts but you gotta push through that’.
Still only in his teens, and with his families support John left home to live as a travelling bluesman, to immerse himself
in the hardships and traditions his heroes had endured. He moved to and from New Orleans, Corpus Christi, and many
parts of Texas. For a time John formed a 3piece band called Junction, and later another band that included his brother Bill.
At other times he travelled and played solo. He played wherever he could, petrol stations, pool halls, street corners, all
manner of small venues and clubs. Always studying and always was absorbing the blues.
During this period a recording was made of John playing many of his favourite old blues tunes solo and acoustic. This was
eventually released posthumously as Tyler Sessions in 2000. Only 1000 copies were pressed. They sometimes crop up on
eBay but expect to pay in excess of $100.
At some point in the early 80’s John acquired a guitar of legendary blues status. It was the 1934 built National Duolian
beloved and played by Lightnin’ Hopkins. Hopkins had requested that it was played at his funeral, Rocky Hill, brother of ZZ
Tops Dusty and himself a bona-fi de Texas legend, obliged, performing Amazing Grace.
In 1986 John moved to New York and this began a period where his career started to move upwards, albeit with some
setbacks and disappointments. As before, John initially performed solo with his semi-acoustic, sometimes supporting
top names, at other times in clubs, cafes and bars. His reputation was growing and causing quite a stir within the music
community. He became friends with top guitarist Ronnie Earl who arranged for a recording of John’s delta roots blues
accompanied by Ronnie, Jerry Portnoy (Muddy Waters Band), Per Hanson and Darrell Neulisch. All well respected
bluesmen who helped out for little reward in the hope of helping John along. With little promotion the album, “A Man And
His Blues” still received a W.C. Handy nomination and lead to John playing at the New Orleans Jazz Festival, exposing
him to bigger audiences. His club dates were becoming the stuff of legend and attracting larger crowds all the time. Eric
Clapton, Rick Danko, Mick Taylor, Keith Richards and John Hammond were regular attendees, Taylor and Richards
especially were admirers. It was around this time that B.B.Becker, Dr. John’s road manager became involved helping to
organize things and make introductions.
By the early 1990’s John was performing at large blues festivals all across the U.S. and had begun touring Europe. He
soon came to the attention of top record labels and eventually agreed to sign for Elektra. They saw John as a natural
successor to Stevie Ray Vaughan who had re-ignited sales of rock tinged blues music internationally.
Things in New York were not always easy however. It took a while to get his own apartment, often sleeping on friends or
fans couches. There were times when he needed to sell blood to pay for guitar strings. To try and make ends meet John
sometimes helped out at the famous Matt Umanov guitar shop. Unsuspecting customers were occasionally treated to
impromptu guitar master classes. There was a dark period after the Abilene closed suddenly bringing an abrupt end to
John’s residency there. He stopped playing for a time and even ended up sometimes sleeping rough on the New York
streets. He never forgot those times and later was a driving force behind and performer on a charity fund raiser CD, “Strike
A Deep Chord”, and would play tours of soup kitchens and town squares where the homeless gathered.
John had always taken an interest in magic, especially Native American and Voodoo cultures. After signing with Elektra
this part of John’s persona began to show itself more. Many who know him well were always aware of this part of John
Blues Matters! 114

although it might have been marketed a bit more by the label. There are many stories around John of strange things
happening, ghost stories etc. It is well known that John had the ability to perform mind boggling magic, especially close up
card tricks. He was also known to perform extremely diffi cult trick shots on the pool table. Pretty impressive for a man with
severely reduced vision. I think more than anything this says it all about his dexterity and speed of hand movement.
Despite these voodoo images everybody who ever met John talks enthusiastically about how he never took a dislike to
anyone. He seems to have been one of life’s true gentlemen, always charming, always freely giving his time. He had a
gift of making contact with his audience, making them feel special and meeting and chatting easily after shows. On stage
though he became transformed playing with ferocious intent and passion. Witnessing a single gig often made people
lifetime disciples.
John was also very generous towards other musicians, especially if he thought he could see potential in young performers.
He enjoyed passing on skills and techniques. Perhaps one of the better known youngsters he helped is Malcolm Wellborne
a.k.a. Papa Mali. Help that Mali acknowledges at most live shows even now. John’s bassist Jimmy Pettit tells of a trip to
Stockholm when John gifted a handmade Trussart guitar worth at least 5k dollars to a young unknown Ukrainian because
he had sensed something special in the young man’s playing.
Around the time of signing for Elektra John started to assemble a top class band to record and tour with him. Grammy
award winning producer Dennis Walker was brought on board to produce and help write. Walker had achieved great
success with introducing Robert Cray to a wider audience. The album One Believer was released in September 1991. It
is a powerful album with dark imagery and social comment made even more powerful by John’s growling vocals and a
tight band supporting his fl uid playing. Having settled on a lineup of Zonder Kennedy, Jimmy Pettit (Joe Ely Band) and
Davis McLarty the band supported Buddy Guy on a gruelling tour of U.S. and Europe. Witnesses tell of a band on fi re,
most people after the shows talking more about John Campbell than the headliners. John often got the chance to jam with
Buddy at these shows sometimes joined by special guests like Sonny Landreth. John mostly came out on top.
Less than a year after “One Believer” and straight from the tour the band went back to the studio with Dennis Walker to
record “Howlin’ Mercy”. This time it was completed in just in few days, capturing even more the raw energy of a well drilled
road honed band. John’s vocals were even more unworldly and the dark imagery just as powerful. Almost immediately
they were back on tour, this time co-headlining with Chris Whitley, and then in the New Year back again touring U.S.A. and
Europe. By now Robert Medici (John Cale, Lou Reed, Roger Daltry) had replaced McLarty on drums. In June ‘93 John
was starting to rehearse a third Elektra release in as many years and preparing for another national tour with Buddy Guy.
Tommy Shannon, Stevie Ray Vaughans bass player, had joined John in the studio for rehearsals.
Less than two weeks later John had died. He had poor health ever since the accident, his lung never fully refl ated, and
the constant touring and workload must have taken its toll. He had always struggled to sleep, talking about a recurring
nightmare that he would die whilst asleep. This proved to be true cause John suffered heart failure sleeping at home in
New York.
John had married his third wife Dolly two years earlier and left a daughter Paris just six months old. The wedding
ceremony had been performed by ordained minister Dr. John and the best man was the president of the New York & East
Coast chapter of Hells Angels.
The funeral service was attended by many top musicians who had been touched by John. Buddy Guy broke off his tour to
attend and remains a family friend to this day. Tony award winning actress Elizabeth Wilson was a friend and read a poem
dedicated to John’s memory, while Dr. John delivered a eulogy saying,’ he gave us more than music, he gave himself.
He came from that delta roots and Mississippi mud and showed us the way to something much higher’. John’s body was
cremated and his remains were driven by a Hells Angels escort through New York before being taken to the family church
in Baton Rouge.
A few weeks after the funeral a benefi t concert was held to raise funds for John’s daughter Paris. Those performing were
Jimmie Dale Gilmour, Chris Whitley, John’s band calling themselves Cruel 13 ( John died on 13 th June), and special
guests Voodoo Children which included members of Metallica and John Popper of Blues
Traveller, all big fans.
