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4 ISSUE 147 : BLUESMATTERS.COM

ELCOME

I

The Birth of the Blues

A Journey into the Delta

and Beyond

Hey, how you doing? :) I’m Justin Sandercoe, and I’ve spent most of my life helping guitarists

worldwide unlock their potential on guitar. Over the next few months, I’ll be sharing guitar

insights from my Blues Immersion program, a deep dive into a l the facets of Blues guitar.

started trying to play Blues songs

when I was 11 or 12 . Attempting

to work out guitar parts by ear

from vinyl records. The music of

Chuck Berry, B.B. King, The Ro ling

Stones and Stevie Ray Vaughn had

me captivated from the first listen.

Its raw emotion, storyte ling, and

expressive guitar playing make it

one of the most powerful forms of

music .

This month, we’re starting with The

Birth of the Blues, tracing its roots

back to the Mississippi Delta, where

it a l began. This deep study of

the Delta Blues reveals its origins,

pioneers, and the techniques that

defined its signature sound.

The Delta: The Cradle of the Blues

Blues is more than just a genre—

it’s a journey. And that’s exactly

what we’ l be exploring together.

Over the next few months, I’ l be

sharing guitar insights from my

Blues Immersion program, a deep

dive into a l the facets of Blues

guitar. I’ve worked countless hours

of research into this course, and

I wan to make some of it more

accessible to everyone. That’s why,

here in Blues Matters magazine,

we’ l be exploring some learnings

from each of the six units and the

ski ls and techniques covered in the

course. This month, we’re starting

with The Birth of the Blues, tracing

its roots back to the Mississippi

Delta, where it a l began. This

deep study of the Delta Blues

reveals its origins, pioneers, and

the techniques that defined its

signature sound.

The Delta Blues was born in the

early 20th century, shaped by

African American musicians who

transformed work songs, field

ho lers, and spirituals into an

entirely new musical language.

Pioneers like Robert Johnson,

Son House, and Charley Patton

told stories of hardship, love,

and redemption through their

raw, emotive guitar playing and

haunting vocals.

By diving deep into this history, we

explore the early Blues artists and

their impact on modern music.

With carefu ly curated playlists of

1940s and earlier Blues recordings,

you’ l develop an ear for the

nuances of this transformative

genre, absorbing the soul of the

Blues straight from its source.

Building the Blues Foundation

Understanding the origins of the

Blues is jus the beginning. The next

step is learning its core elements—

the scales and techniques that

bring this music to life.

Scales as a Framework

One of the firs things we tackle

in Unit 1 is the Minor Pentatonic

Scale—think of it as the alphabet of

Blues guitar. But Blues is more than

just five notes. The Blues Hybrid

Scale adds extra color, giving

you more expressive options. If

you’ve ever felt stuck in a “same

old licks” rut, expanding your scale

knowledge is the way out!

Licks are another big part of the

Blues vocabulary. I te l my students

to think of them like words—short

phrases that, when used we l, te l

a compe ling story. That’s why Unit

1 includes lessons on classic Blues

licks, helping you integrate them

into your solos natura ly.

Bending: The Soul of Blues Guitar

One of the most defining guitar

techniques in Blues guitar is

string bending. It’s one of the key

expressive techniques and can

give guitarists access to a vocal-like

quality, a lowing the guitar to sing

with emotion. With step-by-step

bending exercises, from subtle

quarter-tone curls to fu l-step

MAX HIGHTOWER

A NEW YORK STATE OF MIND

JANIVA MAGNESS

BETH HART LIVE REVIEW

JOHN DOE TRIO

MITCH RYDER

PAUL LONG

POPA CHUBBY

bends, students develop pitchperfect

bends that bring their

playing to life. Exercises like “Pitch

Perfect Bends” and “Pattern 1 Bend

Candidates” train the ears and

fingers to master this essential ski l.

Learning the Language of the Blues

The Blues is built on licks—which

I recommend that people think

of as ‘words’. Short, expressive

phrases that a low you to say

something meaningful in the

Blues language. Through lessons

like “Licks in Pattern 1” and “Lick

Medley Practice,” students explore

how these essential phrases

come together to a low students

to develop their unique voice

in the Blues. A crucial aspect of

mastering licks is learning how to

use them effectively. By practicing

with backing tracks, players

develop fluidity and confidence,

making each phrase feel natural

and expressive. With enough

exploration, these licks become

second nature, shaping a guitarist’s

Blues style.

JUSTIN GUITAR’S INTO THE DELTA

Classic Blues Songs & Artist Studies

The best way to understand the

Blues is to study the greats. Blues

Immersion takes us through

classics like “Sweet Home Chicago”

and “Cross Road Blues,” analyzing

the techniques that made them

legendary. Robert Johnson’s

innovative slide playing and

rhythmic complexities serve as

key study points, offering valuable

insights into the roots of the Blues.

ERJA LYTTINEN

A big part of learning the Blues is

studying the players who defined

it. In Unit 1 we also cover a simple

approach to transcribing by ear—

one of the most powerful ski ls you

can develop as a musician. Like the

Blues greats did back in the day,

learning directly from recordings

deepens the connection to the

music and its traditions.

BLUES

IMMERSION

Immersing Yourself in the Blues

The Blues is more than just notes

and techniques—it’s an emotional

and historical journey. From

understanding the Delta’s rich

musical history to developing

essential techniques like bending

and phrasing, this exploration

takes you into the heart of Blues

music.

The journey into the Blues is

about feeling, storyte ling, and

expression. By diving into its

roots, techniques, and legendary

recordings, we uncover what

makes this genre timeless and

powerful. So grab your guitar, lose

yourself in the music, and le the

spirit of the Blues take over.

If you’d like to explore a l of this

deeper, consider joining our next

Blues Immersion class, starting in

the Summer of 2025.

Please visit justinguitar.com/

store/blues-immersion for more

information and join the waiting

list. Happy trails!

Robert Leroy Johnson

BIG BLUES REVIEWS

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NOTHIN’

BUT THE TRUTH

MAX HIGHTOWER

Colin Campbell

Alain Broeckx (right) and Micah Furtick

When you think of blues musicians who pour their soul into every note, Max Hightower

is a name that stands tall. A powerhouse harmonica player, gritty vocalist, and

multi-instrumentalist with an undeniable presence, Hightower has carved his place in

the blues world with a blend of raw emotion and technical mastery.

A SERENDIPITOUS INTRODUCTION

TO THE BLUES

Max Hightower’s journey into music began with a

moment of pure chance. Growing up in the 1980s, a

friend’s father installed satellite dishes, a rare luxury

at the time. One evening, while flipping through

channels, Hightower and his friends stumbled upon

a black-and-white broadcast of a wild-haired guitarist

belting out Purple Haze. That guitarist was Jimi

Hendrix.

While most of his friends dismissed it, Hightower

was mesmerised. He asked his mother about

Hendrix, which led him to purchase an album. The

record’s liner notes mentioned Muddy Waters as

an influence, and in his youthful naivety, Hightower

assumed it referred to literal muddy water.

His curiosity led him to a record shop where he

discovered Muddy ‘Mississippi’ Waters Live, and

that was it. Listening to Muddy’s slide guitar, James

Cotton’s harmonica, and Big Willie Smith’s drumming,

Hightower was captivated. He played the tape

repeatedly until sunrise, cementing his love for the

blues.

FROM A BROKEN GUITAR

TO A HARMONICA

Determined to play music, Hightower asked his

mother for a guitar, but finances were tight. His

grandmother, a former gospel singer in the 1950s,

gifted him an old Silvertone guitar. However,

with only three rusted strings and a

warped neck, it was nearly impossible to play.

Frustrated, he asked for a harmonica instead—a

decision that would shape his musical path.

Without YouTube tutorials, Hightower learned by

ear, rewinding his cassette tape repeatedly to mimic

James Cotton’s sound. As he delved deeper into the

blues, he discovered legends like Little Walter and

Sonny Boy Williamson, each opening new doors of

inspiration.

A FAMILY CONNECTION TO MUSIC

Music ran in Hightower’s family in unexpected

ways. His father, whom he didn’t know well growing

up, turned out to be a talented harmonica player.

When they eventually spent time together, they

realised they shared a passion for music and even a

knack for drawing. On his mother’s side, his grandmother

had an unusual backstory—she had been

abandoned on the porch of a liquor house in 1929

and raised by the woman who lived there. While this

mysterious past left unanswered questions about

his musical lineage, the blues, with its deep emotional

roots, seemed to be part of him regardless.

CUTTING HIS TEETH ON THE SCENE

Hightower’s first stage experience came thanks to

country singer Mickey Fowler. Fowler taught him

basic guitar chords and invited him to a gig. At just

14, Hightower snuck out of his house, took a taxi to the

venue, and got in only because Fowler vouched for him.

From then on, he began sitting in with various bands,

playing wherever he could, even if it meant performing

for free. His travels eventually took him to Houston,

where he immersed himself in the local blues scene,

playing alongside legends like Big Roger Collins and Frank

Salvato.

THE ART OF ENTERTAINING

For years, Hightower was content being a background

harmonica player. But when he began performing solo, he

learned the importance of engaging with the audience.

Whether playing an intimate acoustic set or fronting

a full band, he developed a keen sense of reading the

crowd. “You have to feel the room,” he says. “Sometimes

it’s about storytelling, other times it’s about going full

throttle.”

A LIFE-CHANGING ENCOUNTER

WITH MAC ARNOLD

One of the defining moments of Hightower’s career came

when he met Mac Arnold, a blues legend who had played

with Muddy Waters. At the time, Hightower was working

as a mechanic and had Muddy ‘Mississippi’ Waters Live

playing in his shop. When a truck driver walked in and

began singing along perfectly, Hightower was stunned—it

was Mac Arnold himself. At first, he didn’t believe Arnold

had played with Muddy, but Arnold soon proved it. This

encounter led to a long collaboration with Mac Arnold &

Plate Full O’ Blues, solidifying Hightower’s place in the

blues world.

THE RAIN-SOAKED MAGIC OF BELGIUM

Max Hightower has played countless gigs across the

globe, but some moments stand out. One unforgettable

night took place in Belgium, where the unpredictable

weather played its part.

“It rains all the time in Belgium,” Hightower laughs. “We

were playing a packed show, and as we started, umbrellas

popped up in the crowd.” A light drizzle quickly turned

into a downpour, soaking both the band and the audience.

“At first, people tried to stay dry, but then they gave

up. They put down their umbrellas and started dancing

in the rain. So, we stepped to the front of the stage and

played through the storm.” The energy was electric, turning

the night into a spontaneous, rain-drenched celebration

of the blues.

EXPLORE


thought women wanted. My girlfriend read the lyrics and

said, ‘You left out tequila, rum, chocolate, and matching

socks.’ That gave me the idea to make the whole album

light-hearted.”

Another career highlight was sharing the stage with the

legendary Hubert Sumlin, best known for his work with

Howlin’ Wolf. “The first time I met him backstage, I knew

he was one of those rare, truly good people,” Hightower

recalls. “There was something spiritual about him. Then,

when he came on stage and played that subtle, powerful

lick, I just stopped playing and stared. It was overwhelming—I

almost teared up.”

A NEW ALBUM:

NOTHIN’ BUT THE TRUTH

Hightower’s latest album marks a shift from his more

serious songwriting. “I’ve written a lot of deep, heavy

songs over the years, but this time, I wanted to have

fun. It all started with It’s on Me, a playful take on what I

The album embraces exaggerated storytelling, inspired

by his uncle, known as Gopher. “He’d say the wildest

things and always end with ‘I ain’t lying,’ which meant he

was definitely lying,” Hightower laughs. “That’s the spirit

of this album—big, bold, and fun.”

THE MAGIC OF LIVE MUSIC

One of the standout tracks on the album, Assmograph,

remains a mystery. “That one’s top secret,” Hightower

teases. “You’ll find out later.” The track took shape unexpectedly,

evolving from a riff into a groove that wouldn’t

let go. “When we got to New Orleans to record it, it

turned into a nine-minute track. We didn’t know where

it was going, but we just kept playing. It was one of those

magical moments that happened in one take.”

THE GROOVE THAT STICKS

For Hightower, music is all about feel and fun. “When it

clicks, you know it’s right,” he says. “And I’m just grateful

for the musicians who made that happen—Fleetwood,

Brandon, Rob Davis. They brought the right energy to

these songs, and that’s what made this album special.”

As he continues to evolve his sound and collaborate with

new talent, one thing remains clear—Max Hightower is

here to make music that resonates and leaves a lasting

impression.

“WHEN IT CLICKS,

YOU KNOW IT’S RIGHT.”

ISSUE 147 : BLUESMATTERS.COM 11

BLUES IN A

STATE OF MIND

IGNITING THE SPARKS IN NYC WITH ARTHUR NEILSON

AND BIG ED’S WORLD FAMOUS BLUES JAM

Abbe Sparks

Arnie Goodman

Welcome to Blues in a New York State of Mind, a new column

celebrating the vibrant blues scene in New York City

and beyond. Each month, I will shine a spotlight on the

incredible artists, venues, and jams that keep the blues

alive across the five boroughs and the tri-state area.

To begin, it is only fitting to focus on two NYC blues institutions:

Big Ed’s World Famous Blues Jam, founded by

guitarist Edward “Big Ed” Sullivan and singer-songwriter

Christine Santelli, and an interview with legendary NYC

blues guitarist Arthur Neilson. But first, a look back at the

golden era of blues clubs in the city.

NYC’S BLUES LEGACY: THE CLUBS OF YORE

From the 1970s through the 1990s, New York City had

a thriving blues scene, with more than a dozen clubs

hosting live music seven nights a week. Blues fans had no

shortage of venues to choose from, spanning across the

city.

Some of the most well-known included Tramps, The Lone

Star Café, Kenny’s Castaways, The Village Gate, and B.B.

King’s (now Sony Hall). Other notable spots were Manny’s

Car Wash, Dan Lynch Blues Bar, Avalene (Chicago

Blues), and Terra Blues. Additionally, venues such as The

55 Bar in the Village and Paris Blues in Harlem regularly

featured blues acts.

Today, only a few of these legendary venues remain, including

Café Wha?, Terra Blues, The Red Lion, The Bitter

End, The Iridium, The Cutting Room, and Sony Hall. These

venues continue to support live blues music in the city.


The Blues Lives On: Big Ed’s World Famous Blues Jam

Bleecker Street in Greenwich Village remains a hub for

live music. The block between Thompson and Broadway

is home to The Bitter End, Terra Blues, Le Poisson Rouge

(formerly The Village Gate), and The Red Lion, keeping

the blues alive in the city.

Bettye LaVette, Vanessa Collier, Watermelon Slim, the

late Richie Havens, Samantha Fish, and Popa Chubby.

Spotlight on Arthur Neilson: NYC’s Unsung Blues Hero

“When I was 17, I heard Albert King on the radio, and

it changed my life. That’s when I knew I had to play the

blues.” – Arthur Neilson

For nearly 30 years, Big Ed’s World Famous Blues Jam

has been a key part of the NYC blues scene. Originally

hosted across the Hudson in New Jersey, the jam has

been held at The Red Lion for over a decade. Despite the

closure of many blues clubs and shifting musical trends,

Big Ed and Christine Santelli have ensured that the blues

remains an integral part of the city’s live music landscape.

The Monday night jam has become an essential event

for blues enthusiasts, drawing musicians from across the

globe. In January 2025, The Blues Foundation honored

the jam with the “Keeping The Blues Alive” award, a recognition

of its ongoing dedication to the genre.

THE HOUSE BAND

The house band at Big Ed’s Blues Jam has remained largely

unchanged for over 27 years, comprising:

I caught up with Arthur Neilson for an interview at The

Red Lion just before he took the stage with the house

band. A week earlier, he had played The Iridium alongside

Vanessa Collier, who later joined the jam session.