I don’t think Elektra ever gave the CDs John recorded for them enough promotion at
the time. Most people discovered him through his live performances. It is thought that
John planned to issue some live recordings before his passing. A surprising number of
musicians make a point of praising John whenever they can. This list includes, Big George
Watt, Innes Sibun, Hans Theessink, Jack Michaels and Michael
John studied the old blues masters and was the best I ever heard at combining the delta
roots with some Louisiana swamp, Texas country blues, New York urban grit and pure rock
attitude and making it sound new and vibrant.
If you are interested in discovering more about John check out Tom Geigers awesome
web site www.devilinmycloset.net or the accompanying Yahoo group. There are lots of
memories and stories shared by John’s family, band mates, friends and fans.
Next year marks twenty years since John died. Down the years there have been many
reunions and celebrations of his life and music at the various places he called home,
from Shreveport to Baton Rouge and others. I think it’s about time Elektra re-issued One
Believer and Howlin’ Mercy complete with any unreleased material there might be and with
sleeve notes that re-evaluate John’s true position in the blues canon.
John Campbell was not only an amazing blues musician but a unique, wonderful human
being.

BLUES READING MATTERS!
MY CROSS TO BEAR
Gregg Allman’s Memoir
In recent years, rock and blues music fans have been treated to confessional
autobiographies from rock and roll bad boys Keith Richards and Eric Clapton.
In both cases, their apparent self - indulgence is overridden by the wit, emotional
honesty, and candor in which they are written. Gregg Allman is the latest sixty
something year old rock star to put his heart and soul to paper. It also comes as no
surprise, given his recent close encounter with death. Up till now Allman is known
to be reticent in interviews when it comes to talking about certain episodes in his
life, like the tragic motorcycle death of his brother and band-mate Duane Allman
as well as his infamous marriage to Cher. The autobiography seems to provide
the Allman Brothers’ front man the cathartic space to open up about these major
life events as he has never done before. Indeed, there are very poignant moments
in the book, which include a vivid recollection of his childhood growing up with
elder brother Duane, playing together as aspiring musicians as teenagers to when
Allman heard the tragic news of his brother’s sudden death in 1971. A year later, a
grief stricken Allman had to also deal with the subsequent demise and death of his
bassist Berry Oakley. In the aftermath of these tragedies, Allman resolutely affi rms
that ‘after my brother’s funeral, I told myself that the only other funeral I would
attend aside from my mother’s, would be my own.’
Allman Brothers’ fans will enjoy reading about the early Fillmore East jams to the conception of classics such as ‘Melissa,’
which Allman gratefully attributes to an older Spanish lady calling after her granddaughter at a 24-hour grocery store.
Yet, there are times when “My cross is to bear,” does feel crammed with anecdotes chronicling the endless alcohol and
drug abuse, overdoses, murders, suicides, rehab as well as the endless random encounters with women and the six
marriages. As a result, the narrative can come across as convoluted and overcrowded with various characters coming in
and out of the book. Nonetheless, the book is written to true Gregg’s talking style, which brings to life his funny and frank
observations of his contemporaries and his life. By the time you put the book down, you realize it is hard not to like Gregg
Allman despite the multitude of his sins and as with Eric Clapton and Keith Richards, it’s his brutal honesty that ends up
being his saving grace.
Reviewed by Paromita Saha
HEAD, HANDS, & FEET
A Book of One Man Bands by Dave Harris
ISBN 978-0-9878650-0-7
www.myspace.com/daveharrisonemanband
Dave Harris is apart from a band player, a One Man Band practitioner himself,
and has been on a mission to put out the very fi rst book solely on the subject.
Though this is his fi rst time in print, and self-fi nanced, you would never
believe it. This is a hefty 400+ page hardback, in vivid colour on quality paper.
Dave Harris tackles the logistics by giving us an overview, a glossary, and
then the history, before chapters that categorise via country, era and genre.
The Blues takes up the lion’s share of musicians covered. Towards the back
Dave has further info on those OMB’s who have been featured in the Guiness
Book of Records, those not strictly OMB’s, those that sit vs. those that stand
to play, along with Dave’s conclusions to all his research. The most famous
being more extensively examined, with previously unseen photos of Jesse
Fuller; Dr. Ross gets a nice spread; our own Duster Bennett, Ray Stubbs, and
Eddie Martin. Dave gives legitimacy to OMB’s. He sees beyond the caricature
of the fuddy duddy clowns. That said, quite a chunk of the guys have an
eclectic look about them, some looking very intense. There are also some
One Wo-Man Bands including the late Jesse Mae Hemphill, and at least
10 others. While Dave lists his shortcomings and fears the shoot-downs of
reviewers in his conclusions, I feel he has done a brave and bang up job here.
The sit down or stand up style chapter, gives us an insider’s view of the dayto-day
complications OMB’s face. Novelty doesn’t have to be weird and funny. Dave has proved OMB’s are highly honed
and alive today. Straight out of the traps, this is a defi nitive work, which will, no doubt, not only a treasured possession
by OMB musicians and fans, but also be an invaluable reference guide. This OMB guy may be blowing his own trumpet,
but he is blowing it, kicking that drum and sucking the hell out of that rack harp for every OMB guy on the planet! With a
market burgeoning with books, Dave Harris has fi lled a gap with an important omission.
Billy Hutchinson
Blues Matters! 116

EXCENTRIC MAN: A Biography & Discography of Tony (TS) McPhee
Paul Freestone
Incompetent Publishing
ISBN 978-0-9568652-0-5
This is not Paul Freestone’s fi rst McPhee book. Way back in the late ‘70s
his college project got a limited print run… it was a slim volume dedicated
to the man’s career (a mere 20 years long at the time). Tony had returned
to gigging in pubs and small venues, his audience a loyal bunch, his
media profi le near-zero. I remember dodging the heavies in a biker bar
just so I could meet a bloke who actually owned an original copy the
‘Split’, the incredible 1971 progressive blues LP by Tony’s band The
Groundhogs. Thanks to Paul launching a fan club (‘The Yelping Hounds’)
and keeping the faithful informed by mailing out copies to as many of us
as possible, Tony McPhee got his dues. Well, some of them.
Eccentric Man’ is Paul’s new book on the life and work of Tony McPhee.
Calling it a labour of love barely does it justice. As a reference source
for fans of Tony’s life it covers everything; from his Shadows-infl uenced
the Seneschals turning into blues band The Groundhogs, the ‘Hogs
continuing through fi ve decades, myriad lineups and thousands of gigs.
Then there’s the solo career, and the collaborations with legends such as John Lee Hooker, Billy Boy Arnold and Jo-Anne
Kelly. Beyond the music we have a life of vegetarianism, animal rights support, musical self-suffi ciency (he builds a lot of
his own gear and even constructs studios) and Reliant Regals (he didn’t have a full driving license for many years, so the
three wheelers had to suffi ce for gigging). Then there’s the recent brushes with ill-health (TS has had four strokes, the
latter of which has robbed him of his voice) and the respect of fellow musicians such as the Fall’s Marc E Smith and The
Damned’s Captain Sensible. All-in-all an incredible and complex life and one well-worth chronicling.
We also get gig lists, a huge discography, a ‘Hogs family tree (no easy task), a complete list of all of his radio and TV
broadcasts, chart entries, even a technical section that lists all of the McPhee’s guitars and equipment is included.
‘Eccentric…’ is also littered with rare photos, press clippings (including a great shot from 70’s teen mag ‘Jackie’!), priceless
material for any McPhee fan.