A LIFE IN THE BLUES: Q&A WITH ARTHUR NEILSON

How old were you when you started playing guitar?

I was 15, but I had always wanted one. My parents

thought it was a passing fad, but on Christmas that year,

they finally gave in and got me my first guitar.

WAS IT AN ELECTRIC GUITAR?

Yes, but nothing extravagant. I also got into acoustic and

fingerpicking, inspired by Dylan and folk music. But once

I heard Albert and B.B. King, I knew the blues was my

calling.

Ed Sullivan – Guitar

Arthur Neilson – Bass/Guitar (Shemekia Copeland)

David Bennett Cohen – Keys (Country Joe and the Fish,

Jimi Hendrix, Hubert Sumlin)

Matt Mousseau – Drums

V.D. King & Seaton Hancock (“Chuckie”) – Sax

The jam has welcomed an array of renowned blues artists

over the years, including Jimmy Vivino, Walter Trout,

Shemekia Copeland, Johnny Copeland, Bob Margolin,


HOW DID YOU LEARN TO PLAY?

By ear. There was no internet or YouTube, so I listened to

records, picked up a lick, and then moved on to the next

one.

WHEN DID YOU START PLAYING GIGS?

At 17, in cover bands. I always tried to get them to play

blues, but they told me I’d never make money playing it.

So I jammed in my basement, trying to sound like Albert

King, B.B. King, and Fleetwood Mac.

WHEN DID YOU FULLY

TRANSITION INTO BLUES BANDS?

By the late 1980s and early 1990s, I was playing in blues

clubs like Manny’s, Dan Lynch’s, and The Lone Star Café.

HOW HAS NYC’S BLUES

SCENE CHANGED OVER THE YEARS?

The 1980s saw a blues revival, partly due to The Blues

Brothers movie. By the 1990s, clubs started closing one

by one. But now, I see a resurgence, especially at Big Ed’s

Jam. More young musicians and female guitarists are

getting involved, which is encouraging.

WHO ARE SOME YOUNGER BLUES

ARTISTS YOU ADMIRE?

Christone “Kingfish” Ingram, Samantha Fish, Ally Venable,

and Vanessa Collier. They are all bringing fresh energy to

the blues.

TELL US ABOUT PLAYING

WITH SHEMEKIA COPELAND

I have been with her for 25 years. She was looking for

a guitarist in 1998, my name came up, and the rest is

history.

WILL YOU BE TOURING

EUROPE SOON?

Yes, I will be with Shemekia in Belgium on May 1st and in

Germany on June 6th and 8th.

WHAT DO YOU SEE AS THE

FUTURE OF BLUES?

The blues must evolve. It should not sound identical to

the 1950s and 1960s, but it also should not lose its essence.

Blues is about emotion. If it is heartfelt, it is blues.

NYC’S BLUES RESURGENCE

Blues is making a strong comeback in New York City.

February alone saw performances from Kingfish, Ruthie

Foster, Vanessa Collier, Bill Murray & The Blood Brothers

(Mike Zito & Albert Castiglia), Jimmy Vivino, Jimmy

Carpenter Band, Tommy Castro & The Painkillers, Joe

Bonamassa, Bettye LaVette, and Sons of Cream.

For anyone visiting New York City, a Monday night visit

to Big Ed’s World Famous Blues Jam at The Red Lion is

essential. Bleecker Street remains a key destination for

live blues, and the city’s passion for the genre is showing

signs of renewed energy.

There is more to come.




BACK FOR ME

JANIVA MAGNESS

Janiva Magness is a powerhouse in the blues and roots music scene, known for her soulful voice,

raw emotional delivery, and deeply personal songwriting. With a career spanning over four

decades, she has earned numerous accolades, including the prestigious B.B. King Entertainer of

the Year Award and multiple Blues Music Awards. Magness’s music, often infused with themes of

resilience, love, and struggle, resonates deeply with audiences worldwide.

Colin Campbell

Kimberly Adamis Fongheiser

FROM DOUBT TO DESTINY:

THE BIRTH OF A BLUES LEGEND

Janiva Magness is no stranger to struggle, nor is she unfamiliar

with the profound power of music to heal, elevate,

and transform. In an exclusive interview for Blues Matters

Magazine, she opens up about her unlikely journey

into the world of blues—a journey that started with selfdoubt

but blossomed into an award-winning career.

“I dreamed about it for a very long time,” she says. “But

I told myself I could never do that.” A troubled teenager,

she grew up in foster care, convinced she would meet

an early demise. However, at nineteen, she made a

life-changing decision: to chase the thing that made her

feel alive—music.

“There’s tremendous power in the trying,” she says,

emphasising that despite her internal resistance, she

couldn’t ignore the pull of singing. With no formal encouragement,

apart from a foster parent who once overheard

her and insisted she pursue it, Magness took a leap of

faith. She auditioned for a gig and, much to her surprise,

landed it immediately.

“I thought, well, I’ll just follow this for a minute. But it

doesn’t really mean anything,” she recalls. That ‘minute’

turned into a lifetime, as she discovered an irrepressible

drive to keep singing. “Once that motor started, I couldn’t

stop it.”

WISDOM FROM THE LEGENDS:

LESSONS THAT SHAPED A CAREER

Throughout her career, Magness has been fortunate to

receive wisdom from seasoned industry veterans. One of

her most influential mentors was Bob Tate, former musical

director for Sam Cooke and Jackie Wilson.

“He took me under his wing,” she says, remembering how


people assumed there was something romantic between

them. “But it wasn’t—it was kindness, love, and true mentorship.”

Tate’s advice was invaluable. “You have to learn all the

keys for your songs. You have to learn to count off your

own songs,” he told her. “And you must control the bandstand.

If musicians disrespect you, move on.”

For a young woman navigating a male-dominated industry,

these lessons were crucial. Magness also recalls a moment

of empowerment when a friend advised her to take

control of her bookings. “She told me, ‘Forget that guy.

Book as many gigs as you can, then go to the band and

say: I have three months of work. Do you want it or not?’”

That strategic move not only solidified her authority but

also set the tone for her future as a respected bandleader.

THE BLUES AS A CALLING:

A LIFELONG CONNECTION

Magness didn’t choose the blues—it chose her. “It’s always

been there,” she says, reminiscing about her father’s

record collection, which included old country, Nat King

Cole, and Bull Moose Jackson. But her true awakening

came at fourteen, when she saw blues legends B.B. King

and Otis Rush live.

“That night changed me. I was taken hostage by the

blues.”

Her musical journey continued with gospel choirs, traditional

vocal training, and learning to control her breath to

ensure longevity as a singer. “If I could control my breath,

I could protect my vocal cords,” she explains. Stage presence

and audience connection also became part of her

education, reinforcing the importance of authenticity in

performance.

BACK FOR ME: A TESTAMENT TO

PERSEVERANCE

Now, with seventeen albums to her name, Magness is

back with her latest release, Back for Me, produced by

longtime collaborator Dave Darling.

“I thought I was done,” she admits, revealing her doubts

about whether she was still relevant in the industry. “I’m

not the flavour of the week anymore. Maybe it’s time for

the glue factory.”

But when her label expressed interest in another record,

she realised she still had more to give. Unlike her previous

works, this new release is a mix of original songs and

carefully selected covers, or as she calls it, “mining for

gold in the B-sides.”

“MUSIC HAS ALWAYS

BEEN MY VEHICLE FOR

HUMAN CONNECTION”

Magness has always had an affinity for lesser-known

tracks, believing they hold as much value as any hit single.

“It’s not about popularity—it’s about what resonates,” she

says.

THE ROAD AHEAD:

STAYING TRUE TO THE MUSIC

Despite decades in the business, Magness remains committed

to the work rather than the accolades. “I just keep

my nose down and do the work,” she says. “That’s what

it’s always been about.”

As she looks toward the future, she continues to embrace

the same philosophy that got her here: perseverance,

authenticity, and an unwavering love for the blues. For

those inspired by her journey, Magness offers one final

piece of advice:

“You have to try. If you don’t, you’ll never know what you

could have been.”

As her career proves, there’s tremendous power in the

trying.



BETH HART

LIVE REVIEW

I’ve been fortunate enough to see Beth Hart

perform live on several occasions, and each

time, she raises the bar. Just when you think

you’ve seen her at her best, she returns to

blow your mind once again. That’s exactly

what happened at the Eventim Apollo.

Stephen Harrison

Simon Green

Beth recently released her latest album, You

Still Got Me (2024), following a two-year

hiatus. Now back on the road, she’s been

thrilling audiences across Europe and America.

Her powerhouse touring band—Jon Nichols

(guitar), Bill Ransom (drums), and Tom Lilley

(bass)—took to the stage just before 9 pm,

greeted by an audience buzzing with anticipation.

From the very first note, Beth delivered

everything the crowd wanted and more. Songs

from the new album were met with enthusiasm,

alongside classics like Bad Woman Blues,

Trouble, and Bang Bang Boom Boom. Tracks

such as Wanna Be Big Bad Johnny Cash and

Wonderful World from You Still Got Me saw

Beth commanding the stage with the presence

of a true star—she could own any stage in the

world right now.

A signature Beth Hart moment came when she

wandered through the audience, singing and

greeting fans—a move we’ve come to expect

but one that never loses its magic.

As the night edged towards its conclusion,

Beth had more surprises in store, including a

breathtaking rendition of John Denver’s Country

Roads. Seated at the piano, she delivered

a version so powerful it sent shivers down the

spine.

Of course, an encore was inevitable. From

her album A Tribute to Led Zeppelin, she tore

through Good Times Bad Times and Kashmir,

bringing the night to a thunderous close.

To call it special would be an understatement.

In my opinion, Beth Hart is the finest female

blues artist of all time—and after witnessing

this performance, I have no doubt many others

would agree.


EVENTIM APOLLO, LONDON

“she wandered through

the audience, singing and

greeting fans”


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OHN DO

E TRIO

THROUGH THE ANGUISH

COMES JOY

I’m sure we’ve all heard the expression ‘a John Doe’ used to describe an unidentified body, often

left in distressing circumstances, in American crime dramas. Well, this particular John Doe

is very much alive and kicking despite having found itself feeling abandoned and distressed by

fate and favour. The fact that the band, John Doe Trio, founder and frontman Phil Woollett was

himself a police detective before the darkest depression and anxiety gripped him is only one

irony running through this story.

Steve Yourglivch

Supplied

Phil is very open about the mental health problems that

he has suffered, first following the death of his young son

Joel a number of years ago and more recently when Covid

and the lockdowns ironically de-railed the bands’ ability

to capitalise on the release of their critically acclaimed

second album Railroaded. With the release of new album

JD3, he is determined to push ahead with everything he

has and to actively put into action his belief that more

openness about mental health issues will lead to greater

understanding. In a final twist original bass guitarist Craig

Ferguson has moved on and his replacement is Phil’s son

Ben, a situation Phil is absolutely thrilled by.

The Kent based band were formed by Phil in 2013 with

drummer Paul Townsend and original bassist Craig.

Debut album Stranger came out in 2016 followed by Railroaded

in early 2000. A hugely successful album launch

for JD3 recently happened at The Bourne Music Club and

there are an increasing number of dates in the dairy the

length of the country in the coming months. Everything is

now looking very positive, and it seemed the ideal time to

hook up with Phil via Zoom.

I started by asking Phil about the setbacks the band suffered

because of lockdown and the issues he had around

that, and how those has influenced the songwriting and

promotion of JD3.

‘Essentially yes, a lot of this album has come from the

heart. We pre-released the album on a Wednesday and

the following weekend the country went into lockdown,

so not the ideal conditions to conduct an album tour!

Although I have to say thanks to the heroic efforts of the

IBBA radio presenters and a special mention for Dave

Scott, the album did OK, but there’s no substitute for

getting out there and playing it live

in front of people with the band. So

yeah, it was difficult, we had this album

that we were pleased as Punch

with but we couldn’t get out anywhere

to play it to people. But of course, being

philosophical about it there were lots of

people who suffered a lot more through

Covid than not being able to play a few gigs to

people but as a band it was a big blow to us. By

the time it all cleared, and life started to get back

to normal we had lost all the momentum and there

were backlogs of bands playing cancelled gigs, so

getting any work was almost impossible.

Although most of the shows eventually got rescheduled

it happened in bits and bobs, which

often meant that they became unviable

because you really need them to run together.

It became a barren landscape. I’m

now very determined to use this album

as a platform to be very open about my

own mental health experiences. I suffered

severe depression and anxiety

to the point where it cost me my

career as a police officer and my

music became my saviour and

the feeling of losing that too

affected me pretty badly. I

reached the point where

I closed the band down,

I said right that’s it, I’ve

had it. Fortunately, a

few persuasive people

in my life talked me



around and slowly we got to the point where we started

doing a little bit of live work again. So, the decision was

made, right, if we’re going to do this we have to give it

everything and do it full blooded, write a new album and

give it our all.

Basically, jump in with both feet, not worry about what

people might expect us to play, but to play from the heart

and see what comes from it. Therefore, much of the album

is written from the heart about the difficulties I and

other people face, but with some light hearted observations

as well about just getting older. Tales Of The Modern

Day Curse for instance is about waking up and finding

there’s something else that you just can’t understand

happening! Big Ron is a reference to the virus, coRONa.’

As Phil said, don’t think the album is all doom and gloom,

the music is adventurous and upbeat, and there are

amusing observational songs about modern life. He is

smart enough to know nobody wants to hear an album of

self-pity. Some tracks are clearly about the struggles Phil

has gone through but mixed with a lot of fun.

‘I genuinely believe that’s how music should be, uplifting.

I’m sure none of us can comprehend the hardships most

of the original bluesmen went through, but they essentially

took the hardest of hardships and wrote songs that

brought

a smile to your face. I don’t know anything other than

music that can do that. I was involved in part of the fundraising

for Matt Long at The Wrotham Arms and it was

great, and it showed how uplifting music can be. I want

people to listen to this album and thoroughly enjoy it but

be aware of the subject at the same time. The album is

like life is, it has ups and downs, I didn’t want to get too

self-indulgent. The music is to be enjoyed and fun.’

I wanted to find out a bit more about Phil in his previous

life, police detective to bluesman isn’t a standard career

path although perhaps it should be.

‘I did in my late teens attend University to study for a

degree in music but unfortunately, I spent more time getting

to know the local pubs and playing gigs, so halfway

through year two I was politely asked to leave. I ended up

dragging my heels a bit, did a little guitar teaching, played

a few gigs, worked as a barman but wasn’t really making

a fist of it. My brother was a policeman, also a detective,

and I thought he’s doing OK, pays well and there’s a decent

pension so I went into it. It was a difficult career but

a good career for several years. Sadly, my wife and I lost

our baby son suddenly, I had already some mental health

issues, but I totally collapsed then, so I had to leave that

behind. But in many ways, its like anything else, it opened

up other things for me. At that point I was able to go back

to university and finish my degree, a Masters in music. I

then spent a few years playing covers in working men’s

clubs, it paid the bills but I wanted to write my own songs

and perform them, so I got together with Paul Townsend

as a side line really to do that. It started as a little bit of

fun and it grew.’

What is it like to now have Ben on bass as part of

the line up? ‘We did have Ben recording on the

album but for the first few live shows we’ve had

to get gnarly old Lenny Bunn in, we recorded

the album at his studio. Ben is studying acting at

university and he has a couple of shows on, he

will be playing with us live from the York Blues

Festival onwards. I really cannot wait! For a dad it’s

an absolute thrill, not sure how much of a thrill it will

be for him.

We’ll find out when he has to trek around with me and

share hotel rooms. For me its such a thrill to share these

experiences with him. Our previous bassist Craig was an

outstanding musician, one of the best I ever worked with,

so he’s got big shoes to fill but it’s going to be such an

adventure to look forward to.

Ben will be bringing down the average age of the band

which will be nice but whenever there’s a line up change it

can bring a new energy to proceedings. Having different

people to play with is always a wonderful experience.

On the album we have a young

lady who is a student of my wife’s

doing backing vocals. Daisy

Knight is her name, shes about

13 and she has done a sensational

job. We thought about

getting session players in, I’ve

worked with Katie Bradley

before for instance, but we

thought the idea of giving

this young girl the opportunity was just wonderful. She

smashed it too. It’s all part of this idea of music being

a force for good. For me this album has certainly been

something of a re-birth because things went down to

an all time low. It’s about us saying this is who we are

please get on board with us.’

Apart from being the writer and frontman Phil is also

EXPLORE

an extremely accomplished lead guitar player. Opening

track First King Of Texas is an homage to his hero Stevie

Ray Vaughan. I wondered who else were influences. Like

most of Phils songs it tells a story.

‘Stevie Ray is a big hero obviously. Other players who

have been a big part of my musical journey include the

jazz player Django Reinhart, he’s remarkable. Growing up

I was listening to Clapton and early Robert Cray. These

days I really enjoy listening to Kenny Wayne Shepherd,

I think he’s a wonderful guitarist. Also, people like Matt

Schofield, obviously Hendrix. We usually encore with

something by Hendrix or Cream. Some of that music is

timeless, I’d love my songs to be at least enduring. I love

the space you get with a three-piece band, something

very natural, I enjoy the clarity. We are very lucky in

this country to have a great network of small

blues clubs and venues run by real enthusiasts

and as a three piece we don’t need to be too

overpowering. As for storytelling, that is

essentially what blues is about, it started out

as Afro American folk music which is about

telling stories. Big Bad Ron is about the Corona

virus, big bad coRONa. That’s the one

I play on my homemade cigar box guitar

which gives a deep fat sound.

That was one of the first one written for the album, that

and the Stevie Ray song. Little J is a tribute to the little

son we lost. Laugh Or Cry for example is us pushing

boundaries a little, it’s got a bluegrass feel, almost country.

If you listen to Charly Patton or Ma Rainey their blues

is unrecognisable from what someone listening to blues

in the pub might sound like so we have to keep progressing.

Little Miss Everything is maybe a bit poppy, almost

Bond theme-like. When I started out on the blues scene it

was a bit daunting, feeling you are in that genre, and you

mustn’t stray out of it. I’m at the point now where I don’t

think is this bluesy enough to go on the album.’

As mentioned earlier the list of live shows all across the

UK is growing so if you want to check out John Doe Trio

performing live go to the website johndoetrio.

com - It’s also the place to stay up to date with

any news as it happens. I highly recommend

the new album, it’s a good blend of bluesy

rock with modern sounds.


WITH LOVE

Mitch Ryder is a rock and soul powerhouse whose raw, high-energy vocals helped define

the sound of the 1960s. As the frontman of Mitch Ryder & The Detroit Wheels, he fused

the grit of R&B with the fire of rock ‘n’ roll, delivering hits like *Devil with a Blue Dress

On/Good Golly Miss Molly* and *Jenny Take a Ride!*, songs that still pulse with the electricity

of Detroit’s legendary music scene.

Colin Campbell

Alejandro Saldana

But Ryder’s career didn’t stop there; he’s spent decades

pushing musical boundaries, crafting deeply personal

songs, and refusing to be boxed in. Today, we sit down

with the man himself to talk about his journey, his influences,

and what still drives him after all these years in the

business. We also discuss his new release, *With Love*, a

ten-track album produced by Don Was at Rustbelt Studios,

Michigan.

FROM DETROIT ROOTS TO ROCK ‘N’ ROLL STARDOM

Mitch Ryder’s career in music is a testament to raw

talent, determination, and passion. Growing up in Detroit,

Ryder was surrounded by music from an early age. His

father, a pre-World War II radio singer, and his mother, a

Southern-born music lover, filled their home with song,

laying the foundation for what would become a remarkable

career.

Though music was always present, Ryder initially aimed

to become a cartoonist for Disney. However, fate intervened

when, at sixteen, he recorded his first song

for Carrie Records, a black gospel label in Detroit. The

experience was transformative, setting Ryder on a new

path. While he continued drawing and even received an

apprenticeship offer from Disney, music proved to be his

true calling. By the time he graduated high school, he had

formed bands, cementing his path in the industry.

A YOUNG ARTIST’S FIRST STEPS

Looking back, Ryder sees that first recording as the defining

moment of his career. “At sixteen, one’s dreams can be

limitless, but taking real steps toward a goal is what separates

daydreams from reality.” That record was the seed

from which his future success would grow. Reflecting on

what he would tell his younger self, Ryder emphasises,

“Practice is key, both in music and in business. Get yourself

an accountant and a lawyer,” he advises. “The music

business is one of the filthiest, most corrupt industries

I’ve ever known.”

Despite industry challenges, Ryder’s love for performing

never waned. When asked about the highlight of his career,

he simply states, “We don’t know yet. It ain’t over till

it’s over.” His dedication to his craft is evident in the way

he discusses stagecraft, learning from mistakes, watching

great artists, and refining his performance over decades.

THE THRILL OF LIVE PERFORMANCE

Ryder prefers the intimacy of smaller clubs, where he

can engage directly with the audience. “In a stadium, if

you’re sitting a thousand yards back, all you’re seeing is a

screen,” he explains. “But in a club, you can be in the third

row, close enough to feel the energy and the sweat and

spit of the performer. That’s real entertainment.”


“All I want out of life is

to sing and record”


Ryder describes his songwriting process as fluid and

ever-changing. “On this album, I tried different approaches—starting

with melody, rhythm, or even just a single

word that sparked something. There’s no set formula.”

THE STORIES BEHIND THE SONGS

**Lilli May:** “That one comes from my youth,” Ryder

reveals. “It’s about falling in love with a woman who had a

certain profession. It’s raw, it’s real.”

As he continues to tour Europe, Ryder notes the stark

contrast between American and European audiences. “In

America, it’s about sales and making money. Everything

is disposable, and artists are treated like commodities.

In Europe, they value their artists, especially in live

entertainment.” He finds the European respect for older

musicians refreshing, recognising it as a more meaningful

appreciation of art.

A MUSIC INDUSTRY BUILT ON BUSINESS, NOT ART

The commercial nature of the American music industry

has long been a challenge for artists. Ryder describes

how the pressure to replicate past success often stifles

creativity. “If you had one hit, immediately you were back

in the studio doing the same thing. The businessmen said,

‘There’s the formula, let’s do it again.’” Occasionally, innovative

artists broke free, evolving with each album, but

that creative spirit is increasingly rare today.

Despite the hardships and an ever-changing industry,

Ryder remains as passionate about music as ever. His

commitment to authentic, live performance remains

unshaken, and he continues looking forward to the next

show and the next connection with an audience.

THE MAKING OF *WITH LOVE*

Ryder’s latest album, *With Love*, is one of his finest

works yet. Produced by Grammy-winning Don Was, the

record captures raw and authentic energy. “Don handpicked

an incredible team. He’s worked with legends like

the Rolling Stones, Bob Dylan, Bonnie Raitt, and the Black

Crowes. I was lucky to have him on board. We’ve known

each other for years, and he just gets the music.”

**Pass It to the Right** reflects the cultural acceptance of

cannabis. “That one’s about sitting around with friends,

smoking a little, and just enjoying the moment. It’s a sign

of how times have changed.”

**One Monkey** delves into addiction struggles. “That

one’s personal. It’s about overcoming something that had

a hold on me for a long time.”

**Wrong Hands** addresses gun violence in America. “I

believe in the right to bear arms, but laws were written

for a different time. Now, we need laws that fit today’s

reality.”

**Too Damn Slow** serves as a metaphor for life itself.

“It’s a mystery song, a double entendre. On the surface,

it’s about romance. But dig deeper, and you’ll find another

meaning.”

LIFE, LOVE, AND LEGACY

For Ryder, motivation boils down to two things: music

and love. “All I want out of life is to sing and record. And I

want my marriage to stay where it is,” he says. His latest

album reflects these priorities, capturing both passion

and reflection.

The closing track, **Just The Way It Is**, serves as a farewell

song. “It’s about how our friends say goodbye to us

and how we come to terms with mortality.”

Mitch Ryder’s *With Love* is more than just an album;

it’s a statement, a reflection, and a testament to an artist

who continues to defy expectations. His passion for

music remains as strong as ever, and if this record is any

indication, he’s nowhere near slowing down.

For further information, visit: www.mitchryder.net

EXPLORE


TIME TO FLY

Paul Long on Catfish’s Final

Chapter and a New Beginning

Stephen Harrison

Samantha Tempest, Laurence Harvey

The blues world has seen many moments of raw emotion, but few projects carry the

weight of Time to Fly, the final album from Catfish. As Paul Long reflects on the journey of

bringing this album to life, he also reveals plans for his next musical chapter. In this exclusive

interview, he shares how Time to Fly came together, the process of preserving Matt

Long’s legacy, and what comes next with his new band, Burning Rope.

Finding Strength in

the Music

The loss of Matt Long, Catfish’s frontman, left an undeniable

void in the blues rock community. For Paul Long,

Matt’s father and bandmate, returning to the music was a

slow and painful process.

“For quite a long time after Matt died, I found it too difficult

to listen to any of the music,” Paul admits. “But that

very slowly changed. Eventually, I found it comforting

rather than upsetting.”

That comfort led Paul to revisit the music Matt had left

behind—five unfinished studio tracks, two demo recordings

from his computer, and a voice note featuring an

acoustic melody with fragments of lyrics. These scattered

pieces laid the foundation for Time to Fly.

Using advanced AI software, Paul was able to extract

Matt’s vocals and guitar tracks, allowing him to complete

the songs while staying true to Matt’s original intentions.

Additional contributions from musicians Ash Wilson,

Alex Voysey, and Chloe Josephine helped shape the final

record.

“This album is a testament to Matt,” Paul explains. “It

seemed important to get the music out there rather than

let it sit unheard. I wanted people to hear what Matt had

done.”

Honouring

Matt’s Vision

Despite the technical challenges of completing an album

from unfinished recordings, Paul remained steadfast in

preserving Matt’s contributions.

“Most of the stuff Matt played in the studio would have

been redone, but his guide tracks were as good as or better

than most people’s best takes. It all sounded alive and

organic,” Paul says.

The final album captures the essence of Matt’s musicianship,

blending blues and rock with his signature emotional

depth. One of the album’s standout tracks, Breaking Up

Somebody’s Home, was a staple of Catfish’s live shows.

Paul recalls how it transformed over time:

“When we did it live, Matt would roam the room soloing,

with the audience joining in. That wouldn’t work in a studio

recording, so we arranged it differently. We wanted

to document it properly after playing it for so long.”

The Sound of Growth

Stephen Harrison, the interviewer and long-time Catfish

fan, remarks that A Time to Fly feels like the band’s

strongest work.

“I thought it was the best thing Catfish had done,” he

says. “It felt like Matt’s singing and playing had reached

another level.”

Paul agrees, noting that Matt had always wanted the next

album to be big.

“That was one of the things he said—he wanted the record

to sound huge. So that’s what I went for.”

The effort to bring this vision to life was extensive. Paul

spent countless hours refining arrangements, mixing,

and ensuring that every detail honoured Matt’s legacy.

The album is not just a farewell but a powerful statement



EXPLORE


of what Matt and the band had achieved

together.

While Time to Fly marks the final chapter

for Catfish, Paul is not done making music.

He is stepping into a new era with Burning

Rope, a band that reflects his evolving

sound and influences.

Burning Rope:

A New Journey

Formed with longtime collaborators Adam

Pyke and Phil Wilson, along with guitarist

Alex Voysey, Burning Rope takes its name

from a Genesis song about loss and change.

“Matt wasn’t a Genesis fan,” Paul chuckles.

“Whenever we put it on in the tour van,

he’d put his headphones on. But the song

Burning Rope really resonated—it’s about

how everything is temporary except the

changing of the seasons. It felt right.”

The band’s sound will differ from Catfish,

leaning towards blues-infused rock with

new creative directions.

“It won’t be as heavy,” Paul explains. “Alex is

an incredible player, but his style is different

from Matt’s. There’s a lot of funky and interesting

twists in our new material.”

Burning Rope’s debut show is set for April

1st at the Tuesday Night Music Club in

Coulsdon, a familiar and fitting starting

point for the new band. Paul describes the

new group as a collaborative effort, where

each musician brings something fresh to the

table.

“I never wanted this to be just ‘my’ band.

I’ve always loved working with musicians

who push me in new directions.”


The Legacy

of Catfish

Reflecting on Catfish’s journey, Paul highlights key moments

that shaped the band. One of their earliest turning

points was playing Jaks Bar at the Great British Rock &

Blues Festival in Skegness.

“I remember sticking my head out from behind the curtain

and thinking, ‘Crank it up, this place is packed!’ That gig

changed everything for us.”

Another pivotal moment came when Paul Jones played

their song So Many Roads on BBC Radio 2, propelling them

from pub gigs to theatres and festivals.

“We suddenly weren’t just playing in bars anymore. That

one song opened up everything for us.”

From playing their first international gigs in the Netherlands

to performing at major blues festivals, Catfish built

a reputation as one of the most exciting blues rock bands

on the scene. Their blend of blues authenticity with rock

energy made them a unique force.

Despite the challenges of the road, Paul fondly remembers

the camaraderie and unexpected moments that made the

journey special. One particular show stands out:

“We played a gig in Cambridge during the Beast from the

East snowstorm. The roads were awful, and the venue told

us we might as well cancel. But then, one guy walked in and


said, ‘I made it. I came to see you play.’ So we played the

whole show just for him.”

Moving Forward

As the conversation draws to a close, Paul acknowledges

that transitioning to a new band won’t be without challenges.

“After ten years with Catfish, where we knew each other’s

playing inside out, starting fresh is going to take time,” he

admits. “But I never wanted to be a solo artist. I’ve always

wanted to play in a band, to make music with other people.”

With Time to Fly set for release and Burning Rope preparing

for its debut, Paul Long continues to honour the

past while embracing the future. The final Catfish album is

more than just a farewell—it’s a celebration of Matt Long’s

incredible talent and a bridge to the next chapter of Paul’s

musical journey.

For those eager to hear A Time to Fly, pre-orders are now

available, with vinyl and CD editions set for release soon.

And for fans of Paul’s work, the first glimpse of Burning

Rope will be an unmissable moment in April.

As one chapter closes, another begins—and the music, as

always, keeps moving forward.


LIVE REVIEW

TOM ATTAH & KYLA BROX

The North West Music Academy in Barrow provided an intimate yet vibrant setting for the

first night of the Barrow Jazz and Blues Weekender 21st-23rd February. With its warm,

inviting ambiance and a resolute crowd of blues aficionados, the venue perfectly suited

the soulful performances of the night. Barrow used to have a Blues Club in the area and

it’s so good to see there is still a vibrant scene and hopefully will continue into the future

with this inaugural festival. Unfortunately, due to commitments, reviewer could only make

this concert and what an honour it was to attend.

Stephen Harrison

Ian Allington

The space, offered an up-close and personal experience,

fostering a connection between the artists and audience

rarely felt in larger venues. A team of enthusiastic volunteers

ran the event smoothly, ensuring everything from

ticketing to sound checks was overseen with care and

professionalism, special mention goes to Organiser and

MC for the night Lesley Harris, also involved was Dylan

Pepper organiser of the Orkney Blues Festival. Clarity of

sound was amazing, and the rapt audience was a listening

group, not a sound heard during the particularly quiet

songs.