This house brick sized, 484 page monster of a book is worth the cover price alone just as example of how to do things
properly. Future music bio writers please take note.
Martin Cook
British
Tinnitus
Association
Freephone helpline
0800 018 0527
www.tinnitus.org.uk
British Tinnitus Association Registered charity no: 1011145 Company limited by guarantee no: 2709302 Registered in England
Blues Matters! 117

GOT LIVE
ARTISTS KEEPING
THE BLUES ALIVE
with its superb sax and trumpet delivering the “fat sound”
that the Blues Brothers loved – nailed the classic Stax
sounds. It is clear why they are a Boisdale favourite. “Let
the good times roll” made writing notes hard as the foot
tapped and knee shook and head nodded without any
apparent orders from the brain, which means, of course,
that it, like the night, was a hugely entertaining number,
with a great keyboard solo. Other highlights of Reuben’s
set were “Mustang Sally”, which was perfect for the added
dancers, and a great, funky cover of “Knock on Wood”.
In conclusion, the acts complemented each other
perfectly. On this night, the Blues Terminator met the Soul
Conductor, and they put on quite a show. It really was a
privilege to be there.
See http://www.boisdale.co.uk for future events.
NICKY MOORE’S BLUES CORPORATION & RUBEN
RICHARDS and the SOUL TRAIN 7 July 2012
The night the Blues Terminator met the Soul Conductor
On 7 th July, Nicky Moore’s Blues Corporation and Reuben
Richards and the Soul Train played on the same bill
together at a busy Boisdale Canary Wharf, a place where
fi ne dining and fi ne music meet. The two acts graced the
venue and, appropriately, the Corporation were at home in
the heart of London’s fi nancial district.
First up was Nicky, resplendent in a blue velvet jacket, and
sitting on his stool like a Blues Buddha. His voice is world
class, perhaps the most powerful and best controlled in
British Blues, and the audience received the full benefi t of
it as he roamed through Corporation classics like “Resting
in the Blues”, “Hear Me Howling”, and “Picture”. Guitarist
Timmy Moore was on fi re all night, from his very fi rst
solo in “Ain’t Superstitious”. The band had the audience
paying rapt attention with “Resting in the Blues”, a song
of elegance, but which became a Blues steamroller as it
ended with a literal screamer of a conclusion, underpinned
by some serious power from the bass and lead guitars.
Even as the audience were served with their dinners, Nicky
served up his signature tune, “300 pounds of joy”, and
joy is just what it created. Some of the audience got up
to dance even at this early stage of the night, and those
seated clapped and whooped after Nicky’s slow and soulful
rendition of BB King’s “The Thrill is Gone”. Nicky closed
with “’47 Pontiac”, another for the dancers to enjoy.
The last word on Nicky’s set goes to one of dancers,
Bernice. Asked for her impressions, Bernice said the
Corporation were “amazing, fantastic, exciting, full of
energy - I’d come back specifi cally to see them.”
As the candlelight was refl ected in the picture window
along one side of the venue, Reuben Richards and his
Soul Train took centre stage. Perhaps the most elegantly
dressed of all the company present, the tall and imposing
Reuben launched into Sam and Dave’s “Hold on! I’m
Comin’” with panache. His vocal ability is outstanding,
reminiscent of Sam Cooke and Ray Charles. His band –
Blues Matters! 118
PHILIPP FANKHAUSER Live @ House Of Switzerland
Playing the Swiss National birthday party on his fi rst visit
to London, Fankhauser kicked ass to a highly enthusiastic
crowd comprised of a rainbow of nations.Complete with
his touring band, the 90 minutes of soulful Blues was
full of variety and no little talent and the result was a set
that showed exactly why so many of the US stars have
rated him – the gig was fi rst rate.He opened with a driving
‘Greater Man’ followed by ‘It’s Gonna Rain’ from the new
album and the fi rst surprise was that the guitar playing that
I had assumed were by Marko Gencarelli were actually
Fankhauser himself and damn fi ne too. Coupled with his
strong vocal the songs came over clean and powerful and
Hendrix Ackle’s Hammond gave the sound a wonderful
richness. There are synths that have a ‘Hammond Sound’
but there really isn’t anything like the real thing and this
was being played brilliantly.When he slowed it down for
‘Try My Love’ the hardness went out of his voice and
he quietened the crowd in the classic manner – he isn’t
exactly Ben E King but he cancarry a tune and the song is
a joy.Bass player Angus Thomas got plenty of opportunity
to show what a Chicago bassman brings to a band and his
solo on ‘Flying High’ was one of the few that didn’t send
me to sleep while drummer Tosho Yakkatokuo took his
moments with aplomb but for the rest did a great job driving
the music along without being fl ashy or over the top. I had
heard the album before – and rated it a genuine 8/10 stars
– but with the horns and the production stripped away the
band had to do it without any tricks and this set proved that
if you are good enough you can.
Andy Snipper

ROBERT CRAY BAND @ 02 Shepherds Bush Empire
26/06/12
Cray’s set tonight, as part of the BluesFest, highlights how
as a musician, he is happy to carry on riding his own wave
of creation, consistently reworking the blues wheel by
affecting its groove from anywhere but the genre he is so
widely attributed to being a key part. His soulful voice, rich
in diverse melody and tone, recalls much more Motown
than perhaps Chess Records, whilst his toying with the
standard form of the blues has meant that he still appeals
to new audiences with a fresh approach to the genre.
Backed by the immense Jim Pugh on keyboards, the barefooted
Richard Cousins on bass and Tony Braunagel on
drums, Cray strolls out in a pair of slacks, open shirt and
fl ip fl ops, ready to perform songs he feels are the best,
not just what the crowd want to hear. “Like this”...was the
refrain as he began each scintillating number, starting
with the classic ‘Don’t You Even Care’. It was to be the
theme throughout the night as stories of faithless women
and broken hearts gave some heartfelt soul to the music,
which borrows from funk, gospel and soul to give Cray’s
blues a distinctive style. He has the archetypal blues voice
with crystal clear diction and a wonderful range which
compliments the virtuosity he displays on his trademark
Stratocaster (annoyingly changed every song). The
atmosphere is lacking somewhat, in part because of the
venue being half seated, but Cray struts his stuff and his
solos are unique, you feel part of something special. There
are a fair share of tracks from the new ‘Nothin’ But Love’
album, but Robert does not have a setlist, which makes it
diffi cult to identify each track. A few classics were thrown
into the mix, though, including ‘Smoking Gun’ and ‘Chicken
in the Kitchen’, complete with a superb guitar break. He
caused some amusement by informing the audience after
that song that “You know, these things play themselves”,
yeah right! He ended by taking the tempo down with the
beautiful ballad ‘Time Takes Two’, which showcased both
his wonderful voice and sensitive guitar playing. Ultimately,
Robert Cray is a bluesman with a sight for continuously
moving forward; not allowing himself or his music to
stagnate and become irrelevant, tonight’s performance
illustrated just that.