TOM ATTAH

Opening the evening was the immensely talented Tom

Attah, whose deep, resonant voice and masterful guitar

work immediately captivated the audience. His set was a

heartfelt journey through blues history, blending traditional

Delta blues with a contemporary edge. Attah’s

storytelling between songs added an extra layer of depth

and humour, engaging the crowd with insights into the

music’s rich heritage. His intricate fingerpicking and

powerful vocals filled the room effortlessly, proving that

a single musician with a guitar can command an entire

venue with sheer presence and talent. From the moment

Attah opened with a soulful acoustic rendition of How

Long Has It Been, the audience was captivated. His vocals

rich, raw, and full of lived-in experience, echoed the spirit

of the genre’s greats while remaining distinctly his own,

especially on Catfish Blues. Each lyric felt like a personal

confession, drawing the crowd into a world of heartbreak,

resilience, and passion.

He even brought a bit of Gospel to proceedings with I

Will Fly Away. He finished off with a medley of Killing

Floor including Got My Mojo Working, where there was

much call and response from the assembled audience, an

entertainer and consummate bluesman Tom produced a

wonderfully emotive set list a great storyteller and has a

charisma that just leaves you smiling and appreciative of

his talent, a great set.

Website: https://www.tomattah.co.uk/


KYLA BROX

Headlining the night was the sensational Kyla Brox,

accompanied by the brilliant Danny Blomeley on acoustic

guitar. From the moment Brox took the stage, her stunning

vocal range and emotional depth had the audience

spellbound. Whether delivering sultry, slow-burning

blues numbers or high-energy, foot-stomping anthems,

she held the room in the palm of her hand. Her voice, rich

with passion and nuance, was perfectly complemented by

Blomeley’s expressive guitar work, which added warmth

and texture to each song.

BARROW JAZZ AND BLUES WEEKENDER

With every note dripping in bluesy attitude and Blomeley’s

guitar work adding a smoky texture, the song stood

out as one of the evening’s most captivating moments.

Make A Move turned the heat up even further, drawing

in the audience with its irresistible rhythm and soulful

hooks. Brox’s ability to engage the crowd was evident,

as the energy in the room swelled with each chorus. Kyla

paid homage to her father Victor on her stunning delivery

of Double Loving. They also showcased two new songs,

Not Blues Enough, well it certainly was blues rooted

throughout, and Elixir Of Love. This was followed by a full

on feelgood version of Choose Me, just sublime.

Together, they created a stripped-back yet powerful set,

allowing the raw beauty of the music to shine through.

The intimate venue was the perfect setting for an evening

of raw, heartfelt music from Kyla Brox and Danny Blomeley.

As an acoustic duo, their chemistry was undeniable,

with Brox’s soulful vocals soaring over Blomeley’s masterful

guitar work.

The setlist was a well-crafted journey through emotion,

groove, and sheer musicality,

leaving the audience spellbound

from start to finish. Devil’s Bridge is

a haunting number that immediately

highlighted Brox’s ability to draw

deep feeling from every note. The

song’s dark, bluesy undercurrent

was complemented by Blomeley’s

intricate fingerpicking, setting the

tone for an evening of both intensity

and warmth. Moving onto, In The

Morning, the mood shifted to a more

uplifting, soulful energy. The gentle

yet insistent rhythm carried the song

forward as Brox’s voice caressed the

melody with ease. Her effortless vocal

control, paired with Blomeley’s subtle

yet expressive guitar work, made for a

performance that felt deeply personal

and immersive. The tender ballad I Love

You More written for her children, was a

highlight of the night, with Brox pouring

emotion into every word. The audience

was visibly moved, and the stripped-down

arrangement allowed the song’s sentiment

to shine through in its purest form. Switching

gears, 365 brought a funky, rhythmic

change of pace and a lot of crowd participation. Blomeley’s

percussive strumming created an infectious groove,

while Brox delivered the lyrics with a playful yet passionate

intensity.

The duo’s ability to craft dynamic energy from a simple

setup was truly impressive. The crowd was then treated

to Shaken and Stirred, a sultry, jazz-infused number that

allowed Brox to showcase her sassy, charismatic side.

The night closed with a stunning rendition of Hallelujah.

Though often covered, Brox and Blomeley brought a

deeply personal touch to the classic. Brox’s voice was

filled with reverence and power, while Blomeley’s delicate

guitar playing provided the perfect backdrop. The

result was a breathtaking and emotional finale that left

the audience in a moment of hushed awe before

erupting into

well-deserved applause

and standing ovation. Kyla Brox and Danny Blomeley

proved that sometimes, less is more.

With just a guitar and a vocals and flute playing, they

delivered a performance brimming with soul, passion,

and masterful musicianship. One to savour for a long

time, a great night had by all, super venue and wonderful

acoustics, good luck for the future.

Website: https://www.kylabrox.com/


LUESNEWSBLUESNEWSBLUESNEWSBLUESNEWSBLUESNEWS...

ROBIN TROWER RETURNS

WITH COME AND FIND ME

At 80 years old, Robin Trower shows no signs

of slowing down. His new album, Come And

Find Me, is set for release on 25 April via

Provogue, with the first single, “A Little Bit of

Freedom”, already available. Following last

year’s cancelled US tour, Trower is eager to hit

the road again, with UK tour dates scheduled

for May.

ERIC CLAPTON’S LEGENDARY 1958 LES PAUL

CUSTOM RECREATED

UK Tour Dates

14 May – Buxton, Opera House

15 May – Glasgow, Oran Mor

17 May – Holmfirth, The Picturedrome

18 May – Birmingham, Town Hall

20 May – Frome, Cheese & Grain

21 May – London, Shepherd’s Bush Empire

An Album Born from Momentum

Recorded over twelve months at Studio 91

in Newbury, Come And Find Me continues

Trower’s legacy of masterful guitar work and

introspective songwriting. The album reflects

his view on the modern world, with “A Little

Bit of Freedom” tackling themes of restriction

and control: “Too much red tape, not enough

freedom to think – it’s got to where you feel

straitjacketed.”

Trower’s long-time collaborators-Chris

Taggart (drums), Glenn Letsch (bass), Richard

Watts (vocals)-return, with guest singer Jess

Hayes adding a fresh dynamic to Tangled Love.

Musically, the album blends blues, rock, and

R&B influences while keeping his signature

Stratocaster-driven sound front and centre.

Still Pushing Forward

Trower’s sharp lyricism shines on “The Future

Starts Right Here”, addressing modern tribalism,

while “Without A Trace” takes aim at

political deception. His guitar work remains

as evocative as ever, with the brooding “Take

This Hurt Away” and swampy “One Go Round”

standing out.

Despite decades in the industry, Trower is still

chasing the thrill of creating new music. Come

And Find Me proves that he remains a vital

force in blues-rock, not content to rest on past

glories. “For me, there’s nothing more rewarding

than working on a new song,” he says.

With an album release and an extensive tour

ahead, 2025 is shaping up to be another milestone

year for a true guitar icon.

If you have £17,499 to spare, Gibson has something special—a

meticulously crafted reissue of Eric Clapton’s 1958 Les Paul Custom.

Limited to just 150 pieces, this guitar is a must-have for serious

collectors and Clapton fans.

A Guitar with History

Clapton acquired his 1958 Les Paul Custom (serial number 8 6320)

during Cream’s first US tour, using it extensively on Disraeli Gears

and with Delaney & Bonnie. The guitar remained with him through

the late ‘60s and ‘70s before being passed to Albert Lee in 1979.

Now, Gibson is offering an exact recreation of this historic instrument.

Craftsmanship and Exclusive Features

Aged to perfection by Gibson’s Murphy Lab, this reissue replicates

every detail of the original, including its distinctive wear patterns.

Each guitar comes in a Duck Brothers-inspired case, with a second

pickguard signed by both Clapton and Lee, housed in a collectible

wooden display case. Additional premium extras include a Certificate

of Authenticity, a black leather Archive Series strap, and a Gibson

Custom switch plate medallion.

A Collector’s Dream

With only 150 guitars crafted at the Gibson Custom Shop in Nashville,

this ultra-limited run ensures each piece is a rare slice of music

history. Early access is available until February 24th at Gibson.com

and the Gibson Garage.

For those wanting to own a true piece of Eric Clapton’s blues and

rock legacy, this is an opportunity not to be missed.

Eric Clapton’s influence on blues and rock is immeasurable, and with

this reissue of his legendary 1958 Les Paul Custom, Gibson has provided

musicians and collectors alike with a rare opportunity to own a

piece of that legacy.


POPA

CHUBBY

THE BEAST FROM

THE EAST RETURNS!

Popa Chubby, the fiery blues-rock guitarist and singer, has been shaking up the blues scene

for over three decades with his raw energy, searing guitar licks, and larger-than-life stage

presence. Born Ted Horowitz in the Bronx, New York, Chubby blends gritty blues with

hard-hitting rock and roll, infusing his music with the attitude of the city streets and the

soul of classic blues greats.

Colin Campbell

Phillip Ducap & Nelson G Onofrio

With a career spanning countless albums and electrifying

live performances, he has carved out a reputation as a

powerhouse musician who channels the spirit of legends

like Jimi Hendrix and Albert King while forging his own

bold, rebellious path in the blues world.

FROM THE BRONX

TO THE BLUES

Popa Chubby isn’t just a blues musician—he’s a storyteller,

a fighter, and a survivor. Born in 1960 in the Bronx to

a Jewish father and an Italian mother, his upbringing was

anything but ordinary.

“My dad was a tough Jew,” Chubby recalls. “His father

came here from Ukraine after World War II, and he had

the tattoo to prove it. My dad made his living with his

brains and his fists, and he met my mom, this young, hot

Italian woman. Next thing you know, out popped me—

horns and all!”

Music was always present in his life. His father had a collection

of old 78s featuring artists like Bessie Smith and

Odetta, and the family jukebox was filled with Motown,

Stax, and blues records. “It was in my DNA,” he says. “The

blues came in from day one.”

A TROUBLED START

Chubby’s journey to music wasn’t smooth. “I was a bad

kid,” he admits. “I didn’t listen. But when I played music,

people liked me. It was my way of turning anger into

laughter and making people happy.”

After being expelled from high school, he was sent to

“mini school,” a program for delinquents. “All we did was

smoke weed, talk about rock ‘n’ roll, and dream of getting

to New York City,” he laughs. His first gig happened there,

playing with his childhood friend Eddie Camiolo. “It was

chaos—literally. Half the crowd wanted disco, and the

other half wanted rock. There was a fight, and we got

thrown out.”

Chaos followed Chubby into his early punk rock days. He

and his band won a contest for a single with CBS Records,

but their antics—trashing dressing rooms in true rock




‘n’ roll fashion—led to a cancelled deal. “Eddie’s mom

made us go back the next day to fix the walls with joint

compound and sheetrock,” he recalls. “No TVs in the

swimming pool for me!”

DISCOVERING THE BLUES

While punk rock gave him a stage, the blues gave him

a purpose. “I got into the Stones, Zeppelin, and Cream,

but when I saw Willie Dixon’s name on the credits, I

wanted to know more. Then I discovered Freddie King,

and it rearranged my chromosomes.”

Freddie King’s *Burglar* album, produced by Mike

Vernon, became a life-changing record for Chubby. “It’s

the funkiest record I’ve ever heard,” he says. Meeting

Steve Ferrone, the drummer on that album, years later

backstage in Amsterdam, was a highlight. “I told him it

was the most important record in my life, and he said it

was his first session. That just blew me away.”

THE ROAD TO

RECOVERY AND

REINVENTION

These days, Chubby is recovering from a long and arduous

health battle. “I had to learn how to walk again. It’s

been tough, but I’m getting there,” he shares. Despite

the setbacks, his humour and resilience remain intact.

“I wouldn’t advise it, but I’m pain-free now, and that’s a

gift.”

As for his music, he sees it as an extension of his

personality: a mix of humour, raw emotion, and pure

grit. His new album, *Popa & Friends: We Love Freddie

King*, draws from a lifetime of influences, from early

blues to punk rock. “The blues is like jambalaya,” he

says. “It’s a cultural clash that somehow works perfectly.

That’s what rock ‘n’ roll is, and that’s what I am.”

HONOURING

FREDDIE KING

Few names in the blues world command as much

reverence as Freddie King, and for Popa Chubby, King’s

music is nothing short of mythical. “What Freddie did

was iconic,” Chubby explains. “His soulful delivery, his

phrasing, the way he bent certain notes... It was different

from anyone else.”

Chubby’s latest album is a heartfelt tribute to Freddie

King, celebrating King’s profound influence on blues

and rock guitarists alike. “From Clapton to Van Halen,

guitarists are still playing licks without even realising

they’re Freddie King’s. His sound was unique, rooted in

Texas blues with a touch of country.”


*Hideaway*, *I’m Going Down*, and *Same Old

Blues*. Chubby’s attention to detail in recreating

these songs was painstaking. “Some of

it’s not just straight blues,” he says. “There’s

funk, horns, and intricate arrangements. We

rehearsed hard to honour the original feel of

these tracks.”

A TIME FOR

REFLECTION

WE ALL LOVE

FREDDIE KING

The journey to complete the album wasn’t without

its challenges. After undergoing intensive

Chubby’s Freddie King tribute album, *I Love

Freddie King*, has been a journey of dedication,

resilience, and collaboration. “It was a long

time in the making,” he admits. “I got sick in the

middle of it, and everything went on the back

burner. But my friends stepped up in a big way.”

Blues heavyweights like **Joe Bonamassa,

Christone “Kingfish” Ingram, Eric Gales, and

Mike Zito** contributed to the album. “These

“THE BLUES IS LIKE

JAMBALAYA—IT’S A

CULTURAL CLASH THAT

SOMEHOW WORKS PERFECTLY”

are people I’ve known for 35 years, and everyone

was eager to help. Even with crazy schedules,

they sent tracks digitally, and it all came

together beautifully.”

The album spans the three key eras of King’s

career, including must-recorded tracks like

spinal surgery, Chubby faced months of recovery.

“Nothing is as it used to be,” he admits.

“I couldn’t even lift my arms at one point, but

friends and engineers helped finish the project.

I’m so grateful.”

Despite his recovery, Chubby has already

begun playing songs from the album live, with

select shows featuring a horn section. “We’ve

been doing tracks like *My Credit Didn’t Go

Through* live,” he shares. “The funky stuff is so

much fun.”

LOOKING AHEAD

Though cautious about scheduling, Chubby

is optimistic about future tours. “I’ve got a

German tour in May and a French tour in November,”

he says. “Recovery’s a process, but I’m

taking it one day at a time.” He also expressed

a desire to return to the UK, reminiscing about

past performances in Edinburgh and his connection

with local blues fans.

Before signing off, Popa Chubby shared a

heartfelt message: **“Keep on doing it. Blues

matters! Keep bringing the blues to the world.

Popa Chubby loves you, and I’m coming back.

I’ll see you soon.”**

For further information, visit: www.popachubby.com



The Birth of the Blues

A Journey into the Delta

and Beyond

Hey, how you doing? :) I’m Justin Sandercoe, and I’ve spent most of my life helping guitarists

worldwide unlock their potential on guitar. Over the next few months, I’ll be sharing guitar

insights from my Blues Immersion program, a deep dive into all the facets of Blues guitar.

started trying to play Blues songs

I when I was 11 or 12... Attempting

to work out guitar parts by ear

from vinyl records. The music of

Chuck Berry, B.B. King, The Rolling

Stones and Stevie Ray Vaughn had

me captivated from the first listen.

Its raw emotion, storytelling, and

expressive guitar playing make it

one of the most powerful forms of

music..

Blues is more than just a genre—

it’s a journey. And that’s exactly

what we’ll be exploring together.

Over the next few months, I’ll be

sharing guitar insights from my

Blues Immersion program, a deep

dive into all the facets of Blues

guitar. I’ve worked countless hours

of research into this course, and

I want to make some of it more

accessible to everyone. That’s why,

here in Blues Matters magazine,

we’ll be exploring some learnings

from each of the six units and the

skills and techniques covered in the

course. This month, we’re starting

with The Birth of the Blues, tracing

its roots back to the Mississippi

Delta, where it all began. This

deep study of the Delta Blues

reveals its origins, pioneers, and

the techniques that defined its

signature sound.

This month, we’re starting with The

Birth of the Blues, tracing its roots

back to the Mississippi Delta, where

it all began. This deep study of

the Delta Blues reveals its origins,

pioneers, and the techniques that

defined its signature sound.

The Delta: The Cradle of the Blues

The Delta Blues was born in the

early 20th century, shaped by

African American musicians who

transformed work songs, field

hollers, and spirituals into an

entirely new musical language.

Pioneers like Robert Johnson,

Son House, and Charley Patton

told stories of hardship, love,

and redemption through their

raw, emotive guitar playing and

haunting vocals.

By diving deep into this history, we

explore the early Blues artists and

their impact on modern music.

With carefully curated playlists of

1940s and earlier Blues recordings,

you’ll develop an ear for the

nuances of this transformative

genre, absorbing the soul of the

Blues straight from its source.

Building the Blues Foundation

Understanding the origins of the

Blues is just the beginning. The next

step is learning its core elements—

the scales and techniques that

bring this music to life.

Scales as a Framework

One of the first things we tackle

in Unit 1 is the Minor Pentatonic

Scale—think of it as the alphabet of

Blues guitar. But Blues is more than

just five notes. The Blues Hybrid

Scale adds extra color, giving

you more expressive options. If

you’ve ever felt stuck in a “same

old licks” rut, expanding your scale

knowledge is the way out!

Licks are another big part of the

Blues vocabulary. I tell my students

to think of them like words—short

phrases that, when used well, tell

a compelling story. That’s why Unit

1 includes lessons on classic Blues

licks, helping you integrate them

into your solos naturally.

Bending: The Soul of Blues Guitar

One of the most defining guitar

techniques in Blues guitar is

string bending. It’s one of the key

expressive techniques and can

give guitarists access to a vocal-like

quality, allowing the guitar to sing

with emotion. With step-by-step

bending exercises, from subtle

quarter-tone curls to full-step

bends, students develop pitchperfect

bends that bring their

playing to life. Exercises like “Pitch

Perfect Bends” and “Pattern 1 Bend

Candidates” train the ears and

fingers to master this essential skill.

Learning the Language of the Blues

The Blues is built on licks—which

I recommend that people think

of as ‘words’. Short, expressive

phrases that allow you to say

something meaningful in the

Blues language. Through lessons

like “Licks in Pattern 1” and “Lick

Medley Practice,” students explore

how these essential phrases

come together to allow students

to develop their unique voice

in the Blues. A crucial aspect of

mastering licks is learning how to

use them effectively. By practicing

with backing tracks, players

develop fluidity and confidence,

making each phrase feel natural

and expressive. With enough

exploration, these licks become

second nature, shaping a guitarist’s

Blues style.

Classic Blues Songs & Artist Studies

The best way to understand the

Blues is to study the greats. Blues

Immersion takes us through

classics like “Sweet Home Chicago”

and “Cross Road Blues,” analyzing

the techniques that made them

legendary. Robert Johnson’s

innovative slide playing and

rhythmic complexities serve as

key study points, offering valuable

insights into the roots of the Blues.

A big part of learning the Blues is

studying the players who defined

it. In Unit 1 we also cover a simple

approach to transcribing by ear—

one of the most powerful skills you

can develop as a musician. Like the

Blues greats did back in the day,

learning directly from recordings

deepens the connection to the

music and its traditions.

BLUES

IMMERSION

Immersing Yourself in the Blues

The Blues is more than just notes

and techniques—it’s an emotional

and historical journey. From

understanding the Delta’s rich

musical history to developing

essential techniques like bending

and phrasing, this exploration

takes you into the heart of Blues

music.

The journey into the Blues is

about feeling, storytelling, and

expression. By diving into its

roots, techniques, and legendary

recordings, we uncover what

makes this genre timeless and

powerful. So grab your guitar, lose

yourself in the music, and let the

spirit of the Blues take over.

If you’d like to explore all of this

deeper, consider joining our next

Blues Immersion class, starting in

the Summer of 2025.

Please visit justinguitar.com/

store/blues-immersion for more

information and to join the waiting

list. Happy trails!

Robert Leroy Johnson

THE RETURN

OF THE QUEEN OF

THE SLIDE GUITAR

ERJA LYYTINEN

On March 28th, 2025 award-winning guitarist and blues artist extraordinaire

Erja Lyytinen will release her new studio album “Smell the Roses”. The lead

single and title track was unveiled at the end of January. Elaborating on the

song, Erja said: “The message is simple - wake up and Smell the Roses. There’s

so much beauty in the world, so why don’t we stop and enjoy it?”

Adam Kennedy

Arnie Goodman

It’s been three years since the release of Erja Lyytinen’s

last solo studio album, “Waiting for the Daylight”. Since

then, the High-Flying Finn has continued to tour the

globe relentlessly, performing at prestigious events such

as the Byron Bay Blues Festival in Australia, headlining

HRH Blues at the O2 Academy in Leicester, and making

her debut at the legendary Rory Gallagher Festival in

Ballyshannon, to name but a few.

The last twelve months resulted in great success for Erja

Lyytinen. The Helsinki native was recognised as an Angel

of Rock at the HRH Awards in Great Yarmouth, released

a new live album, and even managed to squeeze in a run

on the Masked Singer in Finland. Erja said: “It was a really

busy time. I felt like we were touring the whole year, and I

also had a change in the band lineup. So that made things

different. And, it was exciting at the same time because

you get to play with new people, and it makes everything

fresher.”

Erja continues: “We played over 100 shows. And there

was a lot of travelling. You need to take it easy for weeks

after having a long tour because the tours usually wear

you out. We did tours in Australia, England, and Europe.

We went everywhere, really.”

At the same time as the High-Flying Finn undertaking

her global touring adventures, Erja knew that the studio

was calling. “I understood that I had to start writing new

music, and it was a very productive year for me. I felt

like there were a lot of songs coming out, a lot of ideas,

melodies, lyrics and all sorts of stuff. So, I was recording

while on tour and while in hotel rooms during the off days

at home and so on. It felt like there was a lot of material

coming out from somewhere deep down in my soul. And

I took it, and I used it the best way I could. And so, by the

end of September, I had the whole album written down.”

Erja’s last three studio albums - Waiting For The Daylight,

Another World and Stolen Hearts, grappled with subjects

such as love, loss and new beginnings. In that respect,

does the artist’s new album, Smell the Roses, act as a

continuation of the themes explored in the previous releases?

“I think that every album is one phase in your life.

I feel like it’s a continuation of Waiting for the Daylight,

and that was three years ago. And it was different times.

There was a pandemic going on,” declares Erja. “There

was some relationship stuff. But there are always songs

about love and lust and all that. But I think that this album

is somewhat different.”

Erja adds: “I know it’s different compared to all of my

albums. I feel like I was trying to be honest and straightforward

with everything. I need to write for myself. I need

to like the songs. I need to like the story. So, I was trying

to please myself first and then everybody else.”

The artist has had a long and successful career in the

music industry. “I’ve been in the music business for more

than 30 years. I started playing with my parents when

I was 15 years old. And when you’re younger, you have

your insecurities and all that. But I’ve come to an age

that I’m not thinking about what others think so much

anymore,” explains Erja. “And, of course, you have your

knowledge, and you have more experience and so on. All

this helps you to make better music each day. So yeah,

I think I’m very satisfied with the album. It feels like it’s

something different from what I’ve done before.”

One thing that has been apparent across Lyytinen’s last

three albums is the continual evolution of her sound.

With Smell the Roses, Erja continues to push her musical


“It’s also to remind myself to wake

up and smell the roses”

boundaries. “My style has been developing enormously in the

last few years,” said Erja. “And as a guitar player, I want to go

deeper, and I want to learn more guitar techniques and play

faster and play cooler stuff. But at the same time, I want to

make melodic solos as well. I feel like progressive music and

progressive rock music interests me as a guitar player at the

moment. And so, I think that sound and that way of playing, you

can hear that more on this album.”

Erja continues: “I love blues, and it will always be the core of

my guitar playing. Blues is guitar music. But for me, the rock

bands from the 60s and 70s. I really enjoy the sound of that era

and how those vinyls sound. I was going through my albums

at home, and I was looking at which albums I like to listen to.

And most of its 70s stuff, like Kansas, King Crimson, Yes, Black

Sabbath, Pink Floyd, Emerson Lake and Palmer, all that stuff. It’s

like, I love all those bands. I like the way they create the music,

and it’s very rocky.”

The title track of the release is somewhat poignant and

thought-provoking. “The song is aimed at all of us to remember

that - hey, all is really good. We have everything. All is fine. And

why do we have to wallow in negativity? Why do we need to

have something more? And why do we envy people around us

and think that she or he has everything better than me?” explains

Erja. “It’s also at the same token for all the dictators and

leaders in the world who already have it all, but they still want

more power and gain more things for themselves. The world

would be a more beautiful place if we understand that we are

already happy if we just decide to be like that.”

Erja elaborates: “It’s also to remind myself to wake up and smell

the roses. Everything is fine. And all is great in your life. We are

healthy. We’re happy. We have friends. We’ve got families. So,

it’s all good.”

Erja Lyytinen once again self-produced her latest offering. But

how did she find the production process for Smell the Roses?

“I think this time around, it was even easier than last time.

Because I already knew how the songs would sound before we

went to the studio. And while I was doing the pre-production, I did little

demos for my band to listen to,” said Erja. “I wanted to make this one a lot

more straightforward, and just play it and be rocky. And have simple and

understandable pieces on the songs, and not to try to make it too hard or

too layered.”

Erja elaborates: “With Waiting for Daylight, we had lots

of tracks there. I was doing some violin arrangements,

and there were a lot of backing vocals and all sorts of

stuff. But, with this one it was so straightforward. For

instance, when I was recording my guitar solos, I didn’t

use pedals, which surprised me because when I’ve been

playing live, I have two big pedal boards. But on this

one, I thought I’m just going to plug straight into my

Mesa Boogie F30, and then I didn’t even use reverb on

some of the tracks. So, it was really like just using the

Mesa Boogie and its own distortion channel to get that

tone and get the sound for the album.”

Erja and the band went into the studio fully prepared.

“It was quite easy to go into the studio and just play the

songs. We had been rehearsing them at sound checks during the fall of

2024.” The process in the studio went quickly. “While we cut the backing

tracks, we did them in three days only, which was quite fast. And then I

went to my little studio to work on the overdubs, doing the guitar and

vocal parts,” confirms Erja.

At the end of last year, Erja Lyytinen released a new live album titled

20 Years of Blues Rock! The album celebrated the 20th anniversary of

the release of the artist’s debut album Wildflower. But how did it feel to

reach this musical milestone? “20 years feels quite a short time. But those

20 years we are speaking about are from when I did my first solo album.

But I started to play gigs over 30 years ago. So, it’s even longer,” she

laughs. “It was nice to celebrate that milestone. What made it even nicer

was the fact that I was able to ask my old bandmates to join me on this

anniversary show at Tavastia in Helsinki. It was a long evening for me because

I think we played a bit less than 20 songs during the evening. I was

on the stage through the night. So, all in all, I was standing there for three

hours. And then, of course, meeting the fans afterwards, and chatting

with my bandmates and so on. It was a lovely evening. And I’m very happy

that we recorded it, and we put it out as a live album.”

“I wanted

to make

this one

a lot more

straightforward”

For those who would like to experience Erja Lyytinen live and in person

rather than on record, the artist will be returning to the UK for an

extensive tour in April. “I’m very much looking forward to coming to the

UK. And also, it’s going to be really exciting to bring all these songs to the

live set because that’s a different thing. It’s how we excite the audience

and which songs will be great live tracks,” explains Erja. “You cannot tell

probably at this point, but I have a feeling that all those tracks will work

quite nicely. And with this nice groovy stuff on the songs, there’s a lot

of rhythm, and I think it’s going to be interesting, and I hope a lot of fun,

too. But it does take a few tours before the new songs start to settle. And

that’s the way it goes. But it’s also very exciting times,” concludes Erja.