Clive Rawlings
BEN WATERS BOOGIE BAND, Blues Cruise, Poole
Harbour 12 th July 2012
It was a cold wet miserable evening but that did not daunt
the spirits of those who turned up on the Quayside to
board the Blue Line Ferry. Most of us settled into the upper
deck lounge where the band had set up and where it had
suitable fl ooring for dancing – you do not sit through a
Ben Waters boogie woogie gig- no way! Having a pint in
hand and discharged with outer waterproof clothing we
were given a delicious hot fi sh and chip supper as we set
sail. No sooner were we clear of our moorings Ben took to
the keyboard, Clive Rand sax, Tom Waters sax, Richard
Hyman guitar and Ady Milward on drums - we were
cruising. ‘Chicago Calling’ was the opener I believe – as
we were all looking back to shore while the boat headed
out into the dark waters and off towards Brown Sea Island.
People originally in lower bar room and open deck area
soon came into the ‘music room’ and as it crowded up
more took to the dance fl oor and before you knew it the
infectious rockin’ and rollin’ rhythms emanating from the
starboard side soon had feet shuffl ing and then bopping
around – me included. Numbers played included the likes
of New Orleans rumba/Latin infl uenced songs and tunes.
Ben played superbly and then slowed a little to give a few
details about the next number they were to play – Pine Top
Boogie. We passed Sandbanks and its’ show off celebrity
houses (money but no taste I thought!) But I’m just jealous.
Heading towards the Isle of Wight where we did not see
the sun set between Old Harry Rocks – we didn’t see the
sun at all that particular day - but we didn’t mind the deck
was steaming as was the sizzling performance of Ben and
the boys. Now into a medley of Jerry Lee Lewis with a
few Chuck Berry songs and guest hairy rock singer from
Somerset we turned back to shore. Moored just off the
harbour side we sang along to Tommy Steele’s hit ‘Singing
The Blues’ and Fats Waller’s ‘Ain’t That A Shame’. Then it
was all up on deck to see a great fi rework display courtesy
of Poole Harbour authorities/council etc. Everyone was
buoyant and had a fantastic fun night. I only wished I could
have been there for another piano master class from Ben
Waters and his band on their next Boogie Woogie boat trip
the following Thursday!
Diane Gillard, Sister Feelgood
BLUE TO BROWN ALBUM LAUNCH @ The Cuckoo
Club 30 May 2012
Guitarist Dom Brown has had a busy time this past year.
Not only has he recorded his debut album with Blue to
Brown, he has chosen to launch it in the middle of his
world tour as lead guitarist with Duran Duran. With his
father Rob Brown (Gets/z Loose) on lead vocals, bassist
Stan White, drummer Andy Treacey and keyboardist
Mike Bramwell, the band performed a storming set at the
Cuckoo Club in Piccadilly, a swish venue packed with an
enthusiastic crowd. Before playing their entire album of
original material, they opened with an infectious version
of Howlin’ Wolf’s “Howlin For My Baby”, where Rob
demonstrated that when he howls you’re going to know
about it! First original track was “Going Down But Not
Slow”, one of the real standouts from the album, which
showed a great connection between father and son, with
thunderous vocal from Rob and blistering guitar work from
Brown junior. “I get loaded”, a SRV-style shuffl e, had the
solid rhythm section (comprising members of Faithless
and Groove Armada) locked in and, after dropping to a
quiet breakdown, built to a frenzied fi nale of inspired guitar
playing. Dom has great playing style and the ability to send
a solo somewhere unexpected that never comes at the
expense of the song. Tracks such as “The Heat Has Gone”
demonstrate this quality very clearly. “Bad boy” showed
Blues Matters! 119

Rob at his most charismatic–he had all the presence of
an evangelist preacher when he yelled, “You’re Gonna Go
Down…” Other powerful but contrasting highlights from the
new album were “Sweet Mercy”, “Blue Boy” and “Please,
Please” which show the band’s deep and wide feel for the
genre. A great cover of “Voodoo Chile” had Dom take lead
vocals and showed his knowledge of all things Hendrix
while still managing to put his own distinctive stamp on
things. The mood continued with a fantastic Red housefl
avoured version of “Little Queen Of Spades”, which
showed Dom’s phrasing at its best and Rob’s quirky and
idiosyncratic style.The Stones “Sympathy For The Devil”
had everybody on their feet before the show was driven
home with a raucous “Mannish boy”, with Rob displaying
his trademark power and eccentricity and some great slide
from Dom. There is a pleasing variety across the tracks
of Blue to Brown’s eponymous fi rst album. All are well
crafted and executed and driven by a great singer and a
phenomenal guitar talent.
David Tweedie
J. ALEXANDER AND THE BLUES DEVILS, Lichfield
Vaults, Hereford. July 1 st 2012
Out of the ashes of Wale’s premier Blues Band “Snatchit-Back”
rose the phoenix known as J. Alexander and the
Blues Devils. Chris Rees, Snatch -it-Back’s founder and
remarkably gifted musician , singer and front man for more
than two decades, stood down a while back due to poor
health. The rest of the band fl oundered for a while but then
Justin Alexander, talented singer/harp player who had been
mentored by Rees, stood in and restored the band line up
and full fi ll their gig dates. In respect for Chris Rees whose
name is synonymous with Snatch it Back they changed
the name but continued the wild harp blowin’ Chicago
style blues for which Rees and the band had become
so well known in Cardiff, surrounding valleys and Blues
circuit generally. When I heard they were playing one of
my favourite blues haunts I went along taking two friends
and meeting up with many more within the friendliest pub
in the city. Here at The Lichfi eld Vaults in the shadow of
Hereford’s magnifi cent cathedral once a month -a Sunday
afternoon ‘bout 4pm you can catch some of the fi nest local
blues bands on the circuit today. The weather had been
lousy and there was the FA cup fi nal on TV but there were
plenty there in the narrow bar to cheer on and dance to
the earthy blues grooves being laid down by J A. and the
The Blues Devils. Dave Durnley is on lead/slide guitars,
Paul Higgins bass/backing vocals and new comer to the
line up Lee Whiles /drums took us through a medley of
well known songs and instrumentals. Familiar – yes- but
done with that change of tempo here and there a different
slant on another and so on. Humour and gentle banter
between band and audience/ landlord came in abundance.
Shoppers on their way back to car parks stopped listened
and came in and joined us in wonder at the fantastic R&B
being laid down in that darkened pub backroom. After a
grand helping of numbers such as ‘My Babe’, ‘Don’t Bite
The Hand That Feeds You’ ‘Momma Talk To Your Daughter’
‘Scratch My Back’ and ‘Hoodoo Blues’, ‘King Bee’ and
my favourite ‘Sugar Coated Love’ and many more classic
blues anthems played with panache and extreme passion
with great solo moments from each band member we
reluctantly left The Vaults. The pubs’ selection of fi ne real
ales and ciders served by a lovely team of bar staff will
no doubt lure us back when ever we’re in Hereford either
shopping, viewing the Mappa Mundi and chained library or
just seeing another band!
Diane Gillard Sister Feelgood
KEITH THOMPSON BAND - June 8th 2012 @ Wotton
Concert Room, Gloucester
Once upon a blue moon, Sunday nights meant two pints
of dodgy lager and a pedestrian “Crossroads” performed
by middle-aged men in cheesecloth shirts and ill-fi tting
jeans….that’s no longer the case. With the likes of Joe
Bonamassa, Oli Brown et al leading the charge (and let’s
not forget the dearly-departed Gary Moore), blues-rock has
shaken itself down, revved up t he motor and re-invented
itself as a vital and newly-energised genre.