Smell the Roses, the new album from Erja Lyytinen, will be released via

Tuohi Records on Friday, 28th March. The artist will tour the UK in support

of the release throughout April. For ticket information and further

details, please visit https://erjalyytinen.com

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THE BIG BLUES CHART

THE TOP 50 BLUES ALBUMS

POS ARTIST ALBUM LABEL

#1 KENNY BLUES BOSS WAYNE OOH YEAH STONY PLAIN RECORDS

#2 BLUE MOON MARQUEE NEW ORLEANS SESSIONS INDIE

#3 TONY D ELECTRIC DELTA CORDOVA BAY RECORDS

#4 SHEMEKIA COPELAND BLAME IT ON EVE ALLIGATOR RECORDS

#5 THE FABULOUS THUNDERBIRDS STRUCK DOWN STONY PLAIN RECORDS

#6 BENNY TURNER BT NOLA BLUE RECORDS

#7 OLLEE OWENS NOWHERE TO HIDE OLLEE OWENS MUSIC

#8 COLIN JAMES CHASING THE SUN STONY PLAIN RECORDS

#9 GREG NAGY THE REAL YOU INDIE

#10 RICK ESTRIN & THE NIGHTCATS THE HITS KEEP COMING ALLIGATOR RECORDS

#11 BIG DAVE MCLEAN THIS OLD LIFE CORDOVA BAY RECORDS

#12 MISSISSIPPI MACDONALD I GOT WHAT YOU NEED APM RECORDS

#13 THE ANTHONY PAULE SOUL ORCHESTRA WHAT ARE YOU WAITING FOR? BLUE DOT RECORDS

#14 DUKE ROBILLARD ROLL WITH ME STONY PLAIN RECORDS

#15 SUGAR BROWN TORONTO BOUND INDIE

#16 ERIC BIBB IN THE REAL WORLD STONY PLAIN RECORDS

#17 GILES ROBSON & JOHN PRIMER TEN CHICAGO BLUES CLASSICS BLUES HOUSE PRODUCTIONS

#18 DIANA BRAITHWAITE AND CHRIS WHITELEY FOREVER BLUES G-THREE RECORDS

#19 SUE FOLEY ONE GUITAR WOMAN STONY PLAIN RECORDS

#20 TOMISLAV GOLUBAN + CROOKED EYE T NASHVILLE ROAD OVERTON MUSIC

#21 JANIVA MAGNESS I WAS GOOD TO YOU BABY BLUE ELAN RECORDS

#22 MCKENNA MOONAH BLUES DUO BREAKING NEWS BROKE FUSE MUSIC

#23 TAB BENOIT I HEAR THUNDER WHISKEY BAYOU RECORDS

#24 ALBERT CASTIGLIA RIGHTEOUS SOULS GULF COAST RECORDS

#25 CAT WELLS BLUES BAND BRAND NEW SHOES SELF RELEASE

#26 RONNIE BAKER BROOKS BLUES IN MY DNA ALLIGATOR RECORDS

#27 DAVID GOGO YEAH! CORDOVA BAY RECORDS

#28 TOMMY CASTRO & THE PAINKILLERS CLOSER TO THE BONE ALLIGATOR RECORDS

#29 SECONDHAND DREAMCAR ANSWER THE CALL INDIE

#30 CATFISH KEITH SHAKE ME UP FISH TAIL RECORDS

#31 MITCH WOODS HAPPY HOUR MOMOJO RECORDS

#32 DENNIS HERRERA FOUR DEEP GROOVE RECORDS

#33 JOANNE SHAW TAYLOR HEAVY SOUL JOURNEYMAN RECORDS

#34 LUCAS HANEMAN I’M JUST ONE MAN INDIE

#35 WILL WILDE BLUES IS STILL ALIVE VIZZTONE

#36 CHICAGO BLUES LIFTERS BLUES SCOUTS HITSKOPE RECORDS

#37 JOVIN WEBB DRIFTER BLIND PIG RECORDS

#38 VANESSA COLLIER DO IT MY OWN WAY PHENIX FIRE RECORDS

#39 ED ALSTROM FLEE THOUGH NONE PURSUE HAYWIRE

#40 DAVID VEST & TERRY ROBB CRISSCROSS CORDOVA BAY RECORDS

#41 SONNY GULLAGE GO BE FREE BLIND PIG RECORDS

#42 ALFIE SMITH EVERY ROME NEEDS A NERO INDIE

#43 MURRAY KINSLEY & WICKED GRIN EYE OF THE STORM INDIE

#44 11 GUYS QUARTET ROCKIN’ THE UFO INDIE

#45 GA-20 EP VOL. 2 KARMA CHIEF RECORDS

#46 GARNETTA CROMWELL TIME TO SHINE INDIE

#47 RANDY MCALLISTER LINES REACTION RECORDS

#48 WAILIN’ AL WALKER ALL FIRED UP JITTERBUG RECORDS

#49 FRANK BEY PEACE NOLA BLUE RECORDS

#50 CHRIS CAIN GOOD INTENTIONS GONE BAD ALLIGATOR RECORDS

The Illustrated Blues Of Brian Kramer

Unsung Heroes Of The Blues

Something a little different for this segment. Rather than

highlighting one of the many known and beloved figures

in roots and Blues music, I want to give a little nod to the

countless musicians whose names have not been recorded

in history. When there was a time before it was even

coined “The Blues”. Musicians who were prominent in

the late 1800’s and early 1920’s in the US, providing the

soundtrack for the times, but all that we know of them is

from a faded, unmarked photograph.

Many of these images turn up from time to time and a

place or region can be pinpointed, however the names

were not recorded and carried over.

This illustration was inspired by one such photo. An unknown

trio of entertainers that also breaks a few stereotypes.

We often play into the image of Blues artists of that

era brandishing low-end instruments and clothes worn

to tear. But seeing the top line instruments, including an

early 20’s Gibson U series harp guitar (a very expensive

instrument of the period) proudly in tow, only proves the

prominent stature and elegance that these performers

were a proud group in their community.

Top drawer threads as well!

I’ve drawn many depictions of Lightnin’, of BB, of Muddy,

Son House and countless others, but today we think

about who came before. When few were being recorded

and documented and had their revivals, many of these

nameless musicians were at the top of their game and

respected.

It’s not all too different today. There are still thousands of

Blues musicians in ever corner of the globe who are local

heroes and may never make it to the big stages. They are

all important. They all keep the Blues alive and lift up their

communities with this timeless, universal language.

You seek out any local Blues bar in France, Germany,

Thailand, Alaska, Siberia, US, Canada, I guarantee you will

stumble across a great, heartfelt local Blues artist that will

make you wonder what their story is.

So, here’s to those unsung heroes of the Blues, past, present,

and future.



BIG BLUES

REVIEWS

ERJA

LYYTINEN

SMELL THE ROSES

REVIEWS MARCH2025 REVIEWS MARCH

ANDREW DUNCANSON FT,

MICHAEL PELOQUIN

CALIFORNIA TRAP

Run It Back Records

Andrew Duncanson has been on the

scene and releasing albums for over two

decades, but I have to admit that this is

the first time that I have come across

him. But, as the saying goes, better late

than never. California Trap is however

his first solo album, and what an album

it is. Not only does he write the majority

of the songs on the album, but he has

had the foresight to bring to the fold the

amazing Saxophone player, Michael Peloquin

to add, Funk, Soul, and Gospel to

the mix. Relearning To Climb opens the

Finnish guitar goddess Erja Lyytinen

returns with Smell the Roses, following

her 2024 live album 20 Years of

Blues Rock! and marking 20 years

since her debut. The Queen of Slide

Guitar is on top form, delivering a record

that blends blues, rock, and progressive

elements with fresh energy.

The poetic title track is an infectious

slice of blues rock with a potent

message and a catchy riff, setting the

tone for the album. Next up, Going to

Hell grabs attention with its striking

opening guitar licks, showcasing Erja’s

virtuoso playing. The track leans

into progressive rock, laced with

jazzy undertones and fiery fretwork.

Abyss takes things even heavier—it’s

possibly her most powerful song to

date, with drop-tuned riffs that pack

a serious punch and will undoubtedly

become a live favourite.

The ethereal Dragonfly provides

a shift in tone with its brooding

undertones and toe-tapping rhythm.

For fans of Erja’s signature slide

playing, The Ring is a standout. Its

up-tempo energy makes it an ideal

show opener and reinforces why

she holds her ‘Queen of Slide Guitar’

title. As the album heads into its final

stretch, Ball and Chain delivers an

irresistibly catchy hook, staying with

you long after listening. Stoney Creek

leans into atmospheric blues, rich with

Americana influences, adding another

dimension to the record. Finally,

Empty Hours closes the album with

a spellbinding performance, full of

emotion and depth.

With Smell the Roses, Erja Lyytinen

continues to evolve and push

boundaries, delivering what

may well be her finest studio

album yet. The only scent

surrounding this release is

the smell of success.

Adam Kennedy

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with what I can only describe as

one of the greatest vocal deliveries that

I’ve heard in many a long year. Andrew

Duncanson has such a soulful, bluesy

voice, one that immediately captivates

you alongside the wonderful horns and

magnificent Sax courtesy of Michael

Peloquin. It’s the soul/blues combination

that reverberates throughout

the album, making you feel a part of it

almost. The title track, California Trap is

100% blues, once again showcasing the

brilliant Duncanson and the rest of the

musicians in all their finery. The album

does have one cover song, a song that I

have not heard for many years, but what

is part of American Folk/Americana

folklore, This Land Is Your Land, written

by the late great, Woody Guthrie. This

rendition adds some Funk to the original

with Duncanson seemingly taking the

song to another level, a brilliant version.

It’s A Pleasure, for me, sums up

the entire album, because that is what

the album is, a pleasurable collection of

wonderful songs being sung by one of

the greatest vocalists around at the moment.

There must be something in the

air in the first couple of months of 2025,

so many great new releases, but this is a

cut above the rest.

STEPHEN HARRISON

BAD TEMPER JOE

THE ACOUSTIC BLUES

GUITAR REVUE

Timezone

Bad Temper Joe hails from Bielefeld

in northern Germany and is one of

Europe’s prime interpreters of country

blues from the 20s to the 60s –

and that is certainly the focus of this

extremely accomplished and listenable

release. Joe mainly plays a Weissenborn

guitar flat on his lap and with a slide,

or a resonator guitar, and his earthy

vocals suit the material to a “T”. Three

tracks also feature the fine, totally

complementary blues harmonica work

of Marcel Rahe, and the whole album

was recorded live, with no overdubs.

It is impressive. The repertoire reveals

a deep knowledge of and love for the

blues; he draws on classic material

from the repertoires of country blues

giants Charley Patton, R.L. Burnside,

Elizabeth Cotton, Mississippi John

Hurt, Robert Johnson and Leadbelly,

the post-war blues giants

FRANK BEY

PEACE

Nola Blue Records

Frank Bey was born and raised in Millen,

Georgia, and apart from being a brilliant

Blues artist, he was also a great advocator

of Peace. So, this eleven-song compilation album celebrating his remarkable

career is fittingly called, Peace. Even though he had endured a long

career in the Blues, he only ever released a total of eight solo albums.

Peace has managed to capture the true embodiment of Frank Bey, as

a singer, and occasional writer. That’s What Love Will Make You Do is

the first song on this musical trip down memory lane, written by Milton

Campbell, it is a common Blues story of foreboding and sometimes making

the wrong choices in life, a kind of blueprint for Blues tunes since the early

I’m certain that Lennon is very happy

with this recording, very happy indeed

1920s. There are a couple of songs on the album that were written by very

famous artists, most notably, City Boy, written and performed by Kevin

Roosevelt Moore, aka, Keb’ Mo’. This is such a sweet song, the original is

done with heartfelt feelings, as is this version by Frank Bey. To cover a

song by Keb’ Mo’ is not for the faint-hearted, but Bey tackles it superbly.

Blues Comes Knockin’

has the amazing

Jay Davidson on

board playing the

Harmonica as if his

very life depended

on it. Couple that

with Bey’s cutting

vocals and the

guitar chops of longtime

collaborator,

Jeff Monjack, and

what you have is a

song that should by

all rights be quoted

as a Blues classic. What I like about this album is the fact that, unlike some

compilation stuff, there is a tendency to be a bit lazy, this, however, has

been properly thought through, with attention to detail. It is very fitting

that the final song on, Peace should be a Gospel-style version of a song

that has become an anthem, Imagine, by John Lennon. I’m certain that

Lennon is very happy with this recording, very happy indeed.

LISTEN, WATCH AND DISCOVER

MORE AT THESE ARTIST LINKS

STEPHEN HARRISON

ISSUE 147 BLUES MATTERS! 71

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CATFISH

TIME TO FLY

Independent

Time To Fly is the final chapter

in ten glorious years of

this band’s legacy. As many

of you will know, this is the

final album recorded with

Matt Long who lost his

bravely fought battle with cancer.

The mixing and arranging of the album has been done

by Paul Long, pulling pieces of unfinished demos and half-written tunes,

and turning them into an album that could not have been a better tribute

to the career of Matt. The album has a larger-than-life sound, something

overall, it will mark the band as a force

of nature, a Blues/Rock powerhouse

Willie Dixon and Jimmy Reed, and the

unique Johnny Cash. Joe’s renditions of

Hurt’s Since I’ve Laid My Burden Down

and Cotten’s famed Freight Train show

that he is a far more than capable finger-picker

too. Yes, there is a Mississippi

bias, but I somehow doubt there will be

any readers of this magazine who have a

problem with that. He also contributes

one song himself, the thoughtful, quietly

passionate closer, If Tears Were Diamonds,

running to just short of eight and

a half minutes (the longest track here.

Note too that Joe adds his own touches

to all his songs – he’s not a jukebox as

such, just playing note for note re-creations;

rather he knows how to deliver a

convincing blues performance and how

to make it sound like Bad Temper Joe

rather than a pale imitation.

NORMAN DARWEN

that Catfish had established from the get-go. The hard rockiness of Matt’s

guitar playing and his vocals twinned with the Blues side of Paul, a perfect

combination. Breaking Up Somebody’s Home has for many years been

a constant song on the set list of the band, so it was decided to have a

version of a live recording of the song, but stripped of background noise so

that it sounds like it

was recorded right

there in the studio.

Two songs that Matt

had demoed on his

computer, Sick Of

It All, and Say The

Word, are, for

me, the most

intense and

profoundly

moving

songs of

Catfish

history.

The sheer emotion pouring through Matt’s guitar and vocals

with the rest of the band bringing up the rear, is as close to

perfection from a musical standpoint as you are ever likely to

get. The final album from Catfish is the finest bunch of songs

that they have ever produced in my opinion. It will serve as a

musical memorial for Matt, but overall, it will mark the band

as a force of nature, a Blues/Rock powerhouse, something

that we may never see the like of again.

STEPHEN HARRISON



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ELLIS MANO BAND

MORPH

SPV Recordings

The band formed in 2016 after a chance

meeting between Chris Ellis, and Edis

Mano. They both had a deep love of

American Blues and American Southern

Rock, which can clearly be heard on

this, their fourth album release. Early

in 2024, Ellis Mano Band supported

Deep Purple on their European tour,

so they have some credible action on

their musical CVs. In addition to this, the

band has regularly featured in the top 2

rankings of the Swiis album charts. So,

to the album, the opening song, Virtually,

highlights the band’s major influences

and sets the tone for the rest of

the tracks. Chris Ellis (vocals) manages

to combine his and the band’s love of

American Blues and Soul, with a Rock

twist thrown in for good measure. For

All I Care, once again brings out the best

of Chris Ellis’s vocal talents. A full-on

Blues/Rock tune that all of a sudden

allows a 70s-style Prog/Rock Keyboard

solo to perpetrate through the middle

of the song. This, to me, is what makes

this band a little bit special, having the

ability to weave and navigate between

genres, while still retaining the broad

strokes of Blues, Soul, and Southern

Rock. Scars, has its heart firmly rooted

in the Blues, once again allowing Chris

Ellis to shine with his vocals, and also

letting Edis Mano show us just how

adept he is with the guitar, to be honest,

Mano does that throughout the album,

but on Scars, his light shines even

brighter. The final song on the album,

The Fight For Peace, was recorded

live, whoever had the foresight to

think of doing that deserves a medal.

A truly wonderful way to end

what is an amazing album. Before I

had listened to this album, I’d not

heard of Ellis Mano Bnad before,

but rest assured, this will not

be my last foray into the band’s

catalogue.

STEPHEN HARRISON

POPA CHUBBY

& FRIENDS

WE LOVE FREDDIE KING

Gulf Coast Records

Popa Chubby’s latest release, is a fiery

tribute to the legendary blues guitarist

Freddie King, filled with raw energy and

masterful guitar work. Known for his intense

blues-rock sound, he channels the spirit of King in ways that both

honour the past and assert his own commanding presence in the genre.

The release is a mix of reimagined classics and original compositions, all

drenched in soulful blues, sizzling solos, and funky grooves. The opening

a passionate, high-energy tribute

to one of blues’ greatest

track, I’m Going Down, kicks things off with the kind of electrifying energy

that sets the tone for the entire album and features Joe Bonamassa.

Chubby’s guitar playing is nothing short of electrifying, and his deep,

gravelly voice adds an element of authenticity to the sound. His reverence

for Freddie King is clear, yet he doesn’t simply replicate it; he reinvents it.

Tracks like Hideaway,

with Arthur

Neilson and The

Stumble featuring

Albert Castiglia

are infused with a

modern twist while

still capturing the

rawness of King’s

originals. She’s

A Burglar with

Mike Zito duetting

and horn section

is spellbinding.

The album shines

brightest when Chubby lets loose on his guitar solos, effortlessly weaving

in King’s signature licks while maintaining his own powerful, distinctive

voice. The rhythm section is tight, and the balance between blues and rock

is perfect, this isn’t just a nostalgia trip, it’s a celebration of the genre’s

enduring power. This release is a passionate, high-energy tribute to one

of blues’ greatest, and Popa Chubby’s authenticity and virtuosity make it

more than a tribute.