Keith Thompson deserves to be right up there with them. A
seasoned musician who has plied his trade for many years,
he is one of the most talented and versatile guitarists
around. Good things come to those who wait - and, over
the past ten years, Keith has built a formidable reputation
and a solid following, both in the UK and in Europe, based
on regular touring and a series of albums for Swiss label,
Brambus. Keith’s new, live album is entitled “Snapshot of
Reality” and features a selection of concert favourites recorded
on tour, mainly in Eastern Europe.
Keith chose the Wotton Concert Room in Gloucester to
launch the album’s UK release and the band (Neil Simpson
on bass, Roy Adams on drums (both ex-Climax Blues
Band) and Patsy Gamble on sax and backing vocals) provided
sterling support to Keith’s emotive guitar and roughedged
blues voice. Constant touring, along with years of
collective experience, has honed the band into a superb
outfi t and the crowd were treated to nearly two hours of
vibrant electric blues. As a songwriter, Keith has found his
niche; his material sits comfortably alongside the well-chosen
covers (“Tore Down”, “Stormy Monday” and a brilliant
“Take Me To The River”) and when, on occasion, the band
push a more funky direction, it does not sound forced or
ill-advised, especially when Patsy Gamble’s sax stretches
out. “Promised Land”, “All My Friends Are Gone”, the sub-
Blues Matters! 120

lime “Young Girl”, “Road To Recovery” and the hard riffs of
“Getting Ready For The Burn” all illustrate the command
Keith has on the genre and how well the band operates
behind him, seamlessly following where he leads. Powerful
stuff and much appreciated by the sizeable crowd.
Blues in the UK is in robust form right now. Let’s hear it
for the young guns, let’s hear it for the girls (Sue Foley,
come back soon!), but let’s not forget those that deserve a
greater platform for their undoubted talents. Keith Thompson
assuredly fi ts that bill.
Nicholas John
MICHAEL CHAPMAN @ Rothbury Roots, The Queen’s
Head, Rothbury, 24/08/12
Rothbury Roots was started by Lindisfarne legend Rod
Clements with the laudable aim of “keeping music live”
in this picturesque village in the heart of Northumberland
. His successor is the amiable Scotsman Andy Craig,
local entrepreneur, professional photographer and male
voice chorister, who is doing a superb job in attracting
the best in folk, blues and roots music to this rural venue.
Recent artists have included Johnny Dickinson, State of
the Union and Claude Bourbon, such is the ambition to
bring the best of American and European blues to the
Simonside hills. The visit of Michael Chapman fi lled the
venue to its 100 capacity, with fans travelling from all
over the country to see the 71 year old self-confessed
white bluesman who turned professional in 1967 and has
been touring ever since. His set opened with a medley
of his trainsong guitar compositions, including, ‘The Last
Polish Breakfast’, ‘Little Molly’s Dream’ and ‘Flahey’s
Flag.’ This virtuoso performance made Tommy Emmanuel
look like Bert Weedon, as Chapman used the slide to sail
effortlessly across the strings, complemented by intricate
fi nger-picking, his thumb providing a deep, steady bass.
Somehow he also added innovative riffs and solos,
producing a mellifulous tone which put the audience in
a trance, the subtleties in the notes and the spaces in
between giving the listener time to refl ect upon the music.
Not surprisingly, John Fahey is right in your head, but so
is Kelly Joe Phelps and Mississippi John Hurt; above all
Michael Chapman is unique. As Charles Shaar Murray
explains, Chapman’s music grows from, “The gritty solidity
of the blues, from fi elds to factories, from Delta electric
slide to chugging overdriven funky electric, deeply rooted
in struggle, sensuality and hard work.” He tells stories in
a Dylanesque kind of way but in a much gravellier voice,
and his lyrics are inspired. In ‘Just Another Story’, a song
about a truckstop waitress, he comes up with the immortal
line, “With her ponytail and pickup truck, she’s high on her
heels but down on her luck.” The riff underpinning ‘Kodak
Ghosts’ from the “Survivor” album is remarkably similar
to Jimmy Page’s ‘Stairway To Heaven’ but Chapman
got there fi rst, enough said! Some of the songs are
essentiallyin the folk idiom but the themes are rooted in
the blues, such as the fear of ‘That Time Of Night’, the
abandonment of ‘Shuffl eboat River Farewell’ and the train
journeys ubiquitous to both genres, encapsulated in, ‘’The
Mallard’. As Michael was writing the latter on York station
he refl ected on how “It’s the glamour that gets you down.”
Well, his existence may not seem glamorous to him but it is
a glorious one for those who are priviliged to see and hear
one of the best English guitarists and song writers of his
generation.
The Bishop
IAN SIEGAL & THE MISSISSIPPI MUDBLOODS
@ The Met, Bury. 06/07/2012
The evening started with fellow Nugene artist Simon
McBride opening the show with an assured acoustic
performance. It was interesting to hear songs associated
with his band played in this cut down style and introducing
us to songs including ‘Once Upon a Time’ from his
forthcoming album, September 2012, defi nitely a great
warm-up act for the highly anticipated Ian Siegal. The
show was being recorded for Radio 2’s Paul Jones,
and the crowd greeted Ian Siegal and The Mississippi
Mudbloods onto the stage with a loud and excited cheer.
We then experienced from the off musicianship of the
highest standard as we left a wet British summer and
were transported to Louisiana swamps and bayous as
the temperature rose. This was real swampy blues of the
highest calibre,
simply pure
genius as new
songs and those
from “The Skinny”
were played.
Opening with
‘Stud Spider’
which was
ripped out in a
dirty funky style
with Ian’s voice
growling in his
own charismatic
way. Luther
Dickinson and
Alvin Youngblood
Hart seamlessly
swapped rhythm
and bass
guitar as they
Blues Matters! 121

demonstrated
the depths of
their skills on
both of these
instruments.
Cody Dickinson
on drums
delivered
percussion that
gave added
depth and
colour to every
song performed
including using
a maracas at
times as a drum
stick! New
track, ‘I am the
Train’ introduced
the audience
to the new
music on Ian’s
forthcoming
album along
with other tracks showcasing this album which will be much
in demand when it hits the shelves and at gigs in October.
‘Picnic Jam’ saw outstanding slide from Luther and when
asked “do you want to party?” the resounding response
was yes we do. The audience was treated to a coffee can
diddly bow played by Luther producing a real low down
dirty blues sound. Everyone wanted the evening to go on
and on appreciating the dirtiest, swampy guitar playing by
Ian. The 12 guitars on stage were not there for show as
each one was played ensuring the right tone and sound
for every track performed. This was a live performance
that did not compromise and from the beginning to the last
chord of the encore the music was roots blues down’n’dirty
delivered with confi dence and the fi nest musicianship
seen for a long time. The whole gig was a highlight and
everyone left much warmer and afl utter. A great end to the
Northern part of the Blues Fest....
Liz Aiken
MITCH LADDIE BAND, Tillyfest, Tow Law Football
Ground, Sunday 26 th August 2012
It was a typical August Bank Holiday evening, the beer was
fl owing and the small but enthusiastic crowd were in good
cheer. They had descended on a very wet and muddy Tow
Low Football Club pitch to support a very special little girl
called Tilly Lockey who sadly lost both her hands at a very
early age to Meningococcal Septicaemia. This is a deadly
form of meningitis that there is still no vaccination for.
Throughout the day the crowd had been entertained by a
number of North East bands and performers who all gave
their time for free to support Tilly.
The day started for Blues fans with Bishop fm’s own DJ,
Gary Grainger, who treated the crowd to an acoustic set
comprising of Blues standards and Americana favourites.
Gary cut a lonely but sensitive fi gure on the stage singing
about all the women he had loved and lost. It takes some
mettle to get up there, just you, your voice and your sixstring
partner. He truly is in love with his guitar and you
could tell by his soulful set that his guitar loves him right
back!
Later in the afternoon, Mojo Hand took to the stage and
Blues Matters! 122
played an astonishing set of Blues and Soul covers. They
played a robust set and the audience, now nicely lubricated
by the real ales, were more than willing to unite their voices
with the band. They played regular favourites like the
notorious “Mustang Sally” with precision and class. One
of the highlights was when the band invited Gary Grainger
to join them up on stage to add a little more guitar on
several numbers before he had to shoot off and jock his
radio show, namely “ Flip Flop Fly” and a stonkin’ version
of Wilson Pickett’s “6345789”. Boy did they fl y and their
numbers went down a storm.
As darkness fell The Mitch Laddie Band took to the stage.
They opened with “Time Is Running Away, the fi rst track of
their Burning Bridges album. “Mother take my hand . . .”,
were the fi rst lyrics Mitch sang with a passion, a poignant
reminder of why we were all here? Next up was a tribute
to Stevie Ray Vaughan who sadly passed away twentytwo
years to the day. “So Excited” showed why Mitch
is one of the most talked about guitarists on the British
Blues scene - his enthusiasm, precision and musicianship
far outreaching his twenty-two years of age. Excellent
handling of the guitar shows that he is worthy of the
reputation he is building for himself. Indeed, he regularly
supports the legendary Walter Trout on his tours. The
band were now in full fl ow with bassist, Rhian Wilkinson
having to concentrate on the job at hand as the girls in the
crowd kept shouting out his name, a bit of a stud is our
Rhian! The band followed with a few more home-penned
numbers from Burning Bridges. When a member of the
crowd shouted out “Sing something we can sing along
with” the un-phased Mitch and the boys changed their set
list to deliver several crowd-pleasing covers that included
Photograph of Mit h Laddie by Paul Knight,
Starshot Photography 2012
Hendrix’s “Foxy Lady” and The Temptation’s “Shaky
Ground”. The latter is available to view on Youtube so you
can see for yourselves just how tight this band is and how
well they were received. With their set coming to a. close,
the band fi nished with “Changes” complete with a spirited
drum solo from Matt Connor. “Changes?” An apt ending –
watch out, the young guns are coming! Oh, I almost forgot,
I like Mitch’s guitar too!
Jo Jackson-Raw

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How did you first get interested in
radio?
It goes back to the late 1970s when I
got involved in the American style CB
radio which was becoming popular,
albeit illegal in the UK! As soon as I got
behind a microphone, I knew that I loved
it and from there, my passion grew.
There has always been music in my life
- my mother was an established opera
singer - and at that time I listened to a
lot of jazz. This led to me joining a pirate
radio station in Surrey and I presented a
programme which let me indulge myself
in my fondness for jazz funk and jazz
fusion. Sadly, as pirate radio was illegal
too, the station was closed down by the
authorities in 1983 so I got together with
one of the other presenters, Rob James
and ran a mobile disco. This carried on
the name of Surrey Sounds for another
Martin & Heather
ten years and included residencies in
local pubs and clubs; at the same time, I was doing some voiceover and narration work for fi lms too.
How has your broadcasting career changed over the years?
In the same year that I finished broadcasting with Surrey Sounds, I joined Radio Wey, a purely hospital radio station based
in Weybridge. I had to pack away my microphone after a couple of years though as the demands of a fulltime job limited
my free time. However in 2008, I rejoined Radio Wey which had moved to Chertsey and become a community and internet
station. My Friday night show back then was called Something for the Weekend and I played predominantly rock music
with blues rock in the second hour. Despite the programme controller of the time thinking that it would upset the hospital
listeners, feedback from the outside world was extremely positive! A change of programme controller led me to explore the
possibility of presenting a specialist show and in March 2009, The Blues Session was born.
Over the last 3 years, I have developed my skills as a sound engineer and had more and more live music in the studio to
the point of having guests almost every week. Each show, I try to play a complimentary style of music; I think this goes
back to my days on the road as a mobile DJ where I honed my skills in mixing songs to create a fl ow. Two years ago, I
found myself a producer, Heather Harrison, and she has had a considerable impact on the changing format of the show;
making contact with potential guests, creating live online dialogue with listeners and co-presenting too.
In 2010, I was proud to get the HBA gold award for best specialist music programme and I was nominated again in 2011.
And now I feel honoured to have been nominated 2 years running for independent broadcaster in the British Blues Awards.
Early in 2011, I approached Troy Schell of Kansas City Online Radio and started presenting the Blues Session which I
record weekly from my home studio sometimes using edited tracks from the Friday night live sessions. I like the fact that
on both shows, we interact with our listeners - on KCOR we’re in the chatroom and we use e mail and Facebook in the UK,
where we get live responses to music and where questions can be posed to our guests. Apart from the shows, I also have
the website which keeps my listeners informed of my latest news, generates interest in the show with bands sending me
CDs to play and continues to help me forge links with promoters and record companies. www.thebluessession.co.uk
Where did your interest in blues music come from?
I’ve always liked blues music but I didn’t fully appreciate it until had some emotional upheaval in my own personal life.
There’s a saying that you don’t have to live the blues to play the blues but I after that, I felt more connected and I was
touched by the music of Buddy Guy and Stevie Ray Vaughan to name just two. I have deepened my knowledge through
reading and by visiting the southern states of America on a Blues pilgrimage last summer and again at Easter this year. On
both trips to Houston, I was lucky to be invited onto James Nagel’s KPFT show where I showcased British talent. I have
also been inspired to take up harmonica myself and I now play at local jams and even on my own show when invited to
accompany guests.
What does the future hold?
We have both just completed a 2 day broadcasting course with the National Broadcasting School at Radio City in Liverpool
and I am about to embark on a post graduate diploma in broadcast journalism there. With its BJTC accreditation, I am
hoping to fulfi l my ambition and become a fulltime presenter on an FM station. This year, my whole life has changed;
redundancy actually gave me the chance to follow my dream.