COLIN CAMPBELL





MAX HIGHTOWER

NOTHIN’ BUT THE TRUTH

MoMojo Records

Max Hightower lays it all on the line with

his newest release, Nothin’ But The Truth,

a no-frills, deep-grooving blues record that

bleeds soul and authenticity. Tracked at Big Tone Studio in New Orleans,

these twelve original powerhouse tunes, drip with the city’s unmistakable

funk and raw Southern blues grit. Each cut on the album highlights

Hightower’s mastery, whether he’s blowing mean harp, slinging guitar

licks, or belting out lyrics steeped in hard-earned wisdom. From the

high-octane opening track Double Bubble to the swampy sway of Sweet

Gum Tree, and the last tune a cheeky instrumental called Assmograph;

Hightower keeps it tight and true. He’s backed by a rock-solid rhythm

not just a collection of songs, it’s a

blues-drenched ride straight through

the heart of the genre

section, with bassist Steadman “Fleetwood” Williams Sr. and drummer

Brandon Phelps locking in the groove, while a rotating crew of New

Orleans horn and piano players throw in that extra spice. Hightower’s

love affair with the

blues started young,

sparked by a wornout

cassette tape in

his South Carolina

home. Since then,

he’s honed his chops

as a multi-instrumentalist

and songwriter,

sharing the

stage with greats

like Hubert Sumlin

and Willie Smith. As

a founding member

of Mac Arnold &

Plate Full O’ Blues, he’s spent years steeped in the tradition, and now, his

solo effort cements his place as a modern bluesman with old-school soul.

This release is not just a collection of songs, it’s a blues-drenched ride

straight through the heart of the genre. For purists and newcomers alike,

Hightower delivers the real deal here with some fine musicality.

COLIN CAMPBELL

ERIC JOHANSON

LIVE IN MISSISSIPPI

Ruf Records

Eric Johanson’s newest release captures

the raw energy and emotion of

his performances. Recorded at the

Ground Zero Club in Biloxi, Mississippi,

the release features ten selected tracks

from his acclaimed studio work, including

songs from his highly acclaimed The

Deep And The Dirty. The blistering set

list showcases Johanson’s versatility,

blending gritty rock with deep blues and

backing from drummer, Terry Scott and

bass player, Will Repholz. Highlights

include Nowhere To Go, Undertow, and

Just Like New, each demonstrating his

powerful guitar work and distinctive

vocals. The inclusion of Yellow Moon,

a tribute to the Neville Brothers, and I

Walk on Guilded Splinters, a rendition

of Dr. John’s classic, pays homage to

his musical influences. Johanson’s live

performances are renowned for their

high energy and dynamic guitar solos.

Live In Mississippi, encapsulates this

intensity, offering listeners an authentic

concert experience. The production,

overseen by Johanson himself, captures

the essence of his live shows, providing

a visceral connection to his music. For

fans of modern blues and rock, this release

is a compelling addition to Johanson’s

discography. It not only showcases

his technical prowess but also his ability

to convey emotion and connect with his

audience. In summary, this is a testament

to Eric Johanson’s artistry and his

commitment to delivering authentic,

high-energy performances. It offers

both new listeners and long-time fans

a chance to experience his music in its

most dynamic form. A live release that

makes the listener feel they are there, a

wonderful musical achievement exhibiting

that connection between audience

and artists.

COLIN CAMPBELL



FATS DOMINO

IN SESSION 1950-57

Jasmine

This Mono release is another in the

extensive series of “in session” releases

from the UK based Jasmine label, it

includes, as the title implies, sessions



where Fats Domino played his Piano

either supporting other musicians or

in a couple of instances instrumental

releases under his own name. The

three-page insert booklet provides all

the recording details. His trademark

“rolling” style of Piano is evident across

all thirty-two tracks albeit it is often in

the background. The artists performing

on the album include the greats of the

day, namely, Lloyd Price, Big Joe Turner,

Pee Wee Clayton, Smiley Lewis, Roy

Brown amongst others. The music fits in

the R&B framework and includes both

obscure and more familiar tunes, my favourites

include Big Joe Turner’s Honey

Hush from 1953 and Roy Brown’s Sail

On Little Girl released in 1957. Another

key artist on the album is bandleader

Dave Bartholomew, who produced

some of Fats early recordings as well

as being his songwriting partner. He is

involved on about fifty percent of the

tracks on the album one way or another

and was clearly a key influence on Fats.

This album provides an excellent insight

to the work of Fats Domino and the

New Orleans music scene during the

1950’s and is blessed with some good

quality sound recordings that make this

release very enjoyable. Some of these

performer’s work is scarce so it is a real

bonus to get to hear these recordings

together on one album.

JANIVA MAGNESS

BACK FOR ME

Blue Elan Records

ADRIAN BLACKLEE

Janiva Magness is back, with her 17th

studio album, proving once again why

she’s one of the most compelling voices

in contemporary blues. With longtime

producer Dave Darling at the helm,

Magness digs deep into the vaults,

unearthing lesser-known gems from legends

like Bill Withers, Ray LaMontagne,

Allen Toussaint, Doyle Bramhall II, Tracy

Nelson, and Irma Thomas. But these

aren’t just covers; Magness breathes

raw soul into every note, turning each

song into something unmistakably

her own. The opener, Masterpiece is a

smouldering groove co-written by Darling,

laced with Joe Bonamassa’s signature

guitar fire. Her take on Bill Withers’

The Same Love That Made Me Laugh

simmers with gospel-infused ache, a

perfect blend of funk, soul, and blues.

MITCH RYDER

WITH LOVE

Ruf Records

Mitch Ryder is back, and he’s got

something to say. His latest release

of ten self-penned originals, proves

that time hasn’t dulled his fire; it’s

only made it burn deeper. Produced

by the legendary Don Was, this

collection is Mitch Ryder at his most raw, weaving personal

triumphs and hard-earned wisdom into a blues-rock tapestry that

hits straight to the gut. The album kicks off with Lilli May, a soulful opener

that immediately pulls the listener in with its haunting melodies and

confessional storytelling. Then there’s, Pass It To The Right, a swaggering

a raw, soulful ride, a testament to

an artist who refuses to fade

Latin-tinged jam that captures the easy-going revelry of a smoke-filled

soirée, while Sanguine throws a playful nod to vintage soul, highlighting

Ryder’s chameleon-like ability to slide between genres. But it’s the

deeper cuts that reveal the heart of this record. One Monkey lays Ryder’s

struggles with addiction bare, a blues-soaked confessional dripping with

hard-fought redemption.

The Rolling

Stones tinge to

Wrong Hands offers

a wry take on life’s

curveballs, while Fly,

stands as a reflective

anthem on Ryder’s

career, no regrets,

just the satisfaction

of a road well-travelled.

Was’ production is

crisp, letting each

instrument breathe

without ever overshadowing Ryder’s unmistakable rasp, weathered, wise,

and still bursting with soul. His backing band locks in effortlessly, delivering

the kind of tight, road-worn groove that only comes with years in the

trenches. More than just another album, With Love is a statement. For

longtime fans and new listeners alike, this release is a raw, soulful ride, a

testament to an artist who refuses to fade quietly into the night.



COLIN CAMPBELL



JOHN DOE TRIO

JD III

Independent

For those unfamiliar with John Doe Trio,

this British blues-rock band is built around

the talents of brothers Phil Woollett (vocals

and guitar) and Ben Woollett (bass and backing vocals), alongside Paul

Townsend (drums and backing vocals). As the title suggests, JD III marks

the band’s third album, and it’s a release that firmly cements their reputation

as a powerhouse in the genre. The album opens with “Prologue-Resurgence”,

a short instrumental that sets the tone for what follows—guitar-driven

blues rock, rich with subtle nuances and dynamic shifts. Right

from the outset, the band’s ability to blend power and finesse is evident.

To say I’m impressed with this album would be an understatement. Before

by the second track

I was a committed fan

pressing play, I knew little about John Doe Trio, but by the time I reached

the second track, I was a committed fan. “Tears in the Wind” slows the

pace with a ballad-like quality, showing that the band isn’t just about raw

energy—they handle more delicate moments with just as much skill and

conviction. That said, JD III doesn’t lack firepower. Tracks like “Big Bad

Ron,” “Blues 1.0.1,”

and “Black Dog Calling”

deliver the kind

of guitar-driven

grit that has earned

the band a growing

following on the live

circuit. The riffs are

sharp, the sound is

full-bodied, and the

production captures

the essence

of their live energy.

However, this is

no one-trick-pony

blues outfit. The variety across the album ensures that each song stands

on its own while contributing to a cohesive whole. Closing track “Tales of

the Modern-Day Curse” rounds off my first experience with John Doe Trio,

leaving me in no doubt as to why they’ve been steadily gaining traction.

On this showing, I fully intend to catch them live at the earliest opportunity.

Until then, I’ll be diving into their back catalogue—and I’d strongly

recommend you do the same.



STEPHEN HARRISON

Doyle Bramhall II’s November, drips

with weary resignation, while Down

So Low, a Tracy Nelson classic builds to

slow-burning torch song here. She turns

up the swagger on Hittin’ On Nothin’, an

Allen Toussaint number made famous by

Irma Thomas, with Jesse Dayton laying

down some sharp, swampy guitar licks.

Holding down the groove is a tight-knit

core band: Darling on guitar, W.F. Quinn

Smith on drums, and Ian Walker on bass,

with Sasha Smith and Phil Parlapiano

on keys. The guitar-heavy lineup also

includes John Schroeder, Robert “Chalo”

Ortiz, and Nick Maybury, with blues

harp from TJ Norton adding that extra

grit. And with guest spots from other

blues powerhouses like Sue Foley, on

the amazing tune, Holes this release

doesn’t just play the blues, it howls,

cries, and roars them! Janiva Magness

isn’t just keeping the blues alive; she’s

making sure it thrives.

COLIN CAMPBELL

JON CLEARY

THE BYWATER SESSIONS

FHA Records

Straight out of New Orleans, Jon Cleary

brings his sound to this fabulous cd,

kicking off with the very fast up-tempo,

So Damn Good, which puts me in a party

mood from the off and it doesn’t stop

there. The party is in full swing on Zulu

Coconuts and makes me wish I was in a

bar for Mardi Gras, my feet and fingers

are tapping along, and I can’t wait for

warm summer nights to play this again.

If you’ve never been to New Orleans,

get this cd in your ears because it’ll take

you there.Jon Cleary has been doing

this for a long time and has been at the

forefront of keyboard tunes from Louisiana

for over thirty-five years as well

as being a multi-instrumentalist. Jon

brings it all to the table with his all-star

band the Absolute Monster Gentlemen

with these funky R&B tunes that

just enthuse good times. As I write this

review, I just realised my feet won’t stop

moving, these songs have infected my

body. I think I have boogie woogie fever.

As Just Kissed My Baby plays, it’s given

me enough time to catch my breath and

read what some of the songs are called.

Titles like Lottie Mo, Pickle for My

Tickle and Unnecessary Mercenary all

scream fun. Well to me they do, it’s very

hard to imagine that Jon was British



born because in my head he’s as Cajun

as can be, which is a great testament to

his sound and I for one can completely

understand why he’s been doing this for

so long. This is funky, this is fun, this is

fabulous.

BLUES BARN...

KID RAMOS FT, BRIAN

TEMPLETON, AND JOHNNY

RAMOS

STRANGE THINGS

HAPPENING

Nola Blue Records

This is the first album that Kid Ramos

has released on Nola Blue Records, and

what a way to kick-start a new adventure.

The musicians that accompany him

are not all well known, except for his

son, Johnny Ramos, and guest vocalist,

Brian Templeton. The album opens with

a song that I’ve not heard in a long while,

Strange Things Happening Every Day,

originally recorded by Sister Rosetta

Tharpe. This sets the mood for the rest

of the album, shifting from Blues to

Soul and Gospel, sometimes within the

same song, There are indeed some very

religious songs such as, Jesus Dropped

The Charges, God Walks The Dark Hills,

and Nobody But The Lord, but for me

the standout track on the album is, Oh

What A Meeting, which has one of the

finest guitar solos I’ve heard in years.

Brian Templeton takes the vocal duties

on many of the songs reminding everyone

just how good a Blues singer he

really is. This is partly what makes the

album so enjoyable, and having people

like Johnny Ramos on board does have

its advantages. I don’t know what it is

about 2025, but the albums that have

been released so far, well, the ones

that I’ve been lucky enough to listen to,

are all of the finest quality, it must be

something in the air, and Strange Things

Happening is at the top of the tree.

STEPHEN HARRISON

MICHELE BIONDI

WORLD TRAVELER

Madamadore

It’s a funny old world! For technical

reasons at this moment I am completely

cut off from the Internet. As a result

I am writing this review of the new

album from Michele and his band with

no preconceived ideas gleaned from external

sources. I have to confess it is rather refreshing just me, the CD, the booklet

and my stereo cranked way on up there. So according to the hand-written

note included, this is album number four for Italy based Michele.

The album was recorded last January (2024) but now coming to our ears

January 2025. Again, gleaned from the booklet, it is a “live” recording. No

no frills, straight-ahead Blues,

reminiscent of Canned Heat

audience but the tracks were all laid down in the studio straight with the

players all together in the same room. It has that nice sound, and a togetherness,

which can only be achieved, when done in one take. I like it! So we

get eleven cuts with all bar one, Come On In My Kitchen, being originals.

We have Michele guitar / vocals, Giovanni Grasso bass Angelo Carmignani

drums and Andrea

Maffei harmonica

and together these

four guys cook up a

fine risotto of Blues

grooves. Another

Shot, with its shuffle

beat is excellent.

Opening cut Joy

has a kind of sing

along feel especially

at the a cappella

bridge section. Mrs

Camelia begins with

a harp solo section

before the band opens it up. However that harp continues to be the focus

instrument throughout the song. In fact, upon reflection the guitar and

harp share the focus instrument pretty evenly throughout. So should you

be partial to no frills, straight-ahead Blues, reminiscent of Canned Heat a

little then this could be for you.

GRAEME SCOTT

LORNA REID

I WILL TELL YOUR STORY

Independent

Lorna Reid’s latest offering is more than





just an album; it’s a testament to her

ever-evolving artistry. A masterful blend

of jazz, blues, and soul, Reid deepens

her sonic exploration, weaving personal

narratives into a rich musical tapestry

that captivates from start to finish. At

its heart lies Sweet Baby Blues, a track

that epitomises Reid’s refined touch.

Co-written with Darden Smith, it’s a

slow-burning, intimate number steeped

in late-night reflection. A sparse yet

powerful arrangement with softly lilting

piano, a soulful saxophone solo, and

Reid’s evocative vocals, this creates a

hypnotic allure that lingers long after

the final note fades. The rest of the

album is equally compelling. Another

ten beautifully crafted songs unfold like

a series of vignettes, each painting vivid

images and stirring emotions. From

heartfelt ballads to groove-driven gems,

Reid effortlessly shifts between moods,

blending influences from Ella Fitzgerald,

Sarah Vaughan, and Joni Mitchell

into a sound that’s both timeless and

fresh. Reid’s songwriting takes centre

stage, with every track penned by her,

alongside select collaborations. Paris

in ’95 introduces her daughter Collette

Reid’s songwriting debut, while Pale

Blue Glance and Souls for Sale feature

guitarist and Weissenborn player Neil

Warden. The album closes with Tipping

Point, a feel-good groove co-written

with John Alexander. Recorded in Scotland,

the album boasts an impressive

lineup, including producer Boo Hewerdine,

powerhouse vocalist Louise Clare

Marshall, and multi-instrumentalist

Gustaf Ljunggren. With this release,

Reid cements her place as a singular

force in contemporary blues and jazz,

soulful, sophisticated, and brimming

with authenticity.

COLIN CAMPBELL

MARK “NESSIE” NESMITH

A SINNER’S PRAYER

Independent

Texas based troubadour Mark has produced

an album where he is, almost, the

sole contributor playing every instrument

and vocal to be heard on this new

release. I say almost as, on three cuts,

Mark is joined by Rainy Kimbrough on

BVs. However the overall sound leans

more towards a “band” outing rather

that just a solo record. Incidentally

the production duties / role have been

covered by his son and he succeeds

in balancing the sounds very nicely to

retain a kind of back of the shack stoop

performance feel. Should you choose

to invest your money in this album then

the opening cut is the title track. It is

clear throughout the album that Mark

is struggling with his faith. “Lord I don’t

know what to do, I need help to make it

through. Been a long time since I talked

to you, please won’t you help me?”