Blues Matters! 124
Martin Clarke by Darren Weale

AUGUST 2012
1 Rick Estrin And The Nightcats One Wrong Turn ALLIGATOR CA
2 Lil’ Ed & The Blues Imperials Lil’ Ed & The Blues Imperials ALLIGATOR IL
3 Debbie Davies After The Fall MC CT
4 Chris Smither Hundred Dollar Valentine SIGNATURE SOUNDS MA
5 Tedeschi Trucks Band Livem – Everybody’s Talkin’ SONY MASTERWORKS FL
6 Albert Castiglia Living The Dream BLUES LEAF FL
7 Omar & The Howlers I’m Gone BIG GUITAR MUSIC TX
8 Peter Karp & Sue Foley Beyond The Crossroads BLIND PIG TN
9 Little Feat Rooster Rag ROUNDER / CONCORD
10 Dr. John Locked Down WARNER / NONESUCH LA
11 Zac Harmon Music Is Medicine URBAN EAGLE TX
12 Johnnie Bassett I Can Make That Happen MACK AVENUE / SKYDOG MI
13 Joan Osborne Bring It On Home SAGUARO ROAD RECORDS NY
14 Joe Bonamassa Driving Towards The Daylight J&R ADVENTURES
15 Walter Trout Blues For The Modern Daze PROVOGUE CA
16 Cee Cee James Blood Red Blues FWG RECORDS
17 Curtis Salgado Soul SHot ALLIGATOR OR
18 Enrico Crivellaro Freewheelin’ ELECTRO-FI CA
19 Rory Block I Belong To The Band –
A Tribute To Rev. Gary Davis STONY PLAIN MA
20 Marion James Northside Soul ELLERSOUL TN
21 Dennis Jones My Kinda Blues BLUES ROCK CA
22 Robert Cray Band Nothin’ But Love PROVOGUE
23 Nico Wayne Toussaint Lonely Number IGUANE RECORDS FRANCE
24 Janiva Magness Stronger For It ALLIGATOR CA
25 Billy Boy Arnold Sings Big Bill Broonzy ELECTRO-FI IL
26 Warren Haynes Band Live At The Moody Theater STAX / CONCORD NY
27 Liz Mandeville Clarksdale BLUE KITTY MUSIC IL
28 The Rev. Peyton’s Big Damn Band Between The Ditches SIDE ONE DUMMY IN
29 Catfish Keith Put On A Buzz FISH TAIL IA
30 Anders Osborne Black Eye Galaxy ALLIGATOR LA
31 Lloyd Jones Doin’ What It Takes REFERENCE RECORDINGS OR
32 Juke Joint Jonny Pure And Simple BLUE LEAF RECORDS NJ
33 Johnny Sansone The Lord Is Waiting
And The Devil Is Too SHORTSTACK RECORDS LA
34 Guitar Mikey And The Real Thing Out Of The Box EARWIG CANADA
35 A B C & D Of Boogie Woogie Live In Paris EAGLE RECORDS GERMANY
36 Eric Bibb Deeper In The Well STONY PLAIN NY
37 The Harpoonist & The Axe Murderer Checkered Past SELF CANADA
38 Royal Southern Brotherhood Royal Southern Brotherhood RUF
39 Johnny Mastro & Mama’s Boys Luke’s Dream RIP CAT CA
40 Milton Hopkins & Jewel Brown Milton Hopkins & Jewel Brown DIALTONE
Blues Matters! 125

by Mike Owens
‘Getting Through The Cool’
You may recall in previous issues of BM I contributed accounts of The Spikedrivers in the UK and Dan Treanor in Memphis
doing BITS workshops in schools. Here from the Caribbean was another amusing one. When planning my Legendary
Rhythm and Blues Cruise for this January 2012 I noticed that when the ship called at the island of St Croix the two bands
aboard were scheduled school visits. I thought it would be a nice follow up article and consequently arranged with Joe
Louis Walker’s manager, Dave ‘Big Daddy’ Jones, to accompany them to the school.
Joe took just his drummer Ronnie Smith and bassist, and former school teacher L B Bradford. Also with us were Big Daddy
and a hefty young roadie nicknamed ‘Shrek’ plus the ship’s videographer. The other school trip was with the youthful IBC
2011 award winning ‘The Homemade Jamz Band’ to a more upmarket school.
We had the hard-nosed kids 11 to 16 year olds, in a school that was being turned around by a dynamic new principal. The
music master had assembled his group of musicians for a morning workshop in a large auditorium that had seen a more
prosperous past. This master was on a high with such august visitors and was mourning the passing earlier in the week
of Etta James and had rehearsed the kids to perform a shaky version of ‘At Last’ as a tribute. Joe and his band patiently
worked with the kids, the majority surprisingly girls, on instruments that had obviously been begged or borrowed. The
keyboard for example had three malfunctioning keys, but we had a school here where the malcontents were dumped.
A tiny girl about 12 was manfully playing keys and was shyly responding to LB’s patient help and gathered volume with
confi dence. A robust girl surprised us with her feel for drumming but she was in need of some fi nesse, with which Ronnie
duly gave her help. The real ‘star’ of the bunch was another slight little lad on bass who coolly lounged on an amp,
fi ngering chords up and down the frets. Again LB stepped into help. The songstress I suspect had never heard Etta’s
renditions but had learnt the lyrics, as she nervously sang without any feeling and struggled with range. I comment in this
way not put the group down but to highlight the sad paucity of facilities and the need to educate them as to their musical
inheritance. Obviously money would help and I hope the Blues Foundation’s BITS initiative continues there to encourage
the motivated teaching staff.
The workshop done, the stage drapes were drawn in preparation for the concert. The kit had to be set to one side of the
stage as the short power leads needed to stretch to the sockets at the sidewall. The relevance of this will be revealed.
The whole school were then brought into the auditorium in classes, who slouched into their seats, the boys with bored
expressions of the ‘cool’ with dead eye looks at all and sundry.
The music master then came front of house to threaten his personal attention should anybody step out of line!!! Not exactly
the way to set the mood! He then asked for 20 seconds silence in memory of Etta James. The kids looked at one another
mouthing ‘who’? He obviously had not brought them up to speed as to who and what of Etta. The school band then
manfully performed their set piece, slightly polished by JLW’s band attention.
Joe then greeted the kids, explaining he was going to do a set that brought them from the roots to Chicago. By the end of
the second number he clearly wasn’t getting through to them as stony silence greeted the end of the fi rst two numbers.
‘Who’s this guy?’ was the discernable reaction despite his snappy white clothes. A teacher later explained that live music
and the tradition of applause would not normally be part of their pupils’ experience. Sensing the reticence, Joe moved in
to funky number, which got them at least sitting up attentively, the girls giggling at some teachers stood at the side of the
hall, who were gently swaying to the beat. I was standing in the wings alongside the senior girl (our hostess) who was also
starting to gyrate a little as Joe and the band worked away at getting some groove into the kids. The kids’ response was
still wanting, their attitude I suspected, clouded by the master’s warning. What to do then?
As my friends will avow, I’m into dance of the high-energy kind despite my years, as those of you who might have picked
up from my BM Blues jive articles. So I asked the senior girl if she would join me out on the far side of stage slightly back
and out of the eye line of the band, facing the audience of some 500 kids.
I had asked her to just follow my moves, which she did with enthusiasm. I report smugly that the kids just lit up, yelping
and hollering. Joe, who couldn’t see us initially and obviously was wondering what the hell was going on until he turned,
saw us and a wide grin spread across his face. Thumbs up, the girl really got into it and we fi nished to - applause! Joe
brought us front of stage to take a bow, said that I was all the way from Wales (apologies to the Welsh readers). The kids
probably thought I was Noah! Joe then cried;” Who says white guys can’t dance!”
We later packed our gear and as we walked a path to the bus, a large black lad stepped out in front of me in a rather
intimidating pose with hands on hips. Uh, uh, here’s trouble I thought. He leaned forward and grumbled into my ear, “Man,
you got style!” then walked off! I had been jokingly offered a job as dance coach by one of the lady teachers but declined
preferring instead Joe’s offer to join his road show.
The videographer had recorded the event, which was later played out on the ship’s CCTV system! I duly endured some
ragging. One for the memory bank… if I can ever fi nd it again.
So in summation, it was probably less proactive than The Spikedrivers or Dan Treanor experiences, but given the situation
it was one that the kids had fi nally appreciated. Joe had generously donated a guitar to the school; a nice gesture and I
hope that The Blues Foundation and The Legendary Rhythm and Blues Cruise will encourage further help there.
Blues Matters! 126

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ASHWYN SMYTH – DIGITAL BLUES ON GATEWAY 97.8
- Wednesdays 21.00 to 23.00 repeated Sundays 20.00 to
22.00 – 97.8fm in Basildon, East Thurrock & surrounding
areas and at www.gateway978.com
Podcasts available on i-Tunes and PodOmatic – visit
www.digitalblues.co.uk for listen links, Playlists and music
submission details – e-mail music@digitalblues.co.uk
BARRY-MARSHALL EVERITT - http://www.houseofmercy.
net e-mail - barry@houseofmercy.nett
BLUESSHOWBOB WILLIAMS – GTFM BLUES
SHOW - Mondays 20.00 – 22.00 – 107.9fm in and
around Pontypridd and at www.gtfm.co.uk – e-mail -
bluesshowbob@aol.com
CLIFF MCKNIGHT – NOTHING BUT THE
BLUES – Weekly Podcast available at http://
www.nothingbuttheblues.co.uk/ - e-mail - cliff@
nothingbuttheblues.co.uk
DAVE RAVEN – The RAVEN AND BLUES – Weekly
Podcast every Friday available at http://raven.libsyn.com/
and on i-Tunes - http://www.raven.dj/ - e-mail - dave@
raven.dj
DAVE WATKINS - BLUES TRAIN – Alternate Sundays
16.30 to 17.30 on www.fromefm.co.uk podcast available
at http://itunes.apple.com/gb/podcast/fromefm-blues-train/
id482994881 e-mail - bluestrainradio@gmx.com
GARY BLUE - STAR BLUES – Sundays 22.00 to 24.00
on Star FM - 107.9fm in Cambridge and surrounds - www.
star107.co.uk -- NO DOWNLOADS ACCEPTED
GARY GRAINGER – BLUES SHOW – Sundays 18.00 to
20.00 on Bishop FM - 105.9fm in South West Durham and
at www.bishopfm.com - repeated on www.lookerradio.
co.uk – playlist & blog at http://thumbrella.blogspot.
com/2011/11/blues-show-134-playlist-stream.html e-mail -
garygrainger@gmail.com
IAN MCHUGHES - BLUES IS THE TRUTH – Mondays
21.00 to 23.00 -www.ukjazzradio.com – e-mail - ian.
mchugh@me.com
IAN MCKENZIE – WEDNESDAY’S EVEN WORSE –
Alternate Wednesdays 18.00 to 20.00 on Phonic FM 106.8
in Exeter and surrounds and at www.phonic.fm – More
details at www.bluesinthesouth.com – e-mail ian@
broonzy.com
JIMMY CARLYLE – HAMBONES’ BLUES RUMSHACK
podcast -http://www.therumshack.com and SHADES OF
BLUE on BBC Radio Shetland. EMAIL - therumshack@
gmail.com
KEVIN BEALE - BLUES ON THE MARSH – Fridays 19.00
to 21.00 at www.lookerradio.co.uk e-mail - bealekev@
gmail.com
KEVIN BLACK - BLACK ON BLUES – Weekly Podcast -
www.blackonblues.com e-mail - kevinwilliamblack@gmail.
com or black.kevin51@yahoo.com
LES YOUNG – WALL TO WALL BLUES – Mondays 20.00
to 22.00 repeated Friday 22.00 to 24.00 on Penistone FM
95.7fm in the Barnsley area and at www.penistonefm.co.uk
– e-mail - les.young@penistonefm.co.uk
MARION MILLER – LADY PLAYS THE BLUES - Fridays
20.00 to 24.00 on 107.9 in the Stroud, Glos. Area and at
www.stroudfm.co.uk/ - e.mail - marionmiller@talktalk.net
MARTIN CLARKE - THE BLUES SESSION - Fridays
21.00 to 23.00 at www.radiowey.co.uk – e-mail - martin@
thebluessession.co.uk
NICK DOW – LANCASHIRE BLUENOTES - Fridays 21.00
to 22.00 on BBC Radio Lancashire – 95.5 and 103.9 fm
and at www.bbc.co.uk/programmes/p001d74y
PAUL JONES - PAUL JONES SHOW – Monday 19.00 to
20.00 on BBC Radio 2 and at http://www.bbc.co.uk/
PAUL STILES – UK BLUES TODAY – Sundays 06.00 and
18.00 on Radio Seagull 1602AM and at http://radioseagull.
com/ - details at http://ukbluestoday.co.uk/ & http://
bluesfromoxford.com/ e-mail - paul@ukbluestoday.co.uk
ROB ALLEN – MEDECINE SHOW INTERNET RADIO -
www.internetradio.co.uk
STAN COCKERAM – OUT IN THE WOODS - Tuesday
20.00 TO 22.00 REPEATED Saturday 16.00 to 17.30 – on
The Park FM 96.9fm in the New Forest and at http://www.
thepark.fm/ - e-mail - stan@riversidebluesband.co.uk
STEVIE SMITH – RETROSMITH RADIO – AFCUK Radio
– Wednesdays 21.00 to 23.00 at www.wix.com/retrosmith/
retrosmith-radio-show - e-mail - retrosmith@hotmail.co.uk
TERRY KNOTT - ROADRASH BLUESSHOW –
Podcast also broadcast weekly Saturday 18.00 and
Sunday 19.00 on www.coventgardenradio.com , www.
radioukinternational.com , www.roadrashbluesshow.
podomatic.com – e-mail - podcastalleybluesgroup@gmail.
com - road_rash_blues_show@myspace.com
TIM AVES - THE BLUES IS BACK - Sunday 20.00 to
22.00 on 94.7fm in the Maldon district and at www.saintfm.
org.uk – e-mail – blues@saintfm.org.ul
TONY FITTON – BLUES IN THE NITE - Sundays 22.00 to
01.00 on Phoenix Radio 96.7fm in Calderdale and at www.
phoenixfm.co.uk – e-mail - bluesinthenite@live.co.uk
TONY NIGHTINGALE - BLUES UNLIMITED – Mondays
19.00 21.00 on Lincoln City Radio 103.6 in Lincoln and
surrounds and at www.lincolncityradio.com EMAIL - tony.
nightingale@yahoo.co.uk
Information from the On Line Blues Radio group on
Facebook. Programme times and day taken from station
schedules as shown on their websites April 2012.
Many of these shows or variations thereof are also
available on Kansas City Online Radio – www.
kconlineradio.com
compiled by Ashwyn Smyth 4 th April 2012
Blues Matters! 129

What’s Coming Up In The Next Edition Of Blues
Matters
We hope you all enjoyed reading issue 68. We have
loads in the pipe line for this year and beyond. Read on
and fi nd out what’s coming next in issue 69!
Interviews – Stacie Collins, Steven Dale Petit, Blue To
Brown, Bex Marshall, Sir Oliver Mally, Bob Bozman, Joe
Caruso, Andy Frazer and more!
Features – A load more features.
Red Lick - Top 20 Chart.
Top 10 – By Tobi
Blue Blood – New Blues
artists and bands to look
out for.
Blues News – All the
latest Blues news.
Feedback – We publish
your thoughts on the
Blues scene.
Plus The Magazine
Regulars: CD Reviews,
Gig Reviews, Festival Reviews and more!
Blues Matters! 130
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