Whether you are religious or not there

is much to commend this album. I love

the line in Death Row which goes “we

are all living on death row, born with a

death sentence there is no appeal”. How

true that is. Mark can certainly distil this

crazy life and world times we experience

in some key lyrics. His slide guitar work

is especially tasty. Where would the

world of Blues be without sex and ‘my

woman done me wrong’ songs? Don’t

worry Honey Trap and Woman Of My

Dreams fulfils that area very nicely. The

dark feelings we all experienced during

the pandemic is addressed in Stuck

Inside whilst the compelling shuffle of

LISTEN TO THE BLUES MATTERS

PODCAST

Listen to some amazing interviews with

the artists we’ve been lucky enough to speak

to for the magazine. NOW ON YOUTUBE!

SAMANTHA FISH

In this exciting episode, Adam Kennedy sits down with blues

sensation Samantha Fish, known for her electrifying guitar skills,

powerful vocals, and genre-defying sound.

TAJ MAHAL

We sit down with one of the most legendary figures in blues and

world music—Taj Mahal. At 82 years young, this pioneering artist

continues to defy expectations...

TERRY MARSHALL

In this episode, Steve Harrison sits down with Terry Marshall,

founder of Marshall Records, to discuss the release of his highly

anticipated new album.



ISSUE 147

BLUES MATTERS! 79


Blues When I Wake Up is the “happiest”

cut on this rather fine album. Cheer up

Mark for goodness sake and enjoy life, it

ain’t all bad.

GRAEME SCOTT

TONY HOLIDAY

KEEP YOUR HEAD UP

Forty Below Records

You could be forgiven for thinking that

an album with just eight songs is not

quite going to cut the mustard., Well,

you could not be further from the truth.

Keep Your Head Up is an album of eight

pieces of musical gold. She’s A Burglar,

Ft, Eddie 9V opens the proceedings,

Eddie on vocals and lead guitar. Now,

for those of you who are new to Tony

Holiday, he has certainly paid his dues to

the world of Blues music. He’s opened

for, Willie Nelson, Charlie Musselwhite,

Blind Boys Of Alabama, and B.B.KING to

name just a few. Good Times, which just

about sums up the mood of the album,

has the added attraction of having a

brilliant horn section, that puts the life

and soul, quite literally into the song.

It’s almost like a warm glow, the type

that makes you feel safe and warm. As

I mentioned earlier, there are a few

guest musicians along for the ride, Laura

Chevez, Kevin Burt, and Albert Castiglia.

Now having Castiglia come and join the

party is the icing on the cake, indeed

he takes the vocals and lead guitar on,

Drive It Home. The final song, I Can Not

Feel The Rain is a Gospeltype ballad. A

wonderful collection of songs from an

amazing Blues artist. Do yourselves a

favour, and get a copy of this album.

STEPHEN HARRISON

TRAVELLIN’ BLUE

TAKE THE EDGE OFF

Naked

Mmm. This Belgium band are completely

unknown to me and that is the only

thing which is new to be found here. The

music, this five-piece band creates, has

all been heard before. The sound, the

playing, the lyrical content, the energy

etc all come from anything you care to

remember which has passed your ears

before. However that is precisely why I

like this album. When you put it on your

player the very clear inspirational sources

from whence the band have drawn

from wrap themselves around you like

a warm blanket on a cold winter night.

There is an immediate feeling of comfort

and familiarity which settles upon you

and, whilst not stretching you, you just

happily know that you will be satisfied

with your lot. A quick fix? Perhaps!

Don’t be put off though as there is much

to commend within the ten original cuts.

Essentially the band consists of drums,

bass, guitar, keys and sax that allows

slight drifting into Jazz and Soul influences

as well as out beloved Blues. Better

Left Unsaid and No Gooder open the

album in Rocking Blues mode. The tempo

slows with the fine deep Blues of The

Closer Is King. Down The Rabbit Hole is

too short. It would benefit from extensions

to include not just the tasty keys

feature but repeating the idea to include

sax and guitar breaks. A good opportunity

missed. Death Smiles At Us All

has overtones of The Police Can’t Stand

Losing You in there. The instrumental

Hellhole Shuffle has a strong Jazz feel

which works very well. So nothing new

to be found here but enjoyable none the

less. Now where are my blanket, slippers

and cup of hot chocolate? Mmm nice!

GRAEME SCOTT

VARIOUS ARTISTS

A TASTE OF HONEY

– (MARTIN BEDFORD

TRIBUTE)

Chocolate Fireguard Music

Martin Bedford was a leading light in

the live blues music promotion scene

around Sheffield, and this release is a

way for the many people he supported

to remember him. Over two CDs and

thirty-five tracks, many genres and

musicians are featured. They range from

local bands to names that are slightly

better known, such as Fay Heild, Tom

Attah, and Mark Harrison. There are

solo singers and full bands, as well as

originals and a couple of live recordings.

All of the recordings are of a uniformly

high standard, with Jackie Come On by

The Fargo Railroad Company being an

excursion into lively country rock and

Between the Lines by Banjo Jen also

shows how far-reaching Martin Bedford’s

taste in music was. The music is

taken from bands and musicians that

met and played The Honeybee Blues

Club, and it shows how vibrant the

scene was at the time, to have produced

many names who would go on to have

successful careers in blues and other

musical forms. With the genres featuring

upbeat swing blues, jazz, and rock,

soul and country, there is something

for any blues music fan, and a chance to

discover some new names on the scene,

and to be reminded how important the

blues clubs have been to the development

of the musical form that we all

love.

ALLISON AUGUST

AUGUST MOON

MoMojo Records

BEN MACNAIR

West Coast singer-songwriter Allison

August newest release is a rich showcase

of August’s dynamic, soul-drenched

vocals, backed by an all-star ensemble.

Featuring the late Paul Barrere (Little

Feat) on guitar, Mike Finnigan on

keyboards, Bob Glaub on bass, Lenny

Castro on percussion, and powerhouse

backing vocals from Maxayn Lewis

and Teresa James, the release boasts a

heavyweight line up and produced by

Grammy-winning drummer Tony Braunagel.

The result is a deeply personal

exploration of themes of love, resilience,

motherhood, and the journey of a woman

navigating life through music. With

raw emotion and undeniable groove,

this delivers a heartfelt narrative on all

twelve tracks. Afraid of Love, the opener

has a funky groove, about the push and

pull between craving connection and

keeping emotional walls intact. Dashboard

Madonna paints a vivid picture of

Los Angeles, a city of contrasts, where

artistic dreams soar against a backdrop

of struggle, beauty, and heartbreak. I

Won’t Say No delves into the tangled

dance between lovers and friends who

can’t quite define their bond, a powerful

vocal duet with Sugaray Rayford.

What Would Mama Say recalls a time

of carefree adventure, punctuated by

a mother’s well-meaning wisdom. Blue

Eyed Boy is a love letter to her son and

the parenting a teenage boy. Honey Jar,

a cover of the Wood Brothers tune, is

pure, unfiltered joy, a song that seeps

into your bones. The raw, gritty, Dog

In You is full on blues, about life’s trials

turned into a story worth telling. Blues

Is My Religion, lays down a powerful



critique of how sacred texts are twisted

to divide rather than unite, channelling

frustration into a gospel-infused plea for

humanity. This release is a testament to

a life lived with passion, pain, and resilience.

It’s the blues, in its truest, most

soulful form.

COLIN CAMPBELL

STEVE YOUNG & THE REAL

TIME PLAYERS

FAMOUS FOR A DAY

INDEPENDENT

We love artists who confound expectations

here at BM Towers. So, when I

checked out the cover of Steve Young’s

new album, it indicated rough ‘n’ ready

blues troubadour with a gravelly voice

and a Mississippi drawl. But no, the

sound of the songs is Steve Young’s

smooth and unmistakable British vocal

over some well-arranged rockin’ blues

tunes punctuated with some fiery

guitar licks. But it’s not all hooting- and

a hollering’ blues rock by any means.

Long Long Road Ahead is acoustic and

mandolin based and showcases Steve’s

smooth vocal style. There is a level of

invention in the arrangement and execution

of this collection of songs that lifts

it above the standard level of albums

from independent musicians making records

these days. There is no doubt that

Steve Young is an excellent guitarist,

but he is happy not to flaunt his skills,

letting his solos sit back in the mix, just

long enough to serve the song with no

additional ego-massaging nonsense for

the sake of it. Looks Like You has a nice

poppy punch and radio-friendly sheen

to it, which should prick up the ears of

American radio programmers if they

get to hear it. 2030 ponders the notion

that marijuana has been legalised in five

years from now. Unlikely, but that’s the

sort of lyrical imagination that makes

this album interesting, with a presumed

level of intelligence from its listeners.

The stand-out cut here is Feelin’ Fine,

which brings all the elements of Steve

Young’s particular identity together.

Some raunchy guitar soloing, and again

a wry and clever lyrical approach that

shows a welcome sense of adventure

and depth. Instead of my standard plea

for American and European musicians

to come and play here in the UK, I am

happy to confirm that Steve Young is

British, and you are commended to

obtain this album and check out his live

shows, which will undoubtedly reward

you by bringing this excellent collection

of songs to a live setting near you. Good

stuff.

ANDY HUGHES

BLIND JOHN DAVIS

MAGIC CARPET –

COMPLETE RECORDED

WORKS VOL 1 1938 –

1952.

DOCUMENT RECORDS

Once again, the knowledge and enthusiasm

of blues aficionados combines with

modern technology to collect the cream

of recordings from Mississippi-born

Chicago-raised boogie and blues pianist

Blind John Davis. Davis’s blindness

came from a childhood accident, after

stepping on a rusty nail, a misdiagnosed

tetanus infection cost him his sight. Davis

learned piano in his father’s speakeasy

clubs and began his career as staff

pianist for producer Lester Melrose. In

common with the casual approach to

recording blues music in the 1930’s a

lot of cuts would revolve around Davis’s

ability to spontaneously start a blues or

boogie riff, and the involved musicians

would simply start to play along. Complete

with reduced but authentic audio

hiss, this collection is a perfect addition

for blues fans in general, and piano blues

and boogie fans in particular. Davis’s

fluid piano style and authentic raspy

vocals perfectly capture the atmosphere

of the times they were recorded.

Sweetening Davis’s deft soloing right

hand and beat-keeping left, there are

additional vocal contributions and some

Django-esque guitar lines that prevent

the built-in limitations of the style and

composition from becoming tedious.

There is no special stand-out tracks

here, but the collection serves as a historical

document of 1930’s blues music.

That said, you can hear the improvisational

skill Davis brings to his playing on

his short but inventive solo breaks on

songs like Walkin’ And Talkin’, and Red,

with its sinuous left-hand runs underpinning

the perennial tale of betrayal by

a thoughtless woman. As background to

Davis’s sad life, in 1955, he lost both his

wife of seventeen years, and his unique

collection of seventeen-hundred seventy-eights.

He enjoyed some success

touring in Europe with Big Bill Broonzy,

before his death from a heart attack in

1985.

AMIYA

ROOTS

Independent

ANDY HUGHES

Amiya is a Polish blues, soul, rock,

singer/songwriter, composer, producer,

artist and painter from Gdansk in Poland.

The sleeve notes are in Polish and

background information is scarce on

this one although most songs are delivered

in English. Opening track My Roots

Run Deep intros with a funky double

bass riff before Amiya’s sultry vocals

are joined by jazzy piano and slithering

violin making a great start to the album.

A catchy Jimmy Smith style Hammond

organ riff kicks off I’ll Be Gone as Amiya

takes a more assertive approach with

her vocals and the band swing mightily

along on this toe tapper. Golden Rain

finds Amiya backed by acoustic guitar

and wailing blues harp as she demands

“let the love come back”. The songs are

excellently written and delivered by

Amiya and the backing band is always

spot on. I Want Love (That Hardy Stuff)

is a jazzy little number that features

trombone and trumpet as Amiya croons

softly to her lover “I won’t wait I will

embrace”. An interesting tale of social

injustice unfolds with the eerie Armor

Of Gold (Revolutionary Blues) as

Amiya’s haunting vocals are delivered

to a backdrop of slithering violin and

twanging guitar. I found this track to be

particularly interesting and challenging.

The next track is called Alma (El Amor

y la Pena) and seems to be a jaunty love

song with a Cuban rhythm but sung in

a language unknown to me. The album

continues with Iskra Twego Dziela and

closes with the blues flavoured Bravery

featuring slide guitar and trombone as

Amiya lays out her hopes and dreams

for her children. I enjoyed this likeable

album from this talented and stylish

artist.

DAVE DRURY


IBBA TOP 40

bluesbroadcasters.co.uk

INDEPENDENT BLUES

BROADCASTERS ASSOCIATION

Most Played Album Top 40 – January 2025

Collated from the playlists of the Independent Blues Broadcasters Association members

Position Artist Album

1 TOMMY CASTRO & THE PAINKILLERS CLOSER TO THE BONE

2 THE 2:19 KEEP MY WILL STRONG

3 TOMISLAV GOLUBAN WITH CROOKED EYE NASHVILLE ROAD

TOMMY

4 BEAUX GRIS GRIS & THE APOCALYPSE HOT NOSTALGIA RADIO

5 DOM MARTIN BURIED ALIVE

6 BOB CORRITORE & FRIENDS DOIN' THE SHOUT

7 GUY VERLINDE & TOM EYLENBOSCH PROMISED LAND BLUES

8 NEIL SADLER PAST TO PRESENT

9 ED ALSTROM FLEE THOUGH NONE PURSUE

10 INNES SIBUN THE PREACHER

11 LEAVIN' TRUNK THE RIVER

12 GILES ROBSON & JOHN PRIMER TEN CHICAGO BLUES CLASSICS

13 MICK CLARKE BAD WHISKY BLUES

14 BENNY TURNER BT

15 THE HITMAN BLUES BAND CALLING LONG DISTANCE

16 CARLY HARVEY KAMAMA

17 GREG COULSON LIVE AT CRESCENT RECORDS STUDIO

18 WALK THAT WALK RED DEVIL LYE

19 FABULOUS THUNDERBIRDS STRUCK DOWN

20 GREG NAGY THE REAL YOU

21 VINYL PARADISE VINYL PARADISE

22 WAILIN' WALKER BAND ALL FIRED UP

23 BEN TYZACK BLUES TO THE RIVER

24 JUMPING MATT & HIS COMBO FORWARD

25 TRAVIS BOWLIN HOOKS & GROOVES

26 MISSISSIPPI MACDONALD I GOT WHAT YOU NEED

27 RICK FOWLER BAND RFB

28 SCOTT LOW STRUTTIN' ROUND TOWN

29 LAURENCE JONES BAD LUCK & THE BLUES

30 MURRAY KINSLEY & WICKED GRIN EYE OF THE STORM

31 THE TERRAPLANES BLUES BAND LIVE AT TEMPERANCE

32 THE WEEKEND BLUES BAND MISUNDERSTOOD

33 FREEWORLD MORE LOVE

34 THE CINELLI BROTHERS ALMOST EXACTLY…

35 GREIG TAYLOR BAND BIG DAWG BLUES

36 BIG AL & THE HEAVYWEIGHTS BLUES POWER

37 EVA CARBONI BLUES SIREN

38 LUCY ZIRINS CHASING CLOCKS

39 ALFIE SMITH EVERY ROME NEEDS A NERO

40 BRAVE RIVAL FIGHT OR FLIGHT

BM ISSUE 147 Mar 25

